sep 2019 - iriemag.com · music video from his debut single, ‘ready now’, yaadcore sits down...
TRANSCRIPT
RESPECTM A G A Z I N E
RESPECT.
SAMORARAS MIDASLUTAN FYAHSTEPPA STYLE SIERRA DRIVE SOUNDSTJERK + LIQUID SUNSHINE
HOLLIE COOK
MAKEN
CHRONICLE
RELEASES.
ROCK.
ROCK.
REWIND.
OSTRÓDA REGGAE
YAADCOREfeaturingfeaturing
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ISSUE #06.09 / SEPTEMBER 2019
Nicholas ‘Nico’ Da Silva aka ZOOLOOK
Founder/Editor in Chief
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“ You Have To Believe It Before You Can Achieve It.” - Yaadcore
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IRIE.
EDITOR’S NOTEWELCOME
SEPTEMBER 2019Volume 6 + Number 9
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Our September 2019 edition of IRIE™ is here featuring
influential Jamaican Selector/Dj and Dubwise founder,
Yaadcore, on the cover! Having just released the official
music video from his debut single, ‘Ready Now’, Yaadcore
sits down with IRIE for an exclusive interview! Reggae
artists also featured in the September issue of IRIE include
Lutan Fyah, Samora, Ras Midas, Tjerk + Liquid Sunshine,
Steppa Style, and Sierra Drive Sounds.
Our ROOTS feature remembers Alton Nehemiah Ellis OD,
the ‘Godfather of Rocksteady’, with a series of facts an ‘tings
on his life and legacy while our ROCK feature introduces
Maken of Poland’s Ostróda Reggae Festival.
The September 2019 edition of IRIE Releases features
Hollie Cook’s ‘Dance in the Sunshine’ on the cover while the
REWIND feature presents Ostróda Reggae Festival 2019!
As always, thank you for supporting Reggae music! Respect!
Team IRIE
ON THE COVER: PHOTOGRAPHY BY:
YAADCORE @DreadieJohnREADY NOW LOS ANGELES
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TABLE OF CONTENTS
Alton Nehemiah Ellis OD
Chronicle: Godfather of Rocksteady
Kindah
Lutan Fyah
Maken
Strefa Dread
IRIE on Spotify - September 2019
Hollie Cook - Dance in the Sunshine
Yaadcore
Ready Now
Ostróda Reggae Festival 2019
Sebastian Klebaniuk
ROOTS.
RESPECT.
ROCK.
RELEASES.
REGGAE.
REWIND.
ROOTS.ALTON NEHEMIAH ELLIS ODChronicle: Godfather of Rocksteady
JAM
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ROOTS.
ALTON NEHEMIAH ELLIS ODCHRONICLE: Godfather of RocksteadyPhotography by: Tim Barrow/Urbanimage.tv
IRIE remembers Alton Nehemiah Ellis OD (September 1, 1938 – October 10, 2008) a Jamaican vocalist
best known as one of the innovators of rocksteady, a romantic, rhythm and blues styled Jamaican music
genre which was a successor of ska and a precursor to reggae. The soulful Alton Ellis was referred to by
many as the ‘Godfather of Rocksteady’.
IRIE presents some fascinating Facts an ‘Tings about Alton Nehemiah Ellis OD.
Facts an’ T’ings
• Alton Nehemiah Ellis was born in Kingston, Jamaica in 1938 and grew up in the Trenchtown area as
part of a musical family which included his brothers, Leslie and Irving (Niney) and his younger sister,
Hortense, who performed alongside Ellis in his early career.
• Ellis attended Ebenezer and Boys’ Town School where he excelled in the field of sports and music.
• Ellis taught himself how to play the piano at a very early age. He would sneak into the local youth
center at night to practice.
• Ellis performed as a dancer (in a duo) at school shows before making the switch a singing.
• In 1959, Ellis started his career in music with Eddy Parkins, forming the duo Alton and Eddy. They
recorded for Coxsone Dodd at Studio One. Their first song, the R&B single ‘Muriel’, which Ellis wrote,
topped the Jamaica charts that year.
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• Alton Ellis’ album, ‘Mr. Soul of Jamaica’ is considered one of the most definitive rocksteady albums in
music history. The album consisted of twelve tracks which were recorded between 1967 and 1970 at
Duke Reid’s Treasure Isle Recording Studios in Kingston, Jamaica. ‘Mr. Soul of Jamaica’ was produced
by Reid and released on his Treasure Isle label in 1974.
• In 2004, Ellis was awarded the Order of Distinction by the Jamaican government in recognition of his
achievements.
• In 2006, Alton Nehemiah Ellis OD was inducted into the International Reggae And World Music
Awards Hall Of Fame.
• Alton Nehemiah Ellis OD died on October 10, 2008, in London, England, at the age of 70. His death
prompted Jamaica’s Minister of Information, Culture, Youth and Sports, Olivia ‘Babsy’ Grange, to say
“even as we mourn the great Alton Ellis, we must give thanks for his monumental contribution to the
development of Jamaica’s popular music”.
Did You Know...
In 1968, the track ‘Mad Mad’ by Alton Ellis and the Sound Dimension band was released in 1968 on the
Coxsone label. The ‘Mad Mad’ is one of Studio One’s most beloved riddims. The riddim has been reused
or sampled by many hip-hop, dancehall and reggae producers and artists.
The riddim was a favorite of Henry ‘Junjo’ Lawes, a highly influential Jamaican record producer. Junjo
Lawes reinterpreted the recognizable three-note descending horn line and it became known as the
‘Diseases’ reggae riddim. It was notably utilized in Yellowman’s hit song ‘Zungguzungguguzungguzeng’,
and in turn, sampled and reinterpreted by a long list of popular hip-hop artists, including The Notorious
B.I.G., Tupac Shakur, KRS-One, Blackstar, and Sublime.
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The end of summer is getting close now. Autumn has its specific climate, which makes us reflect on what
we have experienced, on the meetings we have had, on the knowledge we have broadened, on the values
we have learned from these experiences…
This year I flew halfway around the world as an envoy of IRIE… observing, experiencing and writing down
the most interesting impressions from meetings, festivals and visits to several different recording studios
and festivals in three European countries. A lot was going on. But let us start from the beginning of my
journey. My first stop – Poland.
For those with little interest and no previous contact – To some, we are considered a part of Russia, or
a country where bears walk the streets! I met with this description during my travels around the world.
Quite surprising but true. For most people with a general idea – it is a country that is part of Eastern Eu-
rope, which regained its freedom and independence in free elections only 30 years ago, freeing itself from
the communist regime.
Have you ever wondered what would have happened if access to your favorite music had been limited?
Or for example, don’t have a passport because there is no opportunity.
Where you could be considered a spy for communicating in English or for having fluent knowledge of
English and using it in inappropriate circumstances? Or if you had to stand for several hours in food
queues? I could go on forever. This was the time of my childhood and growing up in this country. Young
STREFA DREADMAKENROCK.
Written by: Maja Vrenios Photography by: Sebastian Klebaniuk
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people in those days did not have an easy life. Many of them lived practically only with hope. The hope that
one day the times of free Poland will come. One thing that gave them this hope was music.
Poland and Reggae. For an average inhabitant of London, Kingston or San Francisco, these are two words
that seem as distant as moonshine and marijuana. How come we love Reggae so much and why have we
been playing this music for 25 years? (Quote: Sławek Pakos)
Thanks to Bob Marley and many other pioneers Reggae music spread all over the world. This musical
trend reached Poland in the 1960s from the single of Alibabki band, ‘In rhythms of Jamaica’, after that it
was the first punk/reggae band Kryzys and Deadlock and Tilt. Following after them came Brygada Kryzys
and Izrael. Next, this style was taken over by several similar bands such as Dreadlock and TILT, but the real
breakthrough occurred only in 1983 when the aforementioned Robert Brylewski founded the first Polish
band Reggae – Israel.
The first lyrics were concerned almost exclusively with Babylon, i.e. the bad, spoiled by money and the au-
thorities of Western civilization in Poland, referring to the communist state. With Polish texts and themes
close to almost every rebellious person, Reggae began to be more and more successful.
At that time, freedom of speech did not exist in Poland. During major events, which were not promoting
propaganda gibberish, it seems a larger group of people including the militia (police) appeared, which
effectively dispersed crowds of people “hungry” for truth and freedom of speech. Many creators hid the
deeper message in their texts, it was like creating codes in the transmission of information and expressions
of this free word that was so important at that time.
In a grey country without any great prospects, Jamaican rhythms turned out to be not so distant, neither
sound, nor message, nor in the message given by positive thinking – therefore they gained ever more
fans. Music was an escape from the difficult reality and the lyrics contained in it were of great value and
gave hope.
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Ostróda Reggae Festival 2019
And what is the current situation like in a country of
other realities?
The nineteenth edition of Ostróda Reggae Festival
attracted thousands of people from Poland and
Europe. Following this loyal crowd for years I
reached the place on time, which was not so easy.
It wasn’t because I lost my ticket and money, it was
because Wow airlines went bankrupt leaving us
stuck .. But, as they say – it is not the plans that are
important, but the goals.
The goal was to reach the Festival, which was
finally achieved by flying through Moscow for
several hours.
I managed to talk to Mirosław ‘Maken’ Dzięciołowski,
a long-time booking and PR manager for the Ostróda
Reggae Festival, and also a DJ, promoter and music
journalist. He is the host for ‘Strefa Dread’, a weekly
reggae show aired for twelve years on the Polish
National Radio Czwórka.
A man responsible for organizing concerts for many
leading Reggae, Dub and World Music artists in this
country over the last 30 years.
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The Interview
IRIE. Hello, Maken! Can you tell us about your first contact with Reggae Music and what it was like?
Maken. Hello Maja :) My first contact with Reggae wasn’t very conscious. And it wasn’t really about real
Reggae, because my first contact with Jamaican music had nothing to do with this current climate. It was
the Disco Pop band called Boney M, which was famous for their hit: “Rivers of Babylon” I had no idea at
the time that it was the Jamaican song from The Melodians from the 1970s. For me, it was just a very good
pop song.
As a kid, I listened to it many times. And also when I first heard Bob Marley as he was popular here, just like
everywhere else in the world. I didn’t realize he was a revolutionary. I thought he was another pop artist.
All my life I’ve been looking for real revolutionary music.
It started with rock music. Unfortunately, after some time I found Polish Rock to be untrue –Both politi-
cally and socially. Because these bands were playing at events organized by the communist government.
They considered themselves revolutionaries, and by taking part in such events they supported the system
at that time.
So I looked deeper and I got into Punk, Hardcore and then Reggae. And because I learned how to analyze
the context and content of music as well as the message of the music, I got deeper into it. I quickly realized
many Reggae Artists, including Bob Marley, have the same potential, the same revolutionary vibe as my
punk heroes. It was about 1984….
IRIE. What did people listen to in those days? How did Reggae end up in Poland? Can you tell us some-
thing about it?
Maken. You must keep in mind that the Polish borders opened to the world in 1989… and all the period
after the Second World War until that year, we were quite an isolated country and we couldn’t move out.
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There was a small exchange of goods, including cultural goods, because of complications with censorship
and postage, there were many different prices. I think back in the 70s or 80s, the American price for a vinyl
album was equivalent to the monthly income for a worker in Poland. The radio was only national radio and
governmental radio.
Also, there were some shows and some people who were pioneers. However, there were just a few people
for any promotion of Western music in Poland. But it was still really little. So there were two options.
There were record collectors who had some family in Western countries and children of sailors who were
sailing to work and were bringing music back to Poland.
They had the advantage of vinyl. They were going to some record fares and were swapping, selling, buying,
whatever they could within a small vinyl market – it was small because there were no labels. All the labels
were also national and they were releasing not too much because of the shortage of materials even to
produce vinyl. Everything was in shortage, including the vinyl plastic. These supplies were very small
compared to the market needs. This could not satisfy the need for records, and only very few people were
released. Artists didn’t have much chance to be released because the government-controlled the whole
market, so they were creating underground tapes.
The first Polish releases I found interesting in terms of clamp and rigor, I think they were released about
1983-1984, and there was a lot of music at that time. So there was a whole market and distribution circuit
as well as promotion, but it was based on cassettes and underground cassettes. So people like me would
send blank tapes to a friend on the other side of the country, because he may have previously sent you a
letter with the list of the records he has on his cassettes. And you could see. Oh! I don’t have this, this and
that. So it would need five cassettes!
I would send him blank cassettes and he would copy it. In exchange, I would copy for him something from
my list. Now people were building like libraries and swapping. It was uncommercial. It was not for any
other interest than just the pleasure of collecting music, hearing music and swapping it with people.
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IRIE. It sounds very interesting and even exotic for today’s reality. Do you remember when your collabo-
ration with Ostróda Reggae Festival began?
Maken. My cooperation with Ostróda Reggae Festival began in 2002, it was still taking place at the
Ostróda Castle, where we performed with my mate Activator with our Joint Venture Sound System. At
that time there was only one festival stage. Previously I had met Piter, who heard about us playing sound
systems and invited us to the festival. That was the first time I appeared in Ostróda and started any coop-
eration with Piter.
IRIE. When was the breakthrough in the festival’s development? Was it a special edition? Did something
spectacular happen that took the festival to the next level?
Maken. I guess the main breakthrough in the history of the event was to move it from the Ostróda Cas-
tle to the White military complex, because suddenly from an event which could fit only 500 people, now
there were 700 people – That is the capacity of the courtyard of the Teutonic Castle in Ostróda – suddenly
everything got several times larger. The White military complex was a large area which for those times
could accommodate a few thousand people. From the beginning, there was also a campsite on the festival
grounds… and it was a kind of jump from a small event to a big event.
Later the next jump was, of course, the move to the Red military complex, an even larger area, which
meant a much larger production of the whole. After a bigger boom in 2007/2008 the attendance normal-
ized, so moving the event to a larger area did not necessarily translate into increased ticket sales and more
people. But in my opinion such a qualitative jump from the courtyard of the Castle to the barracks area.
can be described as a breakthrough in the development of this festival.
IRIE. What are your reasons for choosing Artists in the next festival editions?
Maken. Above all, it’s Piter who is in charge here and it’s him you have to ask because these are always
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his personal final decisions. My role is more of a person who suggests certain things to him, someone who
listens to more music and is more up to date with what’s happening, so if I’m delighted with something, I
believe I can persuade him… I can send it to him to listen, see and so on.
Of course, he also has his preferences, his tastes, and decisions. sometimes he doesn’t agree with me and
may not see the potential in what I like, but I’m very happy that he most often agrees with my suggestions.
We have similar tastes and feelings, and most things I encourage him to do come from Ostróda so nobody
has any regrets that these events were first suggested by an advisor. And what decides this? I think there
are many factors. The fact that the band is musically interesting and original. That they don’t duplicate any
patterns. It guarantees a cool show on a professional level. And of course, at some point, the question also
arises as to how well they are known or whether they will attract people to the festival.
If you look at the history of bands that appeared at the festival, you will find many bands appeared at Os-
tróda for the first time being completely unknown in Poland. This is because we also have such an ambition
to promote certain trends, to show Poles some bands that are worth seeing. And it works out very well
because we promoted a few bands in Poland through the Ostróda Festival, which became significant, such
as DUB Inc. from France or a few others.
IRIE. Do you follow trends or do you focus more on creating them?
Maken. Both, because to create trends you have to follow them. Foreign trends do not necessarily mean
Polish trends, if someone is very popular in Jamaica or the United States, they are not necessarily known
in Poland and vice versa. There are also such phenomena of bands which are very popular in Poland, which
for foreigners is often not understood. So to create a line Up you have to do both. The worst thing, in my
opinion, is to simply cut coupons. Because it is not creative enough. We always wanted this Festival to be
culturally creative. Culturally creative is a very important phrase!
Ostróda Reggae Festival 2019
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IRIE. Polish Reggae scene? How do you see it now?
Maken. The current Polish Reggae scene is down. I do not doubt a sense that the fact that there is less
interest in this music means that there are fewer spectacular events, fewer young people come to this
music in a sense of creators. The creators don’t have money for some very well recorded albums or more
complex projects because it doesn’t pay off.
So it’s a bit of a weak period, However, at the same time, there are still some who want to do it and who do
it on a high level. In the meantime, the level of music technology has increased, which means it’s easier to
create things that sound good. And we have some artists we can be proud of who do things at a very high
level and that’s also what foreign people say who see our Polish bands in Ostróda. Often they say that
many of them represent a high level.
Another thing is the level of Polish music production, that is producers who make their music
like Dreadsquad or Radikal Guru – known all over the world, Studio As One, who have their own sound
which attracts global attention, so it’s probably better with the creators than with the audience at the
moment. Although I definitely miss someone, I would say the new Kamil Bednarek (very successful Polish
artist coming from the Reggae circuit and a winner of the Polish edition of “Got Talent” in 2010), someone
who would appear as fresh, young, attractive for young people and who would lead them to Jamaica and
the spirit of One Love. Someone who would have such charisma and such a message, a talent that would
breakthrough as a new star and would somehow attract new generations, new crowds at concerts. I miss
someone like that because I think the movement must be pushed forward by the exceptional individuals.
IRIE. Does the Polish listener still care about the message in lyrics or looks for the entertainment only?
What’s your opinion on that?
Maken. You know what… I have such mixed feelings – sometimes I hope the message in text matters. But
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many of these messages are the same duplication. Using the same words, singing over and over again on
the same subjects. This monotony kills the attractiveness of the music. You can artistically express your-
self on every subject. And it’s kind of crucial. When I think that people are no longer interested in what the
artists want to express, it comes to my mind, for example, artists like Damian Syjonfam, who is one of the
most popular Polish Reggae artists nowadays, he reaches almost all generations.
It is exactly because he has a message, an original and universal message and one that everyone under-
stands. There is a great deal of power in it. However, there are still bands that sing over and over again
about Babylon or ganja – it’s just… you can’t listen to it anymore.
IRIE. An interesting festival anecdote that you could share with us.
Maken. There are a lot of such stories, as it’s already so many editions behind us. Today, I even thought
about it in the context of a book/album, which I am going to write in the autumn about the history of
Ostróda Festival.
There was such a funny story related to Stephen Marley’s concert in Ostróda. It was probably 2011.
Stephen Marley was one of the stars of our Festival, the next day he played a concert somewhere a long
way from us, probably in Paris, so they left Ostróda early in the morning from the hotel. I drove up to say
goodbye, they got on the bus and drove off, everything was closed and ok. However, about two hours
after they left I got a call from someone I didn’t know personally – a friend of my friend Malik. He got my
number from him, asking for urgent contact with the organizer. He said that he was just leaving the hotel
in Ostróda and met a crying girl at the reception desk. She was in tears, looking for help, sobbing, she said
that her band left without her. She had none of her personal belongings or phone numbers to reach any-
one in her band.
It turned out that she was one of Stephen Marley’s back up singers, who remembered at the last moment
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that she had left something in her hotel room. Nobody noticed her disappearance… the band was con-
vinced that they were all there! I called the tour manager. I asked about the singer! He answered with a
certain voice that everything was okay and the girl I was asking about was on the upper bus board.
I asked him to check. After a while, he answered in a grave voice that she is not with them and do I not
know what happened to her? Of course, I knew. The boy who informed me about the loss was so kind that
together with his friends they offered to bring the lost vocalist to some particular place on the route to
Paris. It was a really funny situation!
IRIE. Indeed! Funny but also stressful for a while :) Meanwhile, the nineteenth edition of the Festival is
behind us. Are you planning something special for the 20th edition next year?
Maken. Of course, we are! 20 years of the festival is a great opportunity! We hope for this occasion we
will get some extra budget from the local council enabling us to invite some big headliner we could not af-
ford before. Also, probably we would be trying to produce some special anniversary show with a collection
of Polish artists. But it is all too early to think about it all because we’ve just closed the festival. We also
definitely want to publish a book/photo album for next year’s edition, which would tell the 20-year history
of Ostróda. This is my plan for Autumn and Spring. It is high time for something like this to come!
IRIE. So I wish you a lot of creative strength for creative work! Thank you very much for an interesting
conversation and it remains to say… See you in Ostróda next year! Thanks, Maken.
Maken. Thanks, Maja, see you later!
To be continued...
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REGGAE.YAADCOREReady Now
JAM
Yaadcore, New York@TIZZY_TOKYO
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Featured Video
Ready NowSeptember 23, 2019
WEBSITE
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As a founder of the global party Dubwise Jamaica, creator of the popular Reggae Aroma mixtape series
and the first person to play leading lights Chronixx and Protoje over the Jamaican airwaves, Yaadcore is
one of the most prominent and influential DJs working in reggae today.
Having cemented his place as one of the genre’s pivotal tastemakers, this year marks a new direction for
Yaadcore as he gets set to issue his first original recordings.
Raised in Mandeville, Jamaica, Yaadcore learned the art of ‘playing sound’ from his father, a selector with
local reggae sound system, Love People International. First gravitating to dancehall, he became disillusioned
with that genre’s explicit content.
He soon found his calling within the seeds of what would come to be known as the ‘reggae revival’ — a
close-knit group of young reggae singers, deejays and musicians who were blending the upful, cultural
vibes of classic roots reggae with a modern approach to music-making and branding.
In 2013, Yaadcore joined with Protoje and Jason Panton to create the earliest incarnation of Dubwise at
the Kingston venue, White Bones. At this time, he also became the tour DJ for Protoje, providing him an
opportunity to share the new vibrations emanating from Jamaica in countries around the world.
Dubwise itself went international in 2015, when Yaadcore toured Europe and Africa dubbing it a
Dubwise Jamaica Tour, later expanding to Miami for a weekly series at Coyo Taco in that city’s fashionable
Wynwood area. It has since ‘popped up’ in over a dozen countries including Malta, Ethiopia and Kenya,
READY NOWYAADCOREREGGAE.
Photography by: DreadieJohn
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Featured Single
Highgrade MakaSeptember 5, 2019
with regular events kept in New York City, Atlanta, LA and Port-of-Spain, Trinidad — making Dubwise
the first truly global reggae party. The event has introduced a new generation of listeners to foundational
reggae jams, while hosting guest sets from the likes of living legends David Rodigan, Danny Dread and
King Jammy.
Those unable to make Dubwise sessions can keep up to date with Yaadcore through his Reggae Aroma
mixes. The selector releases a new installment through his Soundcloud annually. In 2016, he became the
first and, to this date only, reggae DJ to spin live at the annual Afropunk Festival in Brooklyn.
‘No Fenke Fenke’, out on all digital retailers June 8, is the first original production from Yaadcore, and
the second release on Delicious Vinyl Island, the new Caribbean music label from L.A.’s legendary
Delicious Vinyl.
A joint release with Yaadcore’s own 12 Yaad label, the tune features Ghetto Youths recording artist
Kabaka Pyramid and Shanique Marie (of the Equiknoxx Music camp) trading lyrics over a modern twist on
classic reggae sounds.
Already a hero of Jamaica’s reggae revival, Yaadcore adds another dimension to his repertoire with a full
slate of productions and releases in 2019.
On May 3, 2019, Yaadcore entered the realm of artist with his debut single, ‘Ready Now’, released by
Delicious Vinyl Island and 12 Yaad Records. ‘Ready Now’ is his first track as an artist, and follows his latest
mixtape, ‘Riddim Salut, Vol. 1’.
September 23, 2019, marked the release of the official music video for ‘Ready Now’.
IRIE invites you to watch ‘Ready Now’ on Youtube: https://m.youtube.com/watch?v=-Fp_DdrUTI8
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Ready NowMay 3, 2019
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Yaadcore, New York@TIZZY_TOKYO
The Interview
IRIE. Greetings Yaadcore! Take us back to your
childhood in Mandeville, Jamaica. What was
it like growing up around your father’s sound
system, Love People International?
Yaadcore. My father had sound systems in two
different phases of my life, Playmate which was
from my earlier years I can remember climbing
on speaker boxes as a youth and going only to like
fun day events. In my later years as a teenager
was when Love People came about, and also when
I was allowed to attend normal ‘Dancehall’ events,
which was when I started to get a feel of what
the culture from the inside. Not too long after the
sound was established one of the DJs from the
sound taught me how to mix.
IRIE. Your father discouraged you from the
music industry? What inspired you to pursue
reggae anyway?
Yaadcore. He discouraged me because of the
struggles that come with the music industry but
pursued my vision just the same because of my
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Featured Single
No Fenke FenkeJune 08, 2018
love for the music. I pursued Reggae or more conscious Jamaican music because of me recognizing Hailie
Selassie I & the culture of Rastafari.
IRIE. Who are some of your heroes in reggae music? DJ heroes?
Yaadcore. The DJ that taught me how to mix ‘Quick Mix’, Black Chiney, Dj Karim, Dj Wayne, Rory Stone
Love, Gabre Selassie, U-Roy and last but not least Mikey Dread.
IRIE. You are Protoje’s official DJ. How did you two connect?
Yaadcore. I connected with Protoje through a friend Geoffrey, I wanted a dubplate at the time, then from
there, the link grew.
IRIE. You are a co-founder of the Jamaican club event, Dubwise. How did Dubwise come about? How
would you describe Dubwise to someone who hasn’t experienced it yet?
Yaadcore. I was the founder and also came up with the name for the event but I have now separated my
self from the brand so I couldn’t tell what it is all about anymore at all. Look out for the launching of Riddim
Salut Jamaica.
IRIE. Do you have a select group of records that represents the Dubwise spirit?
Yaadcore. I have many records that represent the spirit.
IRIE. As a Selector/DJ you play authentic roots reggae music that not only entertains but educates the
masses while creating a conscious vibe. Why is this important to Yaadcore?
Yaadcore. This is important because music is a powerful medium to transfer information. You may tell
someone something in a conversation and it will not resonate but if you sing it to let it feels different. Time
and place for all different kinds of music, it’s magic you just have to use it properly.
Yaadcore, Jamaica@SHIGETOMIYATA
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IRIE. In April 2019, you released a one and a half-hour mixtape titled Riddim Salut Volume 1 to cele-
brate Jamaican riddim culture. Is it important that with each project you are involved with, that you
spread the roots and culture vibrations?
Yaadcore. Yes for sure, I always come up with creative ideas to present the music. Riddim Salut highlights
some of Jamaica’s biggest riddims ever release both old and new.
IRIE. You recently released the lyrical video for ‘Ready Now’, your debut single as an artist. What
inspired you to start writing? What can we expect from the artist Yaadcore in the future?
Yaadcore. When I started playing strictly roots music, I discovered the style where they would play the
song then play the version of the song, which is the riddim. When I play the riddim, sometimes fans would
always want me to deejay on the riddim. like the did back in the day. That gave me the drive, as well as
starting my own production would force you into a zone of finding melodies and writing. In the future, look
out for the Ready Now Official Music Video, look out for more music more mixtapes more Yaadcore!
IRIE. You teamed up with Karbon to release the anthem ‘High Grade’. How did this collaboration come
about?
Yaadcore. Yes! He has another herb remix he did prior to me meeting him on a Steflondon riddim that
hasn’t been released yet, this was what gave me the idea to send him the Tekno - Pana Riddim after we
actually linked up. We have 3 Afrobeats remixes on deck likewise original music, look out.
IRIE. Is there anything you would like to say to the IRIE audience?
Yaadcore. Just have to say one perfect love to each and every reader! Give thanks for your support!!! Love
people like you love yourself and seek salvation in most high Emperor Haile Selassie I.
IRIE. Blessings, Yaadcore!
Yaadcore, Jamaica@SHIGETOMIYATA
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Yaadcore, Los Angeles@DREADIEJOHN
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RESPECT.
Lutan Fyah
Jamaica
Tjerk & Liquid Sunshine
The Netherlands
Samora
Suriname
Steppa Style
Russia
Ras Midas
Jamaica
Sierra Drive Sounds
United States
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JAMLUTAN FYAH
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Lutan Fyah
Featured Album
Longest LivahSeptember 13, 2019
It’s been two years since the release of his last studio album and Reggae singer Lutan Fyah is back with his
18th album, entitled ‘Longest Livah’. Produced by Locke City Music, it is a project that has been three years
in the making. “The title signifies the struggles that we face daily, in all sectors of society,” explained Locke
City Music producer, Adrian Locke. “After a lengthy discussion between myself and the artiste, we arrived
at this song to be the title track of the album based on his life experiences.”
Officially released on September 13, 2019, the album is distributed by Zojak Worldwide. You can expect
13 powerful tracks from this release, with titles such as ‘All For You’, ‘Meant To Be’ and ‘Never Say Never’
featuring fellow Jamaican artiste, Beenie Man. The lead track, which is simultaneously the title track
‘Longest Livah’, promises to thrill. Elaborating on the meaning of the song, the artiste explained, “It’s a song
we created through natural vibes and to reflect on my own experience. As you know, I’ve been here for a
while, making music consistently and throughout the years, I’ve accumulated a lot of fans and followers
across the world through the music I sing. I will never slow down or stop no matter what.”
Following the positive feedback from those who have heard the unreleased project, such as local radio
DJs, the producer is confident in the potential that will be garnered by this release. “The greatest expecta-
tions for this album are for it to be a hit and top the Reggae Billboard charts; even a Grammy nomination.
We really want to help influence and challenge change in Jamaican and World Reggae music,” Lutan Ex-
pressed. While this is not the first time the two are working together, having worked together on the 2013
album “Life Of A King”, this is their first full length collaboration. “The best way to describe our working
relationship is natural. When it came to writing and producing, every track on this project was free-flowing
and authentic,” Locke added. Lutan Fyah will be on the road to promote the album soon, with upcoming
shows scheduled in Ethiopia and Reunion Island.
LUTAN FYAHRESPECT.
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SAMORA SUR
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Samora has a fantastic voice, full of fire and energy. She knows how to instantly steal everyone’s heart with
her fresh, cheerful appearance and enthusiasm on stage. Not really surprising because Samora Souprayen,
born in Paramaribo, Suriname, has been involved in music from an early age and is destined to take her
place in front of the stage. Samora is at the beginning of many beautiful things.
She is the newest reggae sensation with thick compelling grooves. But it sounds different from the aver-
age reggae works: Her solid new reggae sound features dancehall, modern soul, funk and pop, with which
she appeals to a wide audience. Nor is she afraid of experimenting with raw edges in the development of
her sound, which makes her so exciting and attractive. With her tight live band, consisting of experienced
musicians, she is ready to blow her public away and to conquer the stages and festivals in the Netherlands
and abroad!
Samora is back with her latest single titled. ‘Keep My Fire Lit’.
‘Keep My Fire Lit’ is a song about keeping your inner fire burning, about keeping your energy high, your
mind on the mission, your dedication and determination for your goals, the will of really wanting to
succeed in what you do.
On the new single Samora sings on the ‘Di Alarm’ Riddim, a tune by Uppressor’s Productions and Love
& Unity Music. One more time Samora proofs her power, strength and diversity with this energetic song
with a strong motivational message.
‘Keep My Fire Lit’ is Samora’s next single after the release of her first album called ‘Moengo’ in February 2019.
SAMORARESPECT.
Photography by: Richard Terborg
Featured Single
Keep My Fire LitOctober 4, 2019
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RAS MIDAS JAM
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WEBSITE
rasmidas.com
Featured Album
Rain and Fire1978
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Ras Midas
August 2019 marked 400 years since Africans were brought to the Americas and the Caribbean Islands
to be slaves, under brutal human conditions, to help built the so-called new world, and for the economic
benefit for European capitalism. Africans will never forget those old slavery days, when we were forced
to accept madness as gladness, and our future was pregnant with disaster. Since the emancipation of
slavery until this time, African people are not much better off. At this moment in our history, Africans
at home and abroad are still trapped in a new form of mental slavery; it is known as neocolonialism.
The definition of neocolonialism: The economic and political policies by which a great power indirectly
maintains or extends its influence over other areas or people. In this world of injustice which determines
the character of humanity, we are experiencing suffering as virtue, cruelty as moral, and the thirst for
knowledge as a danger.
African brothers and sisters: If we are serious about achieving true independence, we have to educate
ourselves about who we are as a people. We must continue the struggle for freedom, love, and unity. It is
time for us to wise up, to rise up, and to rebuild the brotherhood of humanity. We must never give up the
fight. JAH Guidance.
‘400 Years In The Wilderness’ by Ras Midas. From the album ‘Rain and Fire’; produced by Harry Johnson
for Harry J Records, 1978. Listen on Youtube: https://www.youtube.com/watch?v=h0LFntudi90
Album Credits: Drums - Sly Dunbar; Bass -Robbie Shakespeare; Guitars - Chinna Smith, Mickey Chung;
Keyboards - Wire Lindo, Ansel Collins, Winston Wright; Piano - Gladdy Anderson; Percussion - Mabrak;
and Background Vocals - The I-Threes - Rita Marley, Marcia Griffiths, Judy Mowatt.
RAS MIDASRESPECT.
Photography by: Nan Lewis / Entertainment Works
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TJERK + LIQUID SUNSHINE NLD
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Tjerk + Liquid Sunshine
Featured Single
Where You Gonna Run ToSeptember 5, 2019
WEBSITE
walboomers.com
Dutch singer-songwriter Tjerk Schoonheim has been active in music ever since 1992. After many different
music projects Tjerk decided to form his roots reggae band ‘Tjerk & Liquid Sunshine’ in 2014.
He got in touch with some great session musicians and very soon after they started to rehearse. After the
first live shows they received an invitation for the famous Dutch music festival called Zwarte Cross. Tjerk
Schoonheim wrote many great songs in the past but he never released them.
Recently he decided to record some of these songs for his brand new album titled ‘8’. No compromises and
only good vibes.
On September 5, 2019, Tjerk & Liquid Sunshine released the song, ‘Where You Gonna Run To’ as a single
with a bonus dub version. This single tells the story about a princess that turned out to be a toad instead.
She had a grip on a young man, who had the illusion he still had not found himself and his direction in life
completely.
He felt incomplete, divided in search of his missing personal link and his own meaning of life. All that is
divided is easily to be controlled. But control with misguided judgements lead to the bad roads, joyriding
with a broken clutch. Living in a fantasy world with a fantasy imperium is incredibly hard.
TJERK + LIQUID SUNSHINERESPECT.
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STEPPA STYLE RUS
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Steppa Style
Featured Album
We The PeopleJuly 05, 2019
WEBSITE
steppa-style
Steppa Style is one of the first Reggae, Dancehall & Jungle artists in Russia who started making tunes in
English and Patois. His style varies from Jungle to Dubstep but Reggae music is priority. Steppa Style always
wanted to represent the russian Raggamuffin culture around the world. He is collaborating with many
European Labels and World Producers such as Dreadsquad (Poland), Viktorious (Sweden), Max RubaDub
(Swiss), Supersonic Sound (Germany), Infinite Records(France) , ePeak (Fr), Dj Vadim (USA), Fogata Sounds
(Fr), Marcus Visionary (Can), Deekline(UK), Benny Page (UK).
In 2010 he gained the title of ‘Best Reggae Artist of Russia’ (DHQ version).Steppa hosted many big festivals
and battles such as IDA Russia, Russian Beatbox Championship, Avo SnowFest and Snow Pasta (France).
Round the world tours: Czech Republic tour with Wicked Sound (2011), Steppin outta babylon tour with
Reggae Rajahs (India, 2012), China Tour( 2013). Festivals include: Berlin Carnival (Germany, 2008), Upris-
ing Reggae Festival ( Slovenia 2012, 2014), Jungle Flash (Slovenia, 2013), Karkle Festival (Lithuania, 2012),
BoomTown Fair(UK, 2014). Electric Picnic (IRL, 2014),Alfa Future People( Russia, 2014).
He has performed in many Russian cities and all over Europe: Germany, Luthuania, France, Switzerland,
Czech Republic, Poland, Slovakia, Portugal, Austria, United Arab Emirates, Slovenia, UK, Ireland and
Norway. Steppa is one of the founders of Goodvibes Clothing Brand and the founder of Good Vibes
Radioshow on Megapolis FM (Moscow, Russia). In 2014 he released an album ‘See The World’ on Irish Moss
records from Ireland, album included featurings with artists like: Solo Banton, Skarra Mucci, Kriss Kelly and
Deadly Hunta.
With fire in his heart and energy on the stage, Steppa is one of the hottest Reggae and Jungle artists
of Europe.
STEPPA STYLERESPECT.
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SIERRA DRIVE SOUNDS USA
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Featured Single
EasilySeptember 13, 2019
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Sierra Drive Sounds
Sierra Drive Sounds is the latest project headed up by Travis Mansell, current manager and sometimes
songwriter and producer of Buddha Council. The project’s name references the street he grew up on, and
it serves as a metaphor for the depth and history that S.D.S. brings to its productions.
Functioning more like a producers’ collective or nano-label than a true to form band, Sierra Drive Sounds
is focused on the cultivation of new artists combinations and songwriting collaborations within a broad
circle of artists that Travis has befriended in two decades of releasing music.
The first single, ‘Easily’, which features Jon Quan of Buddha Council, and Jon Petronzio of John Brown’s
Body is a flavorful musical combination of Soul, Dub, and Hip Hop set to a Reggae metronome.
With plenty of songs waiting to be dialed into their musicians, S.D.S. will surely be a project to keep its fans
intrigued and pleasantly surprised.
SIERRA DRIVE SOUNDSRESPECT.
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RELEASES.IRIE ON SPOTIFY - September 2019Hollie Cook - Dance in the Sunshine
GBR
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Featured Single
Dance in the SunshineSeptember 04, 2019
IRIE’s September 2019 edition of RELEASES is here featuring new music from Hollie Cook (cover) along with
Yaadcore, Akae Beka, Lutan Fyah, Clinton Fearon, Samora, Maxi Priest, HIRIE, Somah + Nova, Tjerk + Liquid
Sunshine, Sierra Drive Sounds & Tenor Youthman meets King Toppa.
IRIE SPOTIFY PLAYLISTRELEASES.
Somah + Nova
Hollie Cook Clinton Fearon Samora Maxi Priest
Yaadcore Akae Beka Lutan Fyah
HIRIE Tjerk + Liquid Sunshine Sierra Drive Sounds Tenor Youthman meets King Toppa
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REWIND.OSTRÓDA REGGAE FESTIVAL 2019Sebastian Klebaniuk
POL
TABU, Ostróda Reggae Festival 2019POLAND
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Dubska, Ostróda Reggae Festival 2019POLAND
Agent Sasco, Ostróda Reggae Festival 2019POLAND
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Christos DC, Ostróda Reggae Festival 2019POLAND
Oku Onuora, Ostróda Reggae Festival 2019POLAND
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Jahneration, Ostróda Reggae Festival 2019POLAND
The Congos & Pura Vida, Ostróda Reggae Festival 2019POLAND
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Gentleman’s Dub Club, Ostróda Reggae Festival 2019POLAND
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ter
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IRIE would like to thank the following people who helped make this issue a successful one. Without their efforts, this magazine would not be possible.
ZOOLOOK, Michelle Monreal, Ashley Hyde, Miss Lulú, Giovanna Guimarães, Yaadcore family - ‘Maaad Love & Respect’, @dreadieJohn, @tizzy_tokyo and @shigetomiyata (Yaadcore Photography), Adrian Boot - UrbanImage.tv and Tim Barrow (Alton Nehemiah Ellis OD), Maja Vrenios (Maken), Sebastian Klebaniuk (Maken/Ostróda Reggae Festival 2019 Photography), Mike Caulo (Hollie Cook), Susan Smith/Powerhouse Global Media (Lutan Fyah), Nan Lewis / Entertainment Works (Ras Midas) & Elena Vakhnik (Steppa Style).
Maaad Love & Respect!