ReggaeTimes

Distant Relatives the collaborative album from rapper Nas and Damian ‘Jr Gong’ Marley, has debuted in the number five position on the Billboard 200 album chart.

The album was released on May 18 via Universal Records/Def Jam and is the tenth top ten album for Nas. It is the second top ten album for Marley whose Welcome to Jamrock opus debuted and stalled at number 7 in 2005 with 85,000 copies moved in its first week of release.

Distant Relatives moved some 57,000 copies in its first full week at retail. The album is number one on Billboard’s Reggae, Rap and R&B Hip Hop Album charts.

Gyptian falls on R&B chart but makes moves on pop chart

In other news gyptian’s stateside hit Hold Yuh has slipped to number 41 on the Billboard R&B hip hop singles and tracks chart. However, due to increased airplay on mainstream pop radio stations, the track debuted at number 96 on the Billboard Hot 100 chart.

Over on Billboard’s Heatseekers chart, the track moved into the number six spot. For a ninth week, Hold Yuh holds firm in the number one spot on Billboard’s Digital Reggae songs chart. The track saw a 15% increase (10,000) in digital downloads.

Lady Saw

Lady Saw has forged a career in the male-dominate world of Jamaican dancehall reggae. Her style of deejaying rivals that of the most lewd and crude of her male contemporaries.

Lady Saw began performing for sound systems when she was 15 years old. She feels that her work with sound systems gave her an understanding of the recording process and helped prepare her for working in more professional studios.

Born Marion Hall around 1971, in Galina, St. Mary, Jamaica, Lady Saw was the middle child of nine children. Her father was a fisherman and a farmer. Her mother was a domestic worker. They lived with her grandmother in a one-room house. Their family struggled to survive, with the children doing what they could to contribute to the family income. They would pick a variety of fruits, nuts, and vegetables to sell at market. Hall’s brothers made brooms. Hall (Lady Saw) laboured as a domestic worker in exchange for food and clothing.

In 1994, Lady Saw released her first album, Bare As You Dare. This album helped establish Lay Saw as the queen of dancehall and slack. In particular, the tune “Stab out the Meat” became a hit in Jamaica and increased her notoriety among dancehall fans. Her next album, Give Me the Reason, delivered more of Lady Saw’s raunchy lyrics. She also used the album to showcase her range of singing ability. The album includes a country-sounding song called “Give Me a Reason” and a gospel song called “Glory Be to God.” The album also features a scathing attack on those who accused her of being obscene. The song “What Is Slackness?” shot back that political corruption and lies were more obscene than her lyrics.

Her popularity in the reggae scene has helped her gain notoriety with American rap and pop stars such as Eve, L’il Kim, and Foxy Brown. In 2002 she expanded her audience when the ska/punk band No Doubt featured her on their popular hit “Underneath It All.” The St. Lucia Mirror described her as “a consummate and energetic performer who feeds off her audience every single time.”

Today, Lady Saw has her own production company, Hall Productions. She’s produced two riddims: Blindfold and Lock Jaw. She’s produced major dancehall artists Capleton, Spragga Benz, Sizzla, Bounty Killer, and Beenie Man. She’s a mentor to up-and-coming artists on her imprint as well as to Ce’Cile, her artistic progeny. She’s recorded for Shaggy, legendary producers Sly & Robbie, Funkmaster Flex, and Pharrell Williams of the Neptunes . She’s appeared on “The Tonight Show with Jay Leno” and “The Rosie O’Donnell Show.” And she’s the only dancehall artist to have had her song, “Give Me the Reason,” covered by a country singer.

Lady Saw aspires to speak for all women. For one, she can relate. She is a Mama to three adopted children: one girl and two boys. She’s almost married, has been through her share of heartbreak and infidelity. And being one of the few females in a male-dominated industry, she’s definitely experienced sexism. While some prudish people find her expressions, both the lyrical and the physical, to be offensive (she was once banned from some important stage shows), she continues to address, with each stroke of her pen, what she considers to be the real issues women face: Being daughters, wives, girlfriends, sisters, and mothers in this modern world while still being strip teasingly sexy.

Macka Diamond

Born in Kingston, Charmaine Munroe aka Macka Diamond  was  grew up in Portmore. She attended Holy Childhood High School where she lived for the day when she could live her dreams of becoming a DJ. According to Macka own account, sometimes she used to skull art class and go around the back of the school to entertain with her deejaying and singing skills.

Daughter of Reggae Producer Phillip Munroe, Macka was surrounded by music from an early age. Gregory Isaacs and Sly & Robbie were familiar faces to the teenage Macka, but it was hearing Sister Nancy that convinced her she too could be a singer. Rather than using her father as a connection, after years of enduring the Mackerel name given by producer, Munroe announced a image name and

Macka Diamond started out as Lady Charm, and recorded her first song ‘Don Girl’ a counteraction to Major Mackerel’s ‘Don Ban’. However, the producer insisted she had to use Lady Mackerel. She cried the whole time but she submitted to the name change. Macka always knew she would change that name. After years of enduring the Mackerel name given by producer, Munroe announced a new image name and lyrical flow in 2003.

Now, with records in the charts, and her new name established, Macka Diamond has signed with Green sleeves Records, in which she released her debut album tilted Money O in 2006. The 20-track CD saw Macka working with top flight dancehall producers such as Steelie & Cleevie, Shane Brown, Don Kelly and more.

Macka is also showing Jamaica her ability of acting with her debut on Royal Palm Estate, with all of this on her plate the Money Geodesist plans to take it day-by-day, one-step at a time.

REGGAE BELIEVE IT OR NOT

The advent of the 12” single, with either a dub section or a deejay’s commentary added to the vocal, and of the ‘showcase’ album, which collected half a dozen vocal\debut mixes on one album, kept dub alive as 1980s dawned. However, dub was becoming less surprising, even formulaic, and Jamaican music was undergoing another major change. A new generation of singers and deejays became known for their ability to improvise lyrics live in the dance well-loved Studio one rhythms.

Sean Paul

Born to a Portuguese-Jamaican father and a Chinese-Jamaican mother, Sean Paul grew up with a passion for sports. Sean played water polo for the Jamaica National team as well as representing his country in swimming in the 1989 and 1991 Carifta Games. However, his love for the arts was fostered at an earlier age by his mother, a well noted Jamaican painter. At the age of 13 Sean’s mother got him a thirty dollar keyboard, Sean coated, “I remember thinking that this was all I needed to make dancehall riddims!” Nonetheless, it wasn’t until 1993 that the then aspiring dancehall DJ from St. Andrew got his introduction to the music business through musicians Carrot Jarret, Cat Coore and Bunny Rugs from Third World, as well as producers Rupert Bent and Paul Castick.

It was not until the spring of 1996 that Sean Paul impressive single debut, “Baby Girl” for producer Jeremy Harding on the Two Hard Records label that Sean was seeing as an entertainer. Sean Paul had captured the eyes and ears of the Dancehall community as “the one to watch”.

Sean Paul sees dancehall as the right avenue for me to express himself, to get people to hear his views about the world and how he saw it. With a style and voice reminiscent of the great Super Cat, the 26-year-old DJ also credits Major Worries, Shabba Ranks, Lt. Stitchie and Papa San as heavy musical influences. After a string of hits such as “Infiltrate” and “Hackle Mi” for producer Jeremy Harding , “Nah get no Bly (OneMore Try)” for producer Donavon Germain, and “Deport Them” and “Excite Me” for producer Tony Kelly, Sean Paul is currently enjoying the success of “Hot Gal Today” with Mr. Vegas on producers Steely and Clevie’s “Street sweeper” riddim. Sean also appears on the cut “Here Comes the Boom” with Mr. Vegas and rap artiste DMX on the soundtrack to video director Hype Williams’ debut film “Belly” on Def Jam Records.

With his debut album for VP Records on the way this fall, Sean Paul says despite his achievements, he still feels like a rookie. “I’m still working on my career, still trying to learn from other artistes and develop my skills and my style. The world still hasn’t seen the best of Sean Paul. The DJ has appeared on most of the major music festivals including Sting, Reggae Sunsplash, Reggae Sumfest and Reggae Super Jam, as well as showcases in Great Britain, the Caribbean, and numerous US club and arena venues. Sean has also started his own record label, Bassline Records, to sharpen his production chops and make a greater impact on the reggae industry.

As for writing, Sean’s “Gimme the Light” single had Jamaica, Miami, New York, and London moving to the Buzz Riddim it has had major airplays on New York Hot 97 and Miami’s Power 96. “Give Me Light” is the leadoff single on Dutty Rock with other outstanding tracks including “I’m still In love with you” featuring Sean Paul Sasha on a romantic cover of the Alton Ellis/ Marcia Akins classic.

In 2002, Paul enjoyed a mainstream US Top 10 hit with “Gimme the Light”. He was even more successful the following year when “Get Busy” rose steadily up the charts before reaching the number 1 position in May. The attendant Dutty Rock reached the US Top 10 and racked up sales of one million plus.

Paul dominated the airwaves during the summer, appearing on massive hit singles by Blu Cantrell (”Breathe”) and Beyoncé Knowles (”Baby Boy”).

Beres Hammond

One of the most under appreciated reggae artists of his time, Beres Hammond was something of a throwback during his ’90s glory days a soulful crooner indebted to classic rocksteady and American R&B, one who preferred live instrumentation and wrote much of his own material. Hammond specialized in romantic lovers’ rock, but he also found time to delve into light dancehall, conscious roots reggae, hip-hop fusion, and straight-up contemporary R&B. He was born Hugh Beresford Hammond on August 28, 1955, in Annotto Bay, in the Jamaican province of St. Mary. Hammond grew up listening to his father’s collection of American R&B, Sam Cooke, Otis Redding, Marvin Gaye and jazz, and also fell in love with native Jamaican music during the ska and rocksteady eras; his primary influence was Alton Ellis, and he also listened to the likes of Peter Tosh, the Heptones, and Ken Boothe.

Over 1972-1973, Hammond performed successfully in talent competitions, one of which led to his first recording, a soul cover of Ellis’ “Wanderer.” In 1975, Hammond joined the group ‘Zap Pow’as lead singer; they enjoyed a hit single in 1978 with “The System.” Meanwhile, Hammond was already exploring the idea of a solo career, cutting his debut album, Soul Reggae, with producer Willie Lindo in 1976. Urged by his label, Aquarius, to pick a song for single release, Hammond instead returned to the studio and cut a new track, the ballad “One Step Ahead.” It was a massive chart-topping hit in Jamaica, and so was his second single, 1978’s Joe Gibbs produced “I’m in Love.” Hammond left Zap Pow in 1979 to concentrate on his solo career, and initially worked as a session singer to make up for the royalties that were failing to come in. He recorded his second solo album, ‘Just a Man’, with Gibbs in 1980.

Hammond then continued his session work, also forming a harmony quintet called Tuesday’s Children that never recorded but had some success as a live act. Following the 1985 album ‘Let’s Make a Song’, he founded his own label, Harmony House, to ensure that he would have an outlet whenever arrangements with other companies fell through. The first two singles, “Groovy Little Thing” and the Willie Lindo-produced “What One Dance Can Do,” were both major hits that nodded to the emerging dancehall style, and the latter not only started to break him in the international market, but proved to be his biggest Jamaican hit ever. A self-titled album also appeared in 1986, and he scored another hit with “Settling Down.” In 1987, amid his growing notoriety, Hammond was the victim of an armed break-in and robbery; greatly shaken by the ordeal of having been tied up while thieves ransacked his home, he left Jamaica and spent some time in New York with relatives, away from the spotlight.

Now attracting interest from larger labels, Hammond wrote and recorded prolifically in the ’90s, and produced consistent results. Sweetness appeared in 1993 on VP, and 1994 brought In Control, a set on American major Elektra that was geared toward the international market. VP distributed his 1996 Harmony House album Love from a Distance, which made him one of the most popular lovers’ rock artists around, and Heartbeat handled the 1997 follow-up Getting Stronger. Nineteen ninety-eight (1998) Hammond took a few years’ break from his frantic recording pace. In the meantime, several compilations were released, including Jet Star’s Reggae Max and Forever Yours (the former a hits retrospective, the latter focusing on his lovers’ rock material). Hammond returned to the studio in 2001 for Music Is Life, which featured a guest spot from rapper Wyclef Jean. Love Has No Boundaries was released in 2004 on VP Records, and included guest spots by Buju Banton and Big Youth, among others. Steve Huey, All Music Guide.

U-Roy

Known as the Originator, U-Roy wasn’t the first DJ, nor even the first to cut a record, but he was the first to shake the nation and he originated a style so distinctly unique that he single-handedly changed his homeland’s music scene forever. Born Ewart Beckford in Jones Town, Jamaica, in 1942, he received his famous moniker from a young family member unable to correctly pronounce Ewart and the nickname stuck.

U-Roy’s musical career began in 1961 when he began deejaying at various sound systems, including a stint operating Sir Coxsone Dodd’s number two set, while King Stitt “The Ugly One” ran the main set, eventually working in the late 1960s with King Tuddy, at Duke Reid’s Sound System. Tubby was then experimenting with his equipment, in the process of inventing dub music. With U-Roy as his most prominent deejay and with access to some of the Treasure Isle Studios’ finest Rocksteady rhythms, King Tubby’s new sound became extraordinarily popular and U-Roy became a Jamaican celebrity. However, his first single was “Earth’s Rightful Ruler”, recorded with Peter Tosh for Lee Perry. He recorded Dynamic Fashion Way, his first successful recording, in 1969 for Keith Hudson and then worked with almost every producer on the island: Lee Perry, Peter Tosh, Bunny Lee, Phil Pratt, Sonia Pottinger, Rupie Edwards and Lloyd Daley.

In 1975, U-Roy teamed up once again with Bunny Lee, cutting a number of songs with the producer. In 1983, the Vista Sounds label released remixes of these cuts as DJ Masterpiece, which also boasts tracks by other DJs, U-Roy amongst them, recorded for the producer. Now the reigning hero of the Jamaican DJ scene, U-Roy would come to international attention via a totally unexpected source. The American soul-lite duo Hall and Orates surprisingly enough recorded a cover of the DJ’s hit “Soldering” on their eponymous album. This prompted the Virgin label to sign him and, paired with producer Prince Tony Robinson, U-Roy recorded his debut album (Dread Inna Babylon), backed by the Skin Flesh and Bones Band. The following year’s Natty Rebel, again with Robinson at the helm, found the DJ now backed by the rootsy rhythms or Lloyd Parks and Sly Dunbar, and accompanied by a pair of singers.

U-Roy was now reaching the peak of his power. His toasts were utterly relaxed and conversational, yet always in perfect synchronicity with the rhythms. The DJ had now gained a significant following in the U.K., as well, and in August 1976, visited Britain for the first time. He performed at the London Lyceum, backed by the always-excellent Revolutionaries and the 1978 Live EP was drawn from this phenomenal show. Back in Jamaica, U-Roy began recording his new album, Rasta Ambassador, filling the studio with musicians and singers, 15 strong in all. The Gladiators provided particularly sonorous backing vocals, while the band, led by the rhythm team of Sly and Robbie created a deep roots sound appropriate to the album’s title and accentuated by Robinson’s deeply dubby production.

In the run-up to the 1980 election, Stur-Gav fell victim to the violence that swept Jamaica and the sound system was destroyed. Undeterred, U-Roy relaunched it the following year and brought in new DJs, including up and coming stars Josey Wales and Chaplin. U-Roy would collaborate with the former for the entertaining Teacher Meets the Students, whose tracks date from around this period. But perhaps the DJ was taking on too much between his sound system, labels, and live appearances, for his next album, Love Is not a showed a sharp decline in standards. U-Roy seemed to recognize this and subsequently his recorded output slowed to a trickle of singles. He did, however, continue to perform live and on-stage, and his power remained undiminished.

U-Roy had become one of the island’s biggest stars by the early 1980s, also garnering significant acclaim in the United Kingdom. His most recent album is called SERIOUS MATTER. U Roy was awarded the Order of Distinction in the rank of Officer on October 15, 2007 in Jamaica

BEENIE MAN READY FOR THE BIG SCREEN

The King of the Dancehall Beenie Man is taking his career to a new level, the artist, now has his eyes set on the big screen. Beenie who has been featured in a few films is taking a different approach this time, this time “The Doctor” is part of the production, from beginning to end.

Beenie Man and his partners Trenten and Richard Gumbs from 3-Gilms have just finished writing the script for a movie titled “Kingston”. The movie is about a ghetto youth who rips off some people and then some serious drama ensues.

Trenten Gumbs and his brother Richard, from 3-G Films, are the engine behind the soon-to-be-released, all-Jamaican-cast movie, Cop and a Badman. The film also stars Ninjaman, Oliver Samuels and Glen Campbell and was shot on location in Los Angeles.

Chevelle Franklin

Chevelle Franklyn is without doubt one of the most outstanding Ministers of Music to have arrived on the gospel music scene over the past eight years. Her energy as a performer, insight as a songwriter/producer, vocal capacity as a singer, and her anointing as a worshiper has ensured her success as a leading, international, multiple award-winning Psalmist.

As a child prodigy in the industry, Chevelle recorded her first work – “Here I Am”, produced by Rohan Harrison – at the tender age of 14 but, the single was not released until she was 17. Public reaction to its eventual intro was hugely positive and indicated that Chevelle had a future in the industry. Nurtured by some of the top names among Jamaica’s music producers, Chevelle soon marked out a distinctive territory in Jamaica’s dancehall culture scene. Her future took a rosy turn when she began working with producers Mikey Bennett and Rohan Harrison. She recorded her smash hit “Nice and Naughty”, followed by another single, “No Pushover” in 1992…, again produced by Mikey Bennett

This led to collaborations with household names such as Spragga Benz, for “A1 Lover” 1996 and Shabba Ranks for “Mr Lover Man” 1991. In 1997, Chevelle hit a lucrative opportunity to record the internationally acclaimed “Dancehall Queen” with Beenie Man, for Island Records. The soundtrack was used for the equally successful movie of the same name, in 1997. Chevelle was now a household name in Jamaica, the UK, the Islands and America. During 1996 and 1997, Chevelle toured the major cities of these countries, performing at venues such as New York Apollo and Reggae Sumfest Jamaica.
Chevelle Franklyn has shared the stage with the following; The fugees, Alicia Keys, Mary J Blige, Ricky Martin, Boys II Men, Shaggy, Brian & Tony Gold, Dennis Brown, Miriam Makeba and Jimmy Cliff to name a few.

But despite the great success, there remained a gaping hole in her soul. In 1998, during a concert, Chevelle, tired of the empty way of life and hopelessness, suddenly declared on stage a change of direction in her career and lifestyle – she decided to become a Christian. As a symbol of her signature to this new change, she song Kirk Franklin’s

song, “Silver and Gold” on stage. She said: “I did not hear a message or anything, but I felt the calling of God. I just broke down on the stage and said, ‘I can’t do this anymore.’ I knew there was something better out there.”

Better certainly did come and since that change Chevelle has been combining her new expression with the energetic lyrical style that had made her a great success. A 2000 collaboration with Papa San on his award-winning album, “Victory”, led to a Marlin Award for her vocal appearance on the track “Touch from you”. She wrote the first page in the history of her new lifestyle with her first gospel album, “Joy”, a co-production effort with Danny Brownie, for Mainstreet Records. The album stirred up an international storm when it was released in 2001, and led to a tour around the UK, the Caribbean and the USA.
One of her aims in its recording ‘Joy’ was to deal with real issues facing young people. She said: Songs like “It’s Another Saturday Night” deal with real issues for young Christian people. It’s a real struggle – sometimes your friends are out partying and you feel left out, so this is what the song is dealing with.”

For her efforts, “Joy” led to 12 nominations in the Sixth Annual Caribbean Gospel Music Marlin Awards, in 2002. Chevelle walked away with awards in five categories: Outstanding New Artist of the Year; Adapted Recording of the Year, for Firm Foundation; Female Reggae Recording of the Year, for “Magnify His Name”; Contemporary Female Vocal Performance of the Year, for “Joy”; and Album of the Year, also for “Joy”.

Chevelle now fellowships at Swallowfield Chapels - Pastor David Henry, when in Jamaica and when in the UK her Spiritual covering is Bishop John Francis of Ruach Ministries, London also church one of her spiritual mother Pastor Enid Stewart. Chevelle been under Ruach Ministries covering since Jan 2003, She has seen God use the ministry to empower and equipped her for Music Ministry.

Chevelle has finished producing her New gospel album, called HIS WAY this will be released in April on her very own Label called N.O.W Records (No Other Way) Sneak previews have left a distinct impression that this album will follow in the footsteps of Joy’s runaway success.