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BLACK MUSIC: APRIL 1976:

FROM JA TO UK - A BRITISH REGGAE ROUND-UP:
An in-depth survey by Carl Gayle:-

GINGER WILLIAMS:
Age: 21.
Record Company: BB...
Latest Release: "I Must Be Dreaming" (Jumbo).
Background: Came to Britain at age six. Began singing at 17 with a reggae band called Green Mango from Tottenham at Town Halls and night clubs. Recorded "I Can`t Resist Your Tenderness" in November 1973 with producer/composor Ronnie Williams after she`d stopped singing for a year. The follow-up "In My Heart There Is A Place" was just as good. Both were Count Shelly releases. Since then she has recorded two tracks for a DIP album titled "Tenderness" misleadingly and one 45, "Oh Baby Come Back", for the BB label.
Prospects: "Tenderness should have been a hit. Ginger has lost some ground to fellow young female singers Louisa Mark and T.T. Ross. a talented singer but she needs some strong material.
Carl Gayle-
Black Music April 1976:

peace

BLACK MUSIC: APRIL 1976:

FROM JA TO UK - A BRITISH REGGAE ROUND-UP:
An in-depth survey by Carl Gayle;-

MIKE DORANE:
See feature in this issue:- To be posted later.

PAT RHODEN:
See full feature in next months BM: - To be posted later.

Carl Gayle-
Black Music April 1976:
End of article.

peace

BLACK MUSIC: APRIL 1976:

MIKE DORANE and the birth of ROCKERS RECORDS:
Tony Cummings:-

"Right, let`s get started".
Mike Dorane rubs his hands together as he stands in the midst of an impressive armoury of instruments. An organ, a drum kit, bass, guitars and an extraordinary multi-instrument synthesiser lie scattered around Studio `A` of Island Record`s gleaming 24 track Basing Street Studio. It`s engineer Guy who has to ask the obvious question.
"Uh, Mike . . . where are the musicians?"
"Oh, they`re here". Mike laughs, the penny drops, and within minutes the extraordinary one-man-band of British reggae is laying down a track. First he plays rhythm guitar, then drums, then bass, then organ, then lead guitar. The throbbing, chunky track Mike builds up from scratch is for a version of Jean Plum`s "Look At The Boy" to be sung by a new girl duo, Sheba. But the extraordinary reggae rhythm over which Sheba ready themselves to sing is a long, long way from the `Memphis beat` original. The next few hours see Mike patiently coaxing the girls towards a vocal take. They get there. Salli lays down a rich impassioned lead and then she, her partner Eva and Mike overdub cooing shooby-dooby harmonies (with Mike`s pure falsetto ironically soaring higher than the girls).
It`s 4 o-clock in the morning as Mike sits down at the synthesiser and deftly adds "violins", "flutes", and "saxes". Then, with the sweetening complete Mike sits at the light-flashing consul and begins to mix down. The girls giggle with excitement. "I`ve been in the studios with CBS," gushes Salli, "but I`ve never seen a producer like Mike. This man is amazing . . . amazing".

Salli Kamara is a member of the acclaimed cast of "The Black Mikado". Her partner Eva Louise, an exquisite hair platted maiden who`s elegant face is gazed on by The Box Society in a dozen TV commercials and who was until recently in the Mikado too, nods her head in agreement. Both stand to gaze at Dorane, the sallow-complexioned Red Indian American/Jamaican, who sits hunched over the boards adjusting control knobs. "A friend of ours, Graham Stapleton, brought us to Mike" explained Eva. "he told us there was a who was an amazing talent and was starting his own record company called Rockers Records. So here we are." Eva makes an extravagant gesture around the column speakers and whirring tape decks. "Sheba are on Rockers Records . . ."

A LOT, one helluva lot, has happened to Mike dorane since BM last spoke to him back in early `74.

Then he was a scuffing `New Blood` (despite the fact that for a decade he`s been grafting with relentless tenaciousness on the British music scene.)
Now things have dramatically changed, thanks to two magical words which, for the Jamaican music industry have become the symbol of `crossover` big bread, expanding an ethnic roots music to an international popular music form, Island Records. Mike`s story reads like a fairy tale, but one which could only happen in the topsy-turvey world of show-business.

Born in the USA, coming to Britain in the `60s, getting into soul, hitting in Germany (two top ten hits and real bread for a naive sixteen year old), blowing his royalties back in Britain, moving into reggae music, becoming a Pama Records session bassist, making records off his own bat (self-produced sessions of which "Loving You" on DIP in `73 "The Ghetto" on Ackee in `74 and "Tell Me Baby" on Horse in `75 all proved solid `roots` hits without making Mike any real bread) and finally the arrival of the BIG break.

"In the latter part of `75 I went into a very analytical state. I looked at everything I`d done in the music business up until then and tried to work out why it was that I was still flat broke. Now it was easy for me to say I`d been ripped off, yeah I had, like one particular reggae company owe me ten grand at the moment. But that wasn`t the whole thing. How I`d been going about getting my music to the public was wrong. What I`d been doing was cutting records on myself, or on an satist I was producing, and taking the tapes to a record company who were orientated to Jamaican music. They`d give me a little bit of bread. They`d also give me a contract regarding the future royalties. But always the situation was the same . . . the bread up front was all the bread I`d ever see.
And anyway, the companies taking my records weren`t geared to breaking my records outside an ethnic thing. You see, I`ve always maintained a special philosophy about reggae music. I want to take it away from being ethnic music and put it forward as an international form of popular music . . . like what`s happened to soul music.
So I looked around and asked myself `who`s been the only company to lead the way in taking reggae music out of that inverted cultural thing and put it where everyone can dig it?` Well, you know the answer. So I went to see Island Records".

The singer/songwriter/producer didn`t go empty handed. Over the last two years Mike Dorane had built up a stunning collection of master tapes cut in a Camden Town four track studio owned by Ray Roberts. And the effect of the tapes on Island surpassed Mike`s wildest dreams.

"I brought along about sixty finished masters to Richard Williams at island. They were mainly things by me but I also brought along things by Fitzroy Henry (an intruiging lyricist-turned- singer from Leyton) and Carol Williams who was a young girl I`d been schooling. To put it bluntly Island freaked. They loved everything, especially a thing I`d done, a version of the Supremes oldie "Stop In The Name Of Love". Richard took me to see Chris Blackwell. He asked me what kind of deal I wanted.
Well I reckoned it`d be great to place a few of my masters on Island, like I thought look what they`ve done for Bob Marley. So I told him that. But then Chris Blackwell REALLY freaked me out. He said "Look Mike, you`re too good for a deal like that . You`ve got more potential than any other reggae artist I`ve encountered in Britain. I`m offering you your own label. . . ."

Exactly why Island Records, synonymous with music biz hipness, should offer a relatively unknown British act a stunning pressing/distribution deal, screams from every foot of Mike Dorane`s tapes. For Dorane appears to be the first creative talent who has conceived a way of bringing "artistic integrity" to that most abused of music forms, "pop reggae".

For several years, nearly all attempts by producers attempting to create reggae INTENDED for a mass audience has led to compromised music which deserved all of its "watered down" criticism. Labels big and small flirted with the concept of processing authentic reggae styles through a gruelling "sweetening" process of violins and pop songs, which, although in some cases achieving distinct commercial (although noticeably spasmodic) success did, by its cynical insensitivity, smother the very essence of the music form. But the old style pop reggae has, thankfully, nose-dived in its capacity to make a quick killing and no longer will a dubbed-on Johnny arthey violin section of Jamaican musical roots, hold sway as of old . Instead, JA performers with authentic styles, plucked direct from a sub culture have, with skilled marketing and over-spilling creativity, been able to find mass acclaim and record sales ( a la` Marley, Spear, Toots etc). But Mike Dorane emphasises a vital point which he lies as the very essence of his musical philosophy and his potential big time stardom.

"The thing is with JA music that only a certain number, a small number of acts are ever going to be able to come through to a mass audience.
The super talents are doing it now . . . . Bob Marley, Big Youth, Toots . . . but they`re doing it because the size of their talent TRANSCENDS the barriers which their music has for a European, or an American audience. But there aren`t that many artists in Jamaica who are going to be given the opportunity Marley`s been given. The majority of JA acts will never escape from the limitations of a relatively small market, the Jamaican and the ethnic British thing. That`s because JA music serves socio-political needs . . . and white kids living in London or Scotland or somewhere, can`t relate to stuff about Jah or dreadlocks or stuff. Now don`t get me wrong. I myself am really into a Jamaican cultural thing, and I have the greatest respect for the Rastafarian faith and I`m aware of the political situation being commented on in a lot of roots records. But I feel that a large proportion of such music, for the reason I`ve stated, ain`t never going to say anything to an international audience. And anyway, I feel it would be a futile exercise to try and write songs or produce music in Britain with exactly the same sound as JA records. The Jamaicans living in Britain have a different environment from those back home. It ain`t Tench Town here, it`s Brixton and Birmingham. So the music I`ve been producing is music which is reggae with an authentic feel `cause I FEEL that rhythm, but music which relates to the British and American situation.
Songs about love and heartache, lyrics that ANYBODY can relate to, plus a high standard of musicianship which can be lacking in some JA records. I`ve had the vision to put British reggae on an international thing, and now I`ve got the opportunity."

And Rockers Records is the means. The first Rockers release came out in mid February.
Fitzroy Henry`s "Can`t Take My Eyes Off You", not the old standard but a hypnotic Dorane/Henry composition with a throbbing synthesiser shuffle rhythm and a wistfully repetitive hook. That was followed up on February 21st with the release of Carol Williams` "You Gotta Save All Your Love", a naively charming disc with Carole sounding a little like Susan Cadogan, but without the latter`s cloying, over-production. "Carol`s still at school but I think she has the ability to really make it in the business." enthuses Mike.

But despite the promise of Mr. Henry and Ms. Williams, Mike`s piece de resistance is his own brilliant transformation of an ancient Motown classic into a joyous piece of vibrant Jamaican rhythm.

"Island are doing a very big promotion on "Stop In The Name Of Love" and everybody thinks its going to be a top 50 hit (and, at the time of writing, Britain`s radio jocks agree). I think that record really sums up what Rockers are going to be doing, taking reggae and expanding it, not watering it down or `commercialising` it in a derogatory sense. Just making it appealing to blacks, whites, everybody."

Rockers first album `Reggae Time` (to be released in mid April) puts the music where Dorane`s mouth is. Catchiness leaps from every microgroove from the wistfully, beautiful "You Gotta Change" to the hypnotic, chorus-driven title track, it`s an album sure to catch the ear of ethnic and pop fans alike. And the infant Rockers is already beginning to expand.

"Besides myself, Fitzroy, Carol, Sheba and Dorando, (the instrumental house band which, with a multi-instrumentalist like Dorane involved, is 95% a one man band), I`ve got a guy called Big Roy and some more acts coming along now. Plus, Rockers is launching a soul and disco music label in March, called Movers. The first release is by some guys we`re calling The Disco Dub Band, it`s basically the first ever dub FUNK record (having been produced by BM writer Davitt Sigerson). We`re going to be getting heavily into soul music . . .that`s like the other thing I really FEEL."

But back in Reggae. How does someone with an armful of tapes cut in a cheapo four track studio convince Island, whose futuristic, hugely expensive studios have almost as many tracks as superstars using them, that his music is of potentially mass hit status? "By the sound man, by the sound. I`ve engineered for years and I`ve learnt the whole technology behind engineering. I got sound on the four track in Camden Town which nobody would believe. In fact the engineers WOULDN`T believe it. I had to take the Island guys down there and show them. Now I`m getting into the other extreme, twenty four tracks. That`s the opportunity to really show the potential of the whole Rockers situation. Rockers is going to put British reggae on the map . . . internationally . . .There`s a whole heap of hard work ahead of course. But I believe that eventually Rockers can be the equivalent to British black music as to what Motown is to soul in the States. It can be the Motown of reggae music.
Tony Cummings-
Black Music April 1976:

Stepping Razor:

BLACK MUSIC: AUGUST 1975:
REGGAE SINGLES REVIEW:-
(This section complied with the assistance of Intone Records, London SE 15).

JUSTIN HINDES: Sinners Where You Going To Hide/If It`s Love You Need (Pama 4001).
Justin Hindes And The Dominoes were JA favs over a decade ago. I love his sad tone with its pure Jamaican style: one of those singers that gets to you without trying. And Justin always has a message for us. Very good record from an old master.


RAYMONDO: Love I Can Depend On/Version (Third World 12).
Good production, rhythm from JA, vocals added in London. Nice song written by Honey Boy and Ray in which Raymondo really shines. He sings a little like the excellent Owen Gray. Excellent dance rhythm, sounds like one of Bunny Lee`s.

KEITH HUDSON: Wild Fire/Part Two (Mamba 101).
A version of "Five More Minutes Of Your Time" which is on Keith`s album "Torch Of Freedom". As such it is just as good but isn`t really potentially a big seller, despite the fine mixing that disorts the rhythmic sounds to good effect.

DELROY WILSON: Come Softly To Me/Dum Dum (Love 006).
Delroy has faded recently with the emergence of people like Gregory Isaacs and Johnny Clarke. And this doesn`t sound like the tune that`s gonna bring him back despite the very rootsy playing by the Soul Syndicate.

LEVI WILLIAMS: Peaceful Rasta/History Of Dub (Locks 01).
Mediocre: lacks the rhythmic or vocal ingredient that makes you want to dance or really listen. Banal lyrics too.

GREGORY ISAACS: Tomorrow`s Sun May Never Shine/Way Of Life (Corpedo 34).
Not the greatest of Greg`s efforts but a good performance that`s sure to sell because of it`s excellent dance rhythm. And Isaac`s voice is always enchanting.

TINGA STEWART: Funny Feeling/Funny Dub (Jama EAG 004).
Tinga`s got a really good voice, sounds a little like Gregory Isaacs. This is a better song than "Play De Music", his Festival Song winner. The rhythm`s not too hot but the song has a strong melody. With good distribution, it would surely be a very big seller.

End of Part One:
BLACK MUSIC AUGUST 1975:-

peace

BLACK MUSIC: AUGUST 1975:
REGGAE SINGLES REVIEW: Part Two:
(This section complied with the assistance of Intine Records, London SE 15).

RONNIE WILLIAMS: Cecelia/My Girl (DIP 5071).
Ronnie writes some really good songs as Ginger Williams has shown. Nice melody, earthy, but the rhythm isn`t as tight as you`d expect, now that British-based musicians are catching up with JA a little.

JOHN CHRISTY AND JESS SMITH: One Man Woman/Dub Version (K And B 5515).
Male/female duet with a lot of charm but only moderate talent. Paul anka song sounds alright in a JA style but singers, producer, and musicians are lacking on style, presentation ans subtlety. Interesting, nevertheless.

ANSEL COLLINS: Zone Five/Version Five (Mango 1000).
Unimaginatively arranged instrumental featuring the organ of Ansel Collins. No drive, or real direction, very forgettable.

JIMMY RILEY: Jacket/Waistcoat (Love 33).
"Jacket" is the term used in JA when a guy has to accept that he`s a baby`s father when he`s quite sure the kid`s not his. Starts off with the kid crying and the guy saying ". . .a jacket. . ."while the mother proclaims angrily "A` your own, man. . .". Interesting theme supported by a strong rhythm played by Skin Flesh And Bones again.

TRACY KING: Don`t Burn Your Bridges/Fire Version (Dansak 103).
Tracy is a fine young singer and this is a reasonable second record. Song isn`t quite strong enough for a reggae treatment, or perhaps the musical arrangement needed more thought.

TIGER: Guilty/United We Stand (Pama: Camel 70).
Re-issue from 1971. Interesting for its awkwardness and the duff monologue ripped off from Isaac Hayes` "ike`s Rap". Tiger has no talent but the record could sell in large quantities. People funny bwoy!

JAH WOOSH: Magnet Scorcher/ Version (Faith 014).
The background music shifts through "Winey Winey" and "Singer Man", two well known tunes of yesteryear, and Whoosh picks up the pieces deejaywise. He has never been a successful talker and never one of my favourites. But this isn`t a bad piece of rambling. Good rhythms.

End of Part Two:
BLACK MUSIC AUGUST 1975

peace

BLACK MUSIC: AUGUST 1975:
SINGLES REVIEW: Part Three:
(This section is complied with the assistance of Intone Records, London SE 15).

T. T. ROSS: Single Girl/Funny What Love Can Do (DIP5079).
Good uptempo version of the song, which might just take off into the pop charts. Suffers a little because the rhythm guitar bounces around too much, but T.T. is a fine singer.

ERROL DUNKLEY: Train To Zion/Zion Train Version (Third World 010).
Borrows from the Ethiopians` 1967 hit "Train To Skaville". Wonderful rhythm drives it along, powerfully. Dunkley has sung better. He sounds a little hoarse here, but it`s terrific sound nevertheless.

HONEY BOY:Worried Over You/Version (Penguin 4).
Another fine record from Honey Boy who must sooner or later get his first British pop chart hit if he keeps up his recent standard. His singing, with echo at a high level, has improved and his voice is even more charming than usual. The mid tempo rhythm makes the song more acceptable to those who don`t usually like the sentimental stuff.

JIMMY Mc: Day And Night/Crackling Rosie (The Heptones) (Magnet 056).
"Stick to me like a magnet. . ." sings Jimmy, but it`s a hollow song and the music isn`t entertaining either. Definitely not a big seller.

MIKE ROBINSON: Nothing Left For Me/Sweet Carol (Magnet 057).
Mike sounds as if he`d be better off in Nashville and the music is just as uncomfortable. Uninteresting and perfunctory.

J. D. ALBERT: Let The Good Times Roll/Version (Magnet 63).
Buoyant and festive as the music of Trinidad is apt to be. There`s a happy sax player who takes an identical solo every two bars and it`s all good fun. The singer, though, I have doubts about him.

End of Part Three:
BLACK MUSIC AUGUST 1975

peace

BLACK MUSIC: AUGUST 1975:
SINGLES REVIEW: Part Four:
(This section complied with the assistance of Intone Records, London SE 15).

PAT KELLY: I Don`t Want To Go/Version (Faith 011).
Pat`s one of our best singers but he has never matched his golden era of 1969 when he made "How Long Will It Take", etc. This is rather ordinary. He needs the guiding hand of someone like Bunny Lee to be strong again.

HONEY BOY: In A Game/In A Version (Penguin 5).
Another good composition by the fast improving singer/composer/producer. Very satisfying, even danceable. He writes strong melodies and this is one of his best thus far.

OWEN GREY: Fussing And Fighting/Rocker (Buggis And Tan Tan) (Jamate 3).
A number written by Errol Dunkley and Owen in which Grey`s singing is of a standard which few others hope to ever match. He backs himself vocally and the rhythm borrows from producer Bunny Lee`s style., even though it`s likely that the record was cut in England. Should be a big seller.

G. BEES: Inflation/Version (DIP 5081).
The singer is none other than Pioneer George Dekker singing one of his less memorable compositions. The trouble here is the perfunctory playing and the banal treatment of the subject matter.

End of Part Four:
BLACK MUSIC AUGUST 1975

peace

BLACK MUSIC: AUGUST 1975:
SINGLES REVIEW: Part Five:
(This section complied with the assistance of Intone Records, London Se 15).

SAM AND LES: The Way I Feel/Your Tender Lips (DIP 5077).
A male/female duet singing and talking their way through an ordinary number that is interesting only for the couple`s silly sentimental remarks.

BILL CAMPBELL: Take Me Make Me/Strange World (DIP 5080).
An old-fashioned singer singing an old fashioned sentimental song accompanied by some pretty ordinary and forgettable playing. For older sentimental couples.

DELROY WILSON: In The Village/Version (DIP 6070).
One of Delroy`s poorer songs and a bad release. He makes some fine songs but this is forgettable.

I. ROY: Tea Pot?Tea Cup (Nationwide 005).
Roy never seems to make a bad record but thi isn`t one of his best. His vocal ramblings are rather uninspired and the rhythm isn`t interesting enough by itself. Disappointing.

CLIFF ST. LEWIS: Another Beautiful Night/Sea Cruise (Faith 15).
A nice arrangement for an ordinary song whose subject is lost on me. The vocalist is rather boring.

End of Singles Review:
BLACK MUSIC AUGUST 1975

peace

BLACK MUSIC: AUGUST 1975:-

NEW BLOOD - THIRD WORLD:
Third World remember the name, they`re gonna be big!
By Carl Gayle:-

Saturday night, 1.30 am. Third World arrive at the All Nations nightclub in Hackney, London.
They haul their way through the length of the densely packed and sweaty dance hall down-stairs towards the small stage, and the smaller make shift dressing room immediately behind it. Louisa Mark`s "Caught You In A Lie" booming over the sound system, welcomes the band. The slow song of deception in love brings males and females together. They dance for the song, as close as comfort.

The band`s stage equipment has already been set up by their road manager. Nevertheless, the guys come out and re-check.
Musicians! 2 am, the group is almost ready. The guys are cool.

"Cat", the lead guitarist finishes the bottle of Cherry B I bought him and strolls out with the other five. I stand at the back of the stage almost hidden by speakers as the band prepare for take off. With a few words announcing "Third World", Mike silences the buzzing audience and launches the band into a latin flavoured instrumental named "Hang Loose".

Already I`m dancing as the conga and bongo playing hands of Irvin Jarrett start blazing. Now the sound is near what you might call "Afro-Funk", and unlike Osibisa. Superb percussion. The audience is slow but they like it alright.

Next is a reggae thing called "Rainbow Love" originally recorded by JA singer B.B. Seaton. The bass sounds like thunder, the drumming is the real thing.
Never heard a better drummer from JA live.The vocals fade out leaving the rhythm on its own almost like a dub. Third World dub, live from the All Nations. Tell yuh seh, dem hard man!

Without a hint they drop straight into the Detroit Emerald`s` "Feel The Need In Me" and transforms it into a new rhythmic, uptempo song of real emotion. Now it`s reggae, now soul, now something else. A new trip. Mike`s keyboards are fast and devastating. Cornel takes a drum solo. A soul sacrifice expedition. The rest of the band applaud the drummer. The other instruments return and now they sound like Sly did six years ago in "Chicken", but they`re more percussive, tighter.

"Cat" takes a bluesy guitar solo. Extraordinary. If the audience was less inhibited they`d rush on stage and tear "Cat" and the others to pieces.
Stevie Wonder`s "Living For The City" is slowed down and given a reggae riff. Milton is a fine vocalist. They all sing.

All the voices hum in harmony now, a prelude to Burning Spear`s "Slavery Days" . . . "I said, do you remember the days of slavery . . .". A beautiful song.
Before you can digest it they`re into Spear`s "Foggy Road" . . . "Jah Jah is my eyesight, be with I Jah Jah . . ." The bass playing is immaculate. Now they`re into "Sattamassagana" the classic rasta anthem, a landmark in Jamaican music, recorded originally by the Abbyssinians. It never fails to move me deeply.

A synthesiser outburst in Earth Wind And Fire`s "Head To The Sky" surprises the cool audience. The spacey music is too far out for them but they applaud and cheer as the number ends. An original instrumental number, "Cross Reference", is as funky as anything you`ve ever heard. It is followed by their last number, their single, "Don`t Cry On The Railroad Track". "Cat" on guitar and Mike on organ play cat and mouse, chasing around, sparing, enjoying themselves. A beautiful climax. The audience know they`ve seen and heard something special. You can feel it in the air.
Carl Gayle:-
End of Part One

BLACK MUSUC AUGUST 1975

peace

BLACK MUSIC: AUGUST 1975:

NEW BLOOD - THIRD WORLD:

Third World remember the name, they`re gonna be big!
By Carl Gayle:-
Part Two:-

Like a breath of fresh air, Third World`s music peps you up. They`re an immediate band, one bound for success. Their music possesses that special ingredient that makes you want to hear more. Something about it which makes it rare and therefore very valuable. A mixture of Jamaica and America perfectly amaigamated and wonderfully executed on stage. An attractive, buoyant line up of six excellent Jamaican musicians, the most talented to have visted Britain so far.

Third World, a band of the seventies to be reckoned with, like the Wailers. A band of quality with the imagination and the enthusiasm to go with it.

"You have reggae, you have soul, and you have Third World sound", said spokesman Michael Cooper when I spoke to the band about their music. "It`s an infusion of reggae and the North American musical influences."

Third World have been together since July 1973. the line up is Michael Cooper "Ibo" (keyboards, vocals, percussion), Stephen Coore "Cat" (lead guitar, bass, harmonica, cello, vocals, percussion), Richard H. Daley "Richieboo" (bass guitar, vocal, percussion), Milton Hamilton "Prilly" (lead vocals, percussion), Irvin Jarrett "Carrott" (congas, bongos, percussion), and Cornel A. Marshall (drums, percussion, vocal).

"We never play out publicly till August 1973 the Independence celebration," Mike said. "That`s the first gig we play. At the outset we decide that the effort was was going to have to be a serious one. And the man who had a job leave that job. And the man who going to school leave the school.

"We had a concept in mind you understand. Everybody else was just learning whichever record was a hit and trying to see who can play it the best. No originality or ideas."

Michael, Milton, Irvin and Stephen had been in the group the Inner Circle together.
But. . .

"Circle was doing the same as everybody else, nothing creative," said Michael. "It could of got stagnant. Cornel and Richard were in Tomorrows Children and they felt the same way. When they come in everything start to gel and coming down the line people start to take to it. We found tunes that was not what everybody else was playing. Most tunes we check for the `message` because we`d like to portray a image of love and botherhood".

Cat: "One of the key reasons for forming this group was to get into that kind of thing. We wasn`t really checking JA music because we`d had five years of it. Done practically everything a road band can do in Jamaica".

Michael: "Dances, Festivals, sessions. Every record by Eric Donaldson features us and we have done every kind of session from roots to soul. We played everywhere, I mean every street corner too y`know. Can show you a tree in May Pen and say we play under that tree deh. We play for all the people".

Apart from the current single and two early recordings for producer Clancy Eccles which had minor success, Third World recorded an original song, "Sun Won`t Shine", and gave it to Dynamic Record Company to distribute. But. . .

"Them say them like it but it just never happen. Yet I know people go a the record shop go ask fe it and it never press yet, and by the time it press...

"What had to happen after was we had to go out a road deh, go make money to live because we had to exist, we had no jobs. And we spent a lot in starting the band in the first place y`know. So we had to go out and try fe get the circuit fe understand whey we a do. And sometimes it meant doing the same as other bands.

"But the beauty of it. . .I feel that over the last six months Jamaica love Third World. We go pon Tyrone Davis show, the first show we do with overseas artists, and the houses were packed. (At the National Arena in February). We made an impession. The show promoters start to clamour and we play pon the Jackson Five show as well."

They also appeared on Clancy Eccles` island-wide shows in February with other Jamaican and Stateside acts.

"The reaction was positive. People start to check us different from other bands. Right about there we release `Don`t Cry On The Railroad Track` and the record was doing fine by the time we left JA. There was a general clamouring for jobs but the time had come to stretch out further."

Atlantic Records in America want the group`s current single. In England, Atlantic and Island are the contenders. Island boss Chris Blackweel has signed the group for the Wailers British tour.

Third World`s short term plan is to create a British market for their sound. They want to appeal to as wide an audience as possible. They have the confidence that comes from the awareness of their own musical abilities. And they`re beginning to see that they can satisfy any type of audience once they get on stage.

All they want to do now is "try and mash it up on record," as Mike says.--
Carl Gayle:-

BLACK MUSIC AUGUST 1975

peace