It was an interesting circumstance how I got hooked up with Steve
(Ibanez of I&I Foundation). I was at the soundcheck for Ernie
Smith, at the Pegasus last fall, and one of the engineers was
playing the CD Born Naked. I ran over and had to find out what
it was.
Okay. Right.
I want to get a full kind of career retrospective on you. I
wondered if you could tell me about growing up in Waltham Park
and how you knew you wanted to become a singer and things like
that? . . . (at this point, Triston says he will fax me a bio
to cover this)
How old were you when you knew you wanted to be a singer?
From about 10 year old.
What was the first opportunity that came along for you, to
sing and actually get into a studio and do a track?
[We] used to have a band name Soul Syndicate. This guy name Tony
Chin. He used to be a guitarist.
How did you know Tony?
Through Soul Syndicate Band. He was living in front of (near)
my house.
All those guys are from the same part of Kingston?
Yea, Tony Chin, Santa, Fully. All those guys. So Tony Chin now,
he used to play a box guitar. After he done rehearse even time
he used to play a box guitar. That's where I start from. I used
to sing and he used to play the rhythm then. I used to singer
harmony now with Sugar Minott and Tony Tuff.
They're from your neighborhood too right?
Yea. Used to sing harmony from them. The first . . . recording
that I did was a song name "Love Is A Message" for Bunny
Lee. On Bunny Lee's label. Then for Black Solidarity, a song name
"A-Class Girl."
Black Solidarity, that's you and Ossie Thomas.
Yea, Ossie Thomas, a good friend, a very close friend.
He still co-writes some of your songs right?
He is not here now, but he used to in those time.
So when I see 'O. Thomas' on a song, that's him?
Mmm-hmm.
You just did the one track for Striker Lee, and then you went
on to this next "A-Class. . ."
Yea, Black Solidarity . . . do a song called "A-Class Girl,"
one name "I'm Ready." All these songs are number one
songs, "Water Bubbling," "Susan." You know,
quite a few songs. "Spliff Tale."
These were number one, hits in the dance at the time. Would
you call these lover's rock or were these still the rockers era?
When were these tracks?
They're the rockers era, dancehall.
So like late 70s?
From the 70s. And then I leader now, Jah Thomas now, heard about
me, when he was in England, and then he came down and I did the
first hit song for him, "Entertainment."
"Entertainment" -- there's a story I read about that
song. Do you recall when he came and woke you up out of bed in
the morning and took you right to the studio?
Yea, yea. Me just know seh one morning me deh-ah me house an me
just hear that him dere deh and me get up. And when me get him,
him just start telling me about the song "Entertainment,"
and then me just get through it. Bwai, me and him just go, reach
a de studio, King Tubby's, and me go deh and me just start voice
it. But on the way going, he was telling me about the lyrics,
putting it together.
Had you heard the rhythm track before, was it a rhythm that
you . . .
I didn't know the rhythm track until I reach the studio.
Was it a rhythm that somebody else had used before?
It was a Studio One rhythm, that they used before. ["Heavenless,"
orig. Skatalites w/ Don Drummond or Vin Gordon, Studio One; see
also "Greetings" Half Pint 1986]
When you used to go to King Tubby's studio to voice tracks, what
kind of place was that? What do you remember about that legendary
studio?
When we went to King Tubby's, it was in Waterhouse. It was sort
of a vile area then. It was a ghetto area and going to that studio
and reaching there, you get a different vibes. Cause those times
when you go there, you see other big singers like Pat Kelly and
John Holt, and you as a young youth them time deh, maybe you get
a nervous, just seeing them kind of big singer them, knowing you
is just a youth a jus a try. Just starting out.
What age were you when you recorded that track, "Entertainment"?
About 14.
Wow, very young, Was King Tubby by the studio all the time
or did he leave it with his engineers.
No man, King Tubby was the person who take it. King Tubby's
was the owner, he was there. Him and Jammy's, King Jammy's?
Right, Prince Jammy at the time.
Jammy's was working as an engineer in those times . . .[then]
Scientist.
Right. So the rhythm tracks then, most of the rhythm tracks
you worked on were the Roots Radics when they started to go to
Channel One, but when did . . . wasn't there a time when Soul
Syndicate did most of the rhythms tracks in Jamaica, and like
Sly and Robbie, but then there was a transition to the Roots Radics.
Do you remember how that came about?
In those times, Soul Syndicate was making a lot of rhythms for
artists like Big Jah Youth and certain groups like even Rita Marley
them. And it was like a phase just come it just change. Roots
Radics take over with Gregory Isaacs. So Roots Radics start lick
all of the riddim. Everybody just start use Roots Radics, Flabba
Holt and them jus come.
How would you describe their style of playing compared . .
.
In those times, Roots Radics was more harder dancehall, hardcore
dancehall band. Their feel was a bit different than Soul Syndicate.
They were into the hardcore.
They called it a 'drum and bass' style . . .
Haaard, Hard-core drum and bass style.
I also notice there were less horns in the mixes typically.
Those time Roots Radics didn't have no horn player. It was mostly
keyboard who play the fill-ins.
Okay. You were talking about your work. You did "Entertainment."
That song, was that your biggest, most popular track?
Yea, it was a number one song. You have song like "Entertainment,"
"Water Bubbling," "Spliff Tale," "Raving,"
"Run Around Woman," a lotta hit song in those time.
Do you have a notion as to how many tracks you recorded for
Jah Thomas?
Well, I think I recorded about nearly to thirty tune for Jah Thomas
in those times, as a youth.
And many of those have been released outside of Jamaica. Tell
me about the track, one of my favorite tracks, favorite rhythms
from that time is "Give Me A Chance" . . .
'Give me a chance fe nice up the dance?'
Yea. Yea. What do you recall about that?
Inna dem time deh now, seen, [due] to the amount a artist then
that was hitting it, me try a tell people ya haffe gimme a chance,
cause me know me can nice up the dance. Me know me can mash up
the place. Just give me a chance, me prove meself, ya know? At
so it so be done.
Do you know the track Linval Thompson did on that rhythm? Called
"Six Babylon"?
"Six Babylon attack three dreadlocks . . ."
Yea, that's a classic rhythm. That brings me to the next question
then. There were a number of producers who were working then,
Jah Thomas of course, Linval and Junjo. How did you hook up with
Linval? You recorded at least one full album with him, the Joker
Lover . . .
Joker Lover, alright. Linval now here me start work with Jah Thomas,
go to England, get a deal with one of dem record company deh.
At that time it would have been Greensleeves or Trojan.
Yea, him get a deal with them, come back, check me now and Thomas
had kind a get away, cause [some] a say Linval want take away
him artist, but not like that. So Linval now him check me alright,
me deal the album and so it go. We just go work pon the album,
but that was the only set of songs I did for Linval.
Just the ten songs?
Yea, "Rub A Dub Session" and those songs. *
But you say it was cool with Jah Thomas that you work with
Linval at the same time?
Yea.
What was it like working with Linval compared to working with
Jah Thomas?
Well is two different vibes now. Linval was an artist and is two
different vibes right there. Jah Thomas to me in those times,
me have a better vibes round Jah Thomas. But Linval was cool them
times still.
Yea, Linval says you see each other occasionally still.
Yea mon, we a friends mon. Him check me regular, ya know?
So you never recorded any tracks for Junjo Lawes?
I did two songs for him. Years ago, but Junjo had Barrington Levy
at that time, so Junjo didn't really want me to be in his camp
. . . Junjo camp at that time was full -- a lotta artists.
Based on the amount of his albums, Junjo produced albums that
made it outside Jamaica, it looks like he produced most of the
music during that era, but I don't know if that's really accurate
to say that. Do you think he was putting out more work than Linval
or . . .
Well, at that time he was putting out more work than Linval in
Jamaica, outside Jamaica. Yea, Junjo did lotta work more than
Linval, and Junjo was the leading producer.
Is it true, it's true that Linval brought Junjo into the business?
Yea, yea, yea. That's true.
So who was the engineer, listed on the Linval album (Joker
Lover), Peter Chemist?
Peter Chemist, he used to work at Channel One.
Same time as Scientist, as an alternate?
Yea, same time as Scientist and dem, but Scientist was the more
established one then.
So was Channel One and Tubby's pretty much just going all day
and all night?
Straight through!
Straight through twenty-four seven?
Yea, them used to have different engineer in shift.
Wow, that must have been quite a sight . . . Are the studio
buildings still around?
Still around with the board in there same way.
Both of them?
Only Tubby's. From when he died, they just empty the building
and people are living in it. Channel One is there same way.
It's not used as a recording studio though, is it now?
Channel One? Not really, no.
That's too bad, cause some of the best music that ever came
off of your island came from that studio.
You know. (laughs). That's true.
Then moving on up in time, did Jah Thomas ease out of the business?
Talk about the transition in sound that started to take place
before "Sleng Teng" came along . . .
Jah Thomas left Jamaica and he was in New York. He left on and
go to England. So that time now, he was there for a very long
time. He wasn't really doing any recording. He was mostly dealing
with the older stuff that he had.
When he slowed out of the recording business, what did you
do at that point in time, cause I know you had a hit called "Folley
Rankin" for George Phang.
Yea, for George Phang, "Folley Rankin." At that time,
if you are working with someone and at least they migrate, you
haffe find something else, right? You cyan make your career just
go a place, so I start doing some recording for myself, just as
a producer.
Did you release singles on your own label at the time?
Yea, Black Solidarity.
How many singles did that label come up with over the years?
Do you have a feeling for that?
Quite a few you know, cause we used to even record other artists.
Quite a few.
What about Winston Riley?
I did one song for Winston Riley. I never really feel his vibes,
just one song I did.
How much recording did you do when the sound changed so much
when "Sleng Teng" came along right, wha happen?
That time, when it change, is like people were more focusing on
the slackness part. So me kinda jus cool out a little. Not really
cool like finish, just ease out a lickle. But still was doing
like one and two songs at the same time.
And then what's your trade or profession that you've done throughout
the years aside from the music?
Nothing else but music.
Serious?
Music alone.
I didn't know that. I kind of got the impression that a lot
of you who were singers have also had another trade along the
way too.
No, just music alone. See'n me. I eat music. I sleep music. I
talk music. Everything I do is music. Everything. See'n me is
music.
How about up through the 90s, you've still been working all
this time. Tell me how you met Steve (Ibanez) and let him put
out the CD (Born Naked).
Well, Steve heard about me cause I have some songs that going
on very good now. Him check me and me and him reason, and we just
became friend and then we start work together. Right now we even
working on a new album.
This album, Born Naked, that was recorded . . . that's a compilation
over a period of time. It's sounds like it's from different studios
and thing.
Yea, yea, but we have this new album that we working on. New brand
tracks. New tracks and different different feel.
How would you say that over the years that your approach to
writing lyrics and music has changed, especially the lyrical content.
You were associated with a certain style when you started because
of the message that was going on the dancehall at the time, it
was like your song "Entertainment." That was kind of
reflective of the style of the time, the lovers rock time. The
lyrics weren't political is what I'm saying.
Right right. Well right now you know, the writing it nah matter
me. Hear me now, time change, things a gwan, ya haffe jus sing
weh you know what's happening around you. Good things, you haffe
try an teach people truths and rights. You can even mend some
broken hearts or try to heal some of the man dem weh a gwan with
some dangerous things through the music. That's the only way we
can deliver a message, through the music.
Do you think the way the music is in Jamaica, let's say the
last few years since Garnett Silk and Luciano came. Is that more
receptive to the kind of vibe you're trying to spread?
Yes. That's why I am playing so very hard now, cause is those
kind of message song right now. I have a lotta song play right
now in Jamaica. Lots.
Who do you think is doing the best work in Jamaica right now?
As a producer or as an artist?
Both, two questions.
Well, right now in Jamaica as culture singer, Luciano, me, Beres,
quite a few as culture singer. I don't compare nobody as the best
you know. Just compare who doing good work them, who spreading
message. You have different category of artist. You have different
deejay like Bounty Killer and you have Beenie Mon, right? You
have cultural deejay like Anthony B, Sizzla -- those are cultural
deejay. So we no really compare none as the best. Every mon just
a do the work, and the work a hear. . . a lotta good work is going
on right now.
How do you feel about the environment, about living in Jamaica,
living in Kingston right now compared to when you were coming
up as a young singer?
Right now all you haffe do . . . it's simple you know. You haffe
just know seh bwai, you don't involve in no wrongs, politics,
and don't involve in doing evil and them thing deh. You a pray
to the Father and you doing the best. You have ignorant, evil
a provoke you, but ya haffe just lock off that and know seh truth
and rights ya a deal with and the Father himself ya a deal with.
True, yea, true.
Yea, ya haffe know that.
Is there anything else you want to say about the new project
you're working on or any new things to look out for from Triston
Palmer?
Right now me a work pon a new album, and right now I have a lotta
new songs now that is hitting in Jamaica in the charts. And right
now all them can look for from Triston is good message and truths
and rights. Is that me a deal with right now. Straight up.
Triston, thank you very much for taking the time this morning.
It's just Jah Love, you know?
Yes, Jah Love. I'll come check you in yard when I'm there next
time.
Yea mon, make sure you find me mon.
Stay strong. Respect.
Respect, Jah Love. One Love.
For More Information on Triston Palma:
I&I Foundation Records
3318 Indian Wells
San Antonio, Texas 78245
210 670 1974
selah@txdirect.net
Showcase In A Roots Radics Drum & Bass
Vista MRLP 90000
prod. Jah Thomas
Joker Smoker
Greensleeves 43 (Shanachie US) rel 1982
prod Jah Thomas
Joker Lover
Jah Guidance VPRL1015
prod. Linval Thompson
Settle Down Girl
Trojan 215
Produced by Linval Thompson
* different tracks from Joker Lover according to Hany Hosny
Touch Me, Take Me
Abraham
prod. Jah Thomas
Triston Palmer Meets Jah Thomas Inna Disco Style
Munich Records / Majestic Reggae MRCD 1003 rel. 1996
prod. Jah Thomas
Wounded
Bungem BG1-001-LP-A/B
prod. Bunny Gemini, Triston Palma 1989
Born Naked
I&I Foundation INICD002 rel. 1997
prod. Triston Palma
Nice Time (with Toyan)
Jam Rock386
prod. Tony Robinson
Trison Palma and Phillip Frazer
The Big Showdown
Triston Palma and Early B -- The Doctor
Sunset Label
On The Attack
Blue Mountain 009
prod. Jah Thomas
Wounded
Bun Gem 1004
prod. Bunny Gemini and Triston
Presenting Triston Palma
Black Roots
prod. Sugar Minott
"Cuss Cuss" (Massive B 7") prod. Bobby Konders
1997
"Melissa" (JR 7") prod. Junior Reid rel. 1992
"My Father Love" (Vasco 7") prod. V Carney
"Spliff Tail" (Black Solidarity 7") prod. O. Thomas
"Another Girl" with Phillip Frazier (Solidarity International
7")
"Ghetto Vibes" (I&I Foundation 7") prod. Triston
Palma & Steve Ibanez
"The Struggle" with Norris Man (I&I Foundation 7")
prod. Triston Palma & Steve Ibanez
"Can't Let Them Do That" (Artistic 7") prod. Carlton
Hines 1997
"Jah Is In Charge" (Ruff Stock 7") prod. Lloyd
Barnes & K. Parker 1997
"Original Fussing & Fighting" (Ranking Joe 7")
1998
"Sweet Reggae Music" b/w "Let Me Know" (Corner
Stone 12") VPRD-250 prod. Steve Byfield