See-I Wrap Up West Coast Tour & Give Thanks to Fans With Special Free Download
By: @DukeDuRock
See-I have concluded their recent West Coast tour which took the band from Las Vegas to the 10th annual Joshua Tree Music Festival. I caught up with the band mid-tour in Santa Monica where founding members Rootz and Zeebo reflected on the band’s big year since the release of their self-titled album last summer which has seen them become one of America’s premier progressive reggae outfits.
“It’s been quite a different experience from the East Coast,” said Zeebo (AKA: Zee), who like the rest of the band represents Washington DC. “We all appreciate that West Coast vibe, so it’s been a breath of fresh air for us. We feel like we’re making some headway here so everything’s feeling good.”
“Los Angeles is always a breath-taking experience,” added his brother Rootz. “We’ve been here before with Thievery Corporation but playing with our own group is a whole different monster. Each tour is different but this is probably one of the smoothest ones that we’ve ever done. As long as you’re doing what you really love and enjoy, that positive energy is going to radiate out. It took us awhile to get to a point where we could do this but it paved the way to where we are now and it was all worth it.”
See-I Showcases Different Musical Influences On-Stage
Over the past year, See-I have captivated audiences and expanded their fan-base due to their unforgettable live show, which sees their all-star backing band comprised of talented members from Thievery Corporation and the late Chuck Brown span the musical spectrum. Each show is packed with blistering funk guitar solos, dubby basslines and plenty of surprises, with Rootz and Zee serving as the most charismatic frontman you’re likely to see.
“The See-I sound has been influenced by so many different artists and styles,” explained Zee. “When you grow up and are trying to figure out your path in life, what caught us was music. It goes back to my mom through church and that’s where we put our focus. So artists like Chuck Brown really served as our musical mentors as we like a little bit of rock & roll flavor in our music.”
“The spirit of spontaneity,” added Rootz of what audience’s can expect when coming out to See-I’s live show. “The feeling of the spirits of the people in the audience combining with ours on stage. The audience plays a big part in our show, so that’s when we have the connection. If they’re about really getting down and getting involved in music, I think they can connect with us very well.”
Humble Beginnings in DC
See-I came together in the late Eighties, but even before then the seeds were planted as Rootz and Zee grew up in Washington DC with very humble beginnings yet with a deep rooted passion for music stemming from all the different styles they were exposed to.
“We grew up with not that many assets, so we would play on milk jugs, which is how we got started in music.” said Rootz. “Music kept us from getting into bullshit. It really did. We would play music for 6-7 hours at a time because it kept us out of the way of a lot of teenage trouble.”
“I was 15 years old before we had a TV or record player,” recalled Zee. “All we had was a transistor radio. There was no selections, the DJ played whatever you heard. So we grew up listening to country music and all kinds of stuff. We had to listen to what whatever the AM radio played, WEWO.”
Collaborating with Thievery Corporation and Fort Knox Recordings Artists
Zee and Rootz took the influences from the vast music styles they were exposed to growing up, everything from funk to country music, and began to make a name for themselves performing in the Washington, DC music scene. They eventually met Eric Hilton of Thievery Corporation, who vowed to work with them and ever since the mid-90‘s, the duo have been making music extensively with the incredibly tight-knit crews of both Thievery Corporation’s ESL Music family as well as The Fort Knox Recordings collective.
“A lot of people say they’re a family, but we’ve been friends before we became family,” said Zee. “Because a lot of families are not friends. But we are. So it’s very easy to work with people who are talented, especially when they’re your friends.”
“The cool thing is that all the different groups have their own distinct face,” added Rootz. “Nobody is trying to copy anybody, and if something sounds more suitable for one of the groups more than another, that’s where it ends up. So it’s like being on the playground, just sharing with friends.”
“I would compare See-I to when you have a baby,” Zee offered. “It’s growing and you guide it down this path, which is a beautiful thing because it’s your child. It’s something you gave birth to. We love them all the different projects, but when you have your own, you take on a responsibility that you’ve never taken on before, so it’s a whole new experience in itself.”
See-I Embraces Radical Remixes of Their Songs
The band have not only made a name for themselves with their original tunes and live show, but they’ve also crossed over into the electronic music scene by having different producers offer their creative take on the See-I sound.
“The remix album really attracts a whole different crowd,” said Rootz. “Just to get another person’s take on our music is fantastic.”
“To be honest with you, this was Rootz and I’s original idea a long time ago,” Zee recalled. “We wanted to put out a See-I album and have all the DJs we knew remix every track. Once we finally got to do that, it’s something that has been a dream come true for us. It’s mind-blowing, because when you have a plan and then it takes a while for it to happen, but when it finally does it’s a little bit surreal.”
Future Plans
After another successful West Coast tour, the group is excited to hit the road this summer and share their signature sounds with even more people. While the rise of See-I has certainly been a long time coming, with so much passion and musical talent, the future is very bright for band.
“I just think it’s our time now,” said Rootz. “We’ve already got part of another album ready to go inspired from our travels on the road. You just feel that energy of the crowd and I know better things are to come.”
Added Zee, “It really has been like a child growing up. In this business we all have to do that, so to me, this is our growing up project. We’ve finally come of age of fronting our own act.”
See-I would like to thank all the fans who came out to support the band on their recent West Coast tour! Don’t miss catching See-I when they come to your town and experience their unforgettable live show! If you haven’t picked up their debut album or remix compilation, they can be purchased here:
http://itunes.apple.com/us/artist/see-i/id14495360?uo=4
Click on the following link for your free download:
Jam for Jamaica: Midwest Communities Camp Out for a Cause
Jam for Jamaica, also known as Jam for Jam or J4J, is a three-day camping and arts festival held at the Concord House in Sullivan, Wisconsin. The festival took place from May 17 through May 20 where patrons enjoyed a full line up of music, vendors and ample camping space for friends and family. However, Jam for Jam is more than just a camping and arts festival. The festival raises financial and physical donations through music and performing arts. Specifically, resources go towards various roofing and carpentry projects in Jamaican communities.
The founder of Jam for Jam, Craig Baumann, was first introduced to the mountainous community of Porus, Jamaica during a trip with the Catholic church about seven years ago. It was in 2006 when Jam for Jam was established with the aim of providing dry and safe roofs for the sick, elderly and youth communities of Jamaica. Groups of about 4-6 travel to inland Jamaica where stays range from 10-18 days. During the trips, groups repair roofs utilizing as much of the existing material as possible with new materials from the hardware store. The J4J crew engages youth and community members to participate in the projects to provide inclusive learning opportunities.
The average cost of building a single roof, including all necessary materials, is about USD $800. Individuals that participate in the roofing projects pay their own travel, food and lodging, as the money raised from concerts and various social events goes to buying the actual building materials. Thus, donations of any amount directly benefit the communities that depend on the shelter projects provided by Jam for Jam.
Please consider donating to Jam for Jam so that Jamaican communities can have a dry and safe roof under which to sleep! - Gabriela Barbosa
Peep the promo video and website for more information on this essential humanitarian project:
<iframe width=”420″ height=”315″ src=”http://www.youtube.com/embed/x5p8r9YWPHU” frameborder=”0″ allowfullscreen>
To donate or learn more about Jam for Jamaica, please visit the website:
http://www.jamforjam.com/
Milwaukee’s Creative Community Collaborates to Promote Local Artists, Musicians and Entrepreneurs
The artistic and musically inclined community of Milwaukee, WI put together an eclectic weekend filled with fashion, local artists, hooping and fire enthusiasts, and of course, reggae music. The weekend started on Thursday at Yield Bar with a kickstarter party for YouphoriClothing, a Wisconsin company featuring recycled hand-made clothing, jewelry, hula hoops and more. The launch party included two sets of music from Shoot the Moon and a fashion show displaying a variety of product designs. The female entrepreneurs promote a healthy lifestyle of exercise and community through hula hooping. Additionally, this startup company has designed a versatile clothing line for both men and women made out of recycled fabrics, which further promotes eco-friendly practices.
Chris Roze
It was Friday night at O’Lydia’s where Irie Vibez, ART Milwaukee and Milwaukee Odyssey’s Christopher Roze put together a blend of live bus painting, video projections, hoop and fire spinning performances, artist vending areas and musical performances. ART Milwaukee’s mission is to “Enrich, empower and inspire our community through art.” Christopher Roze is a well-known curator and provides access to a vast network of Milwaukee artists through Milwaukee Odyssey. He works with over 200 local artists and rotates art in a variety of spaces such as offices, galleries, cafes, clubs, restaurants and other businesses in an effort to provide fresh cycles of artwork throughout the city.
Friday’s event marked the launch of new gallery space on the second floor of O’Lydia’s Bar and Grill, conveniently located in the hub of Milwaukee’s art scene in the Historic Third Ward area and just around the corner from the vibrant mural on 1st and Pittsburgh painted by the Couto Brothers. Chris and Alex Couto have been influenced by a multitude of cultural experiences which includes being raised in Brazil, traveling to Europe and Africa, and their stints of living in India and China.
Couto Mural
Aside from the impressive art display of local artists, the event also featured musical performances by Marcus Doucette of 88.9 Radio Milwaukee, Natty Nation of Madison and Milwaukee’s own R.A.S Movement (Royal Ancient Society). The explosive performance by the members of R.A.S. Movement was led by Naima Adedapo, a finalist on season 10 of American Idol. The talented Naima will be releasing her debut solo album later this year and recently won a Wisconsin Area Music Industry (WAMI) award for Female Vocalist of 2012.
However, all members of R.A.S. Movement showcased their individual talents and contributed to the overall great sound and energetic vibes. The group is not only comprised of talented singers and musicians, but also dancers. One of the highlights of the night included a variety of African dance breaks by Miriam Levie (flute & vocals) and Naima Adedapo, which enhanced the authenticity and raw energy of R.A.S Movement.
R.A.S. Movement
Thursday and Friday’s events reflected the sense of community that is being cultivated, as artists, entrepreneurs, musicians, promoters, and other cultural creatives work together to put on events throughout the city in an effort to put Milwaukee on the map of thriving art scenes. The energy, talent and creativity of these entities do not go unnoticed. - Gabriela Barbosa
To learn more about the local artists, entrepreneurs, and other individuals contributing to the creative community in the greater Milwaukee area, please check out the links below!
Youphoriclothing: http://www.facebook.com/youphoriclothing
Art Milwaukee: http://www.artmilwaukee.com/index.html
Milwaukee Odyssey: http://www.artmilwaukee.com/odyssey.html
Irie Vibez: http://www.facebook.com/IrieVibezProductions
Couto Art: http://www.coutoart.com/
R.A.S. Movement: Myspace - http://www.myspace.com/503892881, Facebook - http://www.facebook.com/pages/RAS-MOVEMENT/296341455913
REGGAE 101: Peter Tosh – Roots Reggae’s Voice of Reason
When we are young, most of us are taught to speak our minds and the world will accept us. When we get older, we realize that speaking our minds may come with more dire consequences—especially if you are a minority. As a result, some minorities affected by crippling global issues, such as poverty and blatant inequality, chose not to speak out. Peter Tosh, of course, was the exception. Tosh fought to correct “the system” at every chance he got. In fact, if there were accolades for pissing off the establishment, Peter Tosh would have won a Lifetime Achievement Award. However, before Tosh became the M-16 guitar toting freedom fighter who millions adored, he was just a simple, musically gifted young man from a rough part of town.
Born Winston Hubert McIntosh in 1944 in rural Westmoreland, Jamaica, Peter Tosh had myriad musical influences throughout his childhood. Because Tosh could not afford formal musical training, he taught himself to play several musical instruments used in Christian churches, including the pipe organ and guitar. This self-teaching paid dividends when he auditioned for an up and coming reggae group in the Trenchtown section of Jamaica. Tosh auditioned for Robert N. Marley and Neville O. Livingston, who were committed to forming Jamaica’s next breakout singing group. Sparks eventually flew among the trio, the Wailers were formed, and the rest literally was history.
The Wailers took off at lightning speed and soon became a household name among music fans on six continents. However, gaining global notoriety came the inevitable disagreement over money. Once the proverbial dollar sign reared its ugly head, mounds of friction emerged between The Wailers’ then manager, Chris Blackwell, and some of the groups’ members. Eventually, Livingston left the group citing differences with Blackwell and his vision for the group, and Tosh soon followed Livingston’s lead. After leaving The Wailers, however, Tosh tapped into his own music genius, which would serve as the launching pad for his solo career.
Tosh’s keen grasp of musical composition allowed him to create reggae masterpieces out of the gate. His commitment to social justice also added a key element to his music—a message. While other musicians in the 1970s sang about injustice through metaphor and innuendo, Tosh provided a raw delivery that left most conservatives tremendously uncomfortable. Songs such as ”Legalize It” and “Equal Rights” resonated through freedom fighters everywhere. Tosh revolutionized the way people viewed social awareness. He forced those in power to reflect on their policies that left underprivileged people at a drastic disadvantage. It was this sort of poetic justice that earned Tosh a great deal of attention, both positive and negative.
Tosh with Keith Richards and Mick Jagger of the Rolling Stones
Although we reggae fans praised Peter Tosh for being the voice for injustice everywhere, inevitably, those who Tosh criticized sought to silence that voice. In a 1986 interview in New York, Tosh spoke out against the different pockets of resistance he routinely faced. What frustrated him the most, according to the interview, was the support—or lack thereof—from his “foreign” record distributor. Tosh spoke ill of his label and bashed them for paying greater attention to less socially conscious music while shunning Tosh’s. This would not be the last time Tosh spoke out against the industry and the establishment.
It was rare that an individual in the 20th century became a serious face of the revolution and lived to tell about it. Tosh was no different. On a quiet September 11th night in 1987, Peter Tosh’s home was raided by local thugs carrying guns, allegedly demanding money. Tosh insisted that he did not have any money on the premises, but the suspects were not convinced. With their frustration mounting, the gunmen opened fire killing Tosh and two of Tosh’s acquaintances.
The beauty of timeless musical pieces is that the sound lives on long after the artist dies. Peter Tosh’s music remains an inspiration for people seeking equality where ever inequality exists. Luckily, Tosh’s fans continue to practice his lessons and internalize his lyrics in most aspects of their lives. Tosh’s lyrics urged us to “get up [and] stand up… stand up for your rights,” and we continue to do so ‘til this day. – Shomari Ward
Peter Tosh Interview – New York, 1986:
Writers Wanted for Inity Weekly!
INITY WEEKLY (www.InityWeekly.com) is an e-zine operated as an entity under Inity, LLC, with the vision of promoting social consciousness through the power of reggae music. Other genres are featured in the site that incorporate reggae elements or world music artists who share the ideals of spreading social consciousness through music. Since inception, the readership has expanded consistently, with a growing international following.
The tagline of Inity Weekly: “Reggae – Culture – Community” details the areas that will be covered. Not only reggae music, but also cultures that embrace reggae and conscious music, as well as the promotion of unity through advocacy on social issues, promotion of organizations, etc., hence the “community” component.
Inity Weekly is searching for talented writers to join our team of contributors for the e-zine. We are looking for contributors in the U.S. and internationally to write on the following:
- Album Reviews
- Concert/Festival Reviews
- Op-Ed Articles
- Political/Social Articles (does not have to be reggae-specific)
- Culture
- Travel Articles
Writers must:
- Possess writing/reporting skills to produce stylish, provocative articles.
- For op-ed pieces, have strong opinions that they are prepared to broadcast and defend.
- Have knowledge and a passion for the reggae music scene, social/environmental issues, and advocacy.
Writers will receive credit for their work as well as admission to shows for which writers are providing reviews.
E-mail a writing sample or links to clips to: inityweekly@gmail.com and reference “Contributor” in the e-mail subject line.
Earth Day Celebration: The Rootz Releaf Program
April 22, 1970, better known as Earth Day 1970, symbolized a major shift in the way the world thought about the environment. In 1962, author Rachel Carson published Silent Spring, which raised awareness on environmental and public health issues. Prior to 1970, little attention was placed on the environment, but Carson’s work served as a major catalyst for the modern environmental movement.
Earth Day founder and U.S. Senator of Wisconsin, Gaylord Nelson, utilized this new-found environmental consciousness to his advantage and coupled it with energy stemming from the anti-war movement. This union allowed Nelson to form a cohesive environmental protection plan and put it on the national political agenda. Senator Nelson’s efforts were successful, as evidenced by massive support from millions of Americans across the country on April 22, 1970.
Americans from all walks of life including Republicans and Democrats alike, joined in rallies, talks and marches to demonstrate support for a sustainable environment and propose healthier ways to protect the Earth from further deterioration. The common values that brought diverse groups together included fighting oil spills, toxic dumps, pesticides, extinction of wildlife, among others. Though Earth Day 1970 was a national success, it was Earth Day 1990 that placed environmental issues on the global agenda. The 1990′s and the millennium brought about world summits, recycling efforts, and global warming education.
Present day efforts to address the environment can be seen in many ways all over the globe. One such band that has demonstrated a commitment to environmental projects is Rootz Underground. Hailing from Jamaica, Rootz Underground established the Rootz Releaf Program, which promotes environmental awareness, living a green lifestyle and respecting Mother Nature. The conscious group is actively planting trees in Jamaica, which corresponds to their current tour called The Rootz Releaf Tour.
The tour and overall project encourages citizens of the world to plant trees and take pictures of themselves planting their trees, all in an effort to replenish the depleting forests around the world. Check out Rootz Releaf Program and find out how you can help replenish Mother Nature one tree at a time! - Gabriela Barbosa
Click the following link for more information:
The TOP 5 Reasons Why You MUST Watch the “Marley” Movie this 4/20
There was scattered chit chat, mellow music playing low in the background, and two patrons taking turns playing Tetris on the in-house Nintendo system. This was the scene at the Knitting Factory in the Williamsburg section of Brooklyn, NY shortly before the pre-screening of “Marley.” “No! No way, bro! ‘Rainbow Country’ is Marley’s most underrated track… either that or ‘Kaya,’ in my opinion.” This was the debate between a British fellow and a West African gentleman close to the bar. Needless to say, “Marley” brought out a tremendously diverse crowd.
The Knitting Factory was the perfect setting for the screening; it accommodated a small capacity, had intimate lighting, and there were awesome, positive vibes from the crowd. Just the type of atmosphere Bob, himself, would have wanted. Opening this April 20th (4/20—appropriate, right?), “Marley” is a film that chronicles the life and death of reggae icon, Robert Nesta “Bob” Marley. Most Bob Marley fans know the gist of Marley’s life story, but Kevin Macdonald did a phenomenal job of highlighting aspects of Marley’s life story that you likely do not know. With that said, here are Inity Weekly’s TOP 5 reasons you MUST watch “Marley” this 4/20…
1. Amazing Cinematic Quality for a Reggae Film
Film quality is routinely overlooked, but crude quality can be distracting. As hard as it is to admit, most reggae films, music videos, etc. have pretty drab cinematic quality. “Marley” is the complete opposite. This movie has HD/Blu-ray quality and clearly was edited by the best the industry has to offer.
2. Coverage of Marley’s Early Life
Without giving too much away, the movie covers Marley’s white father and his family in as much detail as possible. Rarely do we hear about Marley’s father much less Marley’s father’s family. There are some facts about Marley’s father that may shock you. What might shock you even more is Marley’s father’s family and their reaction to Bob Marley the reggae artist, turned Rastafarian, turned worldwide superstar.
3. Sir Coxsone Dodd’s Relationship With Bob Marley and Subsequent Record Label Feud
Most know that Bob Marley started on Sir Coxsone Dodd’s Studio One record label. However, most of us in the Knitting Lounge audience had NO idea that Dodd treated Marley like his own son. We ALSO didn’t know that Marley and Dodd had a falling out that led to the pair establishing feuding record labels. It went so far as Bob Marley and the Wailers practically making a “diss” track for Dodd and his record label associates.
4. Coverage of Legendary Concerts
It goes without saying that Marley awed fans in concert after concert throughout his career. BUT who knew that three of his biggest concerts had more political influence across three continents than six Geneva Conventions combined? Which concerts, you ask? You will have to see the movie on 4/20 to find out.
5. Last Days in Bavaria
Marley moved to the mountains of Bavaria, Germany after he found out his cancer spread throughout his body and had become seemingly incurable. During this time, Marley made a controversial decision about his hair. If you know anything about Rastafarian culture, you know that dreadlocks are a staple and Rastafarians would never drastically alter them… or would they?
Let’s be honest, though, these five reasons probably will not make or break your decision to go see the “Marley” movie. The important thing to remember is that there is a reason why millions of people worldwide clung to every word Bob Marley sang during his recording days. If you or anyone you know is unclear what that reason is, then you MUST see this movie on 4/20. Likewise, if you are an ENORMOUS Marley fan, then you MUST see this movie because it is your civic duty. But seriously, from one reggae fan to another, this movie is great and does the reggae legend justice. Enjoy it and remember, “We told you so.” Peace and Inity! - Shomari Ward
Mykal Rose: Thriving in an Era of the New Roots Generation
Denver, CO - For over two decades, Mykal Rose has performed his brand of militant and staunch Jamaican music, both as a solo artist and with the Grammy-winning band, Black Uhuru. Throughout the 70’s and 80’s, Mykal Rose and Black Uhuru have experienced a level of success that distinguished them as one of the most popular and recognizable reggae acts after Bob Marley. Their place in history was set in stone when Black Uhuru became the first band to win the first reggae Grammy in 1984 for the album Anthem.
Mykal Rose continues to tour his native Jamaica and worldwide. On April 12th at Cervantes Masterpiece Ballroom, Mykal Rose provided a performance that shows no signs that he is slowing down. He covered ALL of the hits, from “Plastic Smile,” “Sensimilla,” “Guess Who’s Coming to Dinner,” and “Sponji Reggae,” and shifted with his dancehall version of “Shoot Out.” The crowd was easily engaged, singing (and yelling) word for word the lyrics of the songs that he made so popular. Unlike many acts out there these days, Mykal Rose can sing, with varying tones that exemplify the fact that he is a true talent.
A legend in his own right, Mykal Rose continues his efforts to spread the message with new recordings that include experimental dub styles and as a guest vocalist on tracks of the new roots generation. Even as a trailblazer for the more assertive, “in-your-face” lyrical style, his following continues to increase without the need to reinvent himself. Though Mykal Rose was active in shaping the reggae music scene of the past, his voice, style, and stature cannot be met and distinguishes him from any act that is out there today. - Christy J.
For more information, click on the link:
The Resurrection of World Clash
Queens, NY - Fútbol (soccer) fans have the World Cup. American football fans have the Super Bowl. The millions of sound clash fans worldwide, however, have World Clash. Some may say sound clash culture is on life support or nonexistent, but do not say that to the 3,000+ patrons who packed Club Amazura in Queens, NYC by 11:59pm on Saturday April 7th. By the look of it, Irish and Chin’s World Clash 2012 tickets were completely sold out and the thousands of clash fans in Amazura came to get their money’s worth. With seven sound systems on the bill and a barrel full of back-stories, the fans witnessed David Rodigan chug along for three rounds only to demolish his contenders in the final two rounds. But before we get to the drama, we all need to be on the same page. So refer back to Reggae 101: Sound Systems – The “Big Bang” of Reggae Culture, to understand how this clash thing works.
The clash was five rounds long and lasted from about midnight to 5:00am the next morning. The buzz surrounding this clash was immense, because World Clash had been absent for the past six years, leaving a void in a rich sound clash culture throughout the whole Northern Hemisphere. Incidentally, when the clash began it was as if it had never left. The standing-room-only crowd shuffled as close as they could get to the stage and stood attentively for the next five hours without pause.
The first round was pretty typical with familiar sounds playing familiar dubplates—customized songs replacing original lyrics with lyrics promoting the respective sound. Since there was no risk of elimination, it seemed as though the sounds played more defensively than anything else. With that, we will skip to the other rounds where a sound’s average showing had higher risks–elimination.
The second round started the more significant portion of the clash. It kicked off with David Rodigan, who began the second round with an average line-up of dubplates that proved to be effective enough to keep him in the clash. Rodigan seemed to do just enough in the second and third rounds to keep himself relevant until the fourth and fifth rounds. During the fourth and fifth rounds, Rodigan started to sound like vintage Rodigan where he would intro his dubplates with lengthy explanations of how the dubplate was cut, who produced it, and why you ought to know those two facts. This served to energize the crowd leading into each tune he played… not to mention his cool little Englishman jig that came with every other dubplate he played.
The only casualty after the second round was Jamaica’s own Black Kat Sound System. Without their all-star clash team of Panther and Yuri, Black Kat played with little excitement. In fact, midway through their set in the second round, the new, young Black Kat selector all but admitted defeat and asked the crowd to bear with him as he developed as a clash DJ. He insisted that we “all had to start somewhere.” The crowd was not in a sympathetic mood, however, and Black Kat was the first to get the boot.
Fire Links, former emcee of the famed Bodyguard Sound System, did not disappoint. He played dubplates with a type of continuity that was reminiscent of his more formidable clash days while on Bodyguard. Fire Links’ enthusiasm alone could not keep him in the clash, though. During the third and fourth round, Links had trouble gaining momentum with the crowd. And by the time he got the crowd in his favor, other sounds had already made their impression on the crowd and secured a spot in the next round.
Not to be outdone, Earth Ruler followed Fire Links with arguably the strongest second round performance among all other sound systems. Earth Ruler Sound System, the only sound representing New York City, highlighted their history of turning the NYC clash scene on its head for the past two decades. They rinsed dubplates that have been popular among clash fans since fellas used to wear Kangol hats and matching Travel Fox shoes in the late 1980’s. Unfortunately for Earth Ruler, the second round was pretty much the only round in which they wowed the crowd. They eventually got booted after the third round along with Poison Dart.
Poison Dart was the only other sound representing the U.S. With all due respect to Poison Dart, though, it was clear at the beginning of the third round that they would not last much longer. Poison Dart had a good second round showing but began losing momentum after they shifted their focus from pleasing the crowd to wasting time to counteract what had been said about them by the other sounds. If a sound was going to win the clash, they would have to focus on the crowd and avoid the being drawn into the bad mouthing from other sounds. Speaking of bad mouthing, what World Clash would be complete without the crowd favorite, Tony Matterhorn?
Matterhorn was the favorite to win it all in most barbershop conversations leading up to World Clash. Why, you ask? Well, Matterhorn is a veteran of sound clashes and used to play for the Brooklyn sound clashing machine, Addies International Sound System. However, even with the star-studded dubplates he had in his back pocket, including a dubplate version of Rhianna’s “We Found Love,” Matterhorn could not overcome what David Rodigan and Bass Odyssey had in store.
Bass Odyssey “from waaay out… in the country,” lost one of the greatest sound clash DJs to ever walk across a World Clash stage—Kevin “Squingy” Bennett. Although without Squingy, Bass Odyssey’s show definitely went on. In fact, Bass Odyssey was the front-runner coming into the final round. Which brings us to how it all ended.
When the capacity crowd decided Bass Odyssey and David Rodigan would move on to the final, tune-for-tune round, Bass Odyssey seemed poised and ready to take home the trophy. It should be noted that about 90% of the original audience was still in the building when the final round began at about 4:45am. Impressive. The clash was Bass Odyssey’s to lose, and they did just that. Bass Odyssey gained a 3-0 lead over Rodigan in the final round, but misfired on their fourth dubplate response to David Rodigan’s heavy Super Cat dubplate. Rodigan then followed with a Tenor Saw dubplate and then a Prince Buster dubplate, “Hard Man Fi Dead.” Bass Odyssey fired back and managed to scrape together two more points. In the end, however, the Englishman was too much to handle. Bass Odyssey also helped Rodigan by playing a Garnett Silk dubplate that was played earlier in the clash. For those of you who may be unaware, by the way, replaying a dubplate is the NUMBER ONE cardinal sin of ANY sound clash. Eventually the Garnett Silk replay proved to be the nail in the coffin for Bass Odyssey and David Rodigan brought the trophy home for his first World Clash victory ever.
What a night!
- Shomari Ward
The (R)Evolution of Rootz Underground Hits the West
“Jah give me talent to dance, Jah give me talent to play…” from “20 Centuries”
Denver, CO, USA - There once was a time when reggae greats such as Bob Marley and the Wailers ruled the reggae scene, when there was as much passion for the message as there was for the music. Rootz Underground, the young six-man band from the birthplace of reggae, brings us back to that time.
The band is comprised of members Stephen Newland (lead vocals), Charles Lazarus (lead guitar), Colin Young (bass), Jeffrey Moss-Solomon (rhythm guitar/vocals), Paul “Scubi” Smith (keyboards/vocals), and Leon Campbell (drums). The Jamaica natives bring an eclectic mix of talents and experiences that are brilliantly expressed through their music.
On Wednesday, March 28th at Cervantes’ Other Side, the synergy among the band members who profess to be a “natural coming together of a group of friends, musically,”[1] was evident. It goes without saying that a live Rootz Underground show brings good vibes to any audience. With the exception of Stephen, the the majority of the band played their respective instruments wearing dark sunglasses. They exercise this “signature” style at every performance, which promotes a mysterious yet cool vibe, and their sounds are untouched by the voluntary darkness.
Complementing his raspy, yet powerful voice, lead singer Stephen displayed an energetic stage presence, with body movements reminiscent of Bob Marley combined with Mick Jagger. He clearly emanated the passion he felt in songs’ lyrics, and made the audience believers in the embedded messages. In short, the Rastaman is a rock star.
“When you hear their songs, you can’t help but to take Rootz seriously.” – Wayne Armond, Producer of “Movement”
Rootz Underground blessed the audience with the conscious and relevant lyrics of their songs, the majority of which were written by Stephen Newland. Songs such as “Hammer,” “Herb Fields,” and “Power to the People” were played, and the night ended with their hit, “Victims of the System.” Rootz Underground left their fans satisfied and with a sense of empowerment as they left the building.
It can be said that Rootz Underground’s mission was fulfilled that night, as their purpose was to spread messages about Jah, revolution, love, and change. [2] Add to these messages familiar yet innovative sounds, and an on-stage energy that fans immediately connect to, and you have one of the most underrated roots reggae bands of the 21st century.
Learn more about Rootz Underground here:
