Jah Life

Your first production was with Lester Sterling? “Yeah, that in '72 on the Kaya label.”And that was your label? “Yeah, me and Percy Chin.”

And what was that Lester Sterling tune? An instrumental? “Yeah it was an instrumental version of 'Take Five' called 'Age Of Revolution' and the

flipside was '007' .”

Where did you record it?

“Hugh Hendricks studio in Brooklyn. He had a 4 track studio. And he was one of the musicians also.” Percy Chin was involved in that production

as well?Lester Stirling >

“Yeah, he's really my brother in law, and a business partner. He had been working for Chin Randy's. I think from 1970. Something like that. When I first

came to America, I went to buy records and ting, to build up my collection for my sound.” So the sound system came before your first  production?

“Yeah, but not Jah Life, It was Sir Junior's first. Then after I changed the name to Duborator. And start to nice up the place... Me and Percy then got together to do 'Age Of Revolution'.”

When did Jah Life sound system start then? “Well it kinda cool off for a while. The guy that was building my amp, he got caught somewhere, and that kinda stall me like. So I just cooled out for a while. And there was a whole lot of violence going on.” What was you doing between your first production and the 'Bounty Hunter' albumyou produced with Junjo?“Well we did some other instrumentals, 'She Wears My Ring', 'Casablanca', and then an Horace Andy tune 'Angel Called Woman'. All of these were on the Kaya label.”

Lester Sterling

Did you release the Junior Byles tune 'When Will Better Come'?“No I think it probably was Augustus Pablo. We used to have a friend of ours. A Randy's

relative. He used to work close together. So we give him the label and a tune to release in Jamaica. Right, well we make another label name Demon. And then Clive Chin and Augustus Pablo said they would like to use the label. So I cooled it out for a while. Then seeing they wasn't using the label, I said well we can bring it back on the road again.” So all your productions were cut in New York at Hugh Hendricks studio?

“No, the first set were done at Hugh Hendricks studio. But this last set were done at HC&F Recording studio with Phillip Smart, at Long Island.”

Has HC&F been going long? “It started off in a basement, but the company got bigger...”

Is it a 8 track, 16 track? “No, 24.” Was your album with Carlton Livingston recorded after the 'Tidal Wave' set that Unicorn Records released in the US?

“No, 'The 'Tidal Wave' album was done after.” It goes to prove that producer does have an important role in the music. As the musicians

on both album are the same, yet the sound is so different, your album has that crisp Ja sound.”

“Yeah that' what everyone says.” How long have the Hi-Life players been together? “Well it’s really a pickup band. The bass player, Paul, and the guitarist, Errol, are withMonyaka. The drummer Danny Marshall, he used to play in a band called 'Sons Of Creation'. So I just combine them together, along with some of the musicians from Kalabash.” Kalabash, they came over here with Eek A Mouse, and a lot of people thought they were a Jamaican band. When did you

record that album? “Last year (1983) and finished it off this year (1985).”

You get a really good sound. Wackies is another studio with a good sound in New York, have you worked with them?“We are friends, I don't really use the studio. I

used it once for a Ranking Joe tune 'Another One Bite The Dust' around 80/81. I even did some recording here too, at Mark Angelo's

studio with Sammy Dread - the LP 'Mr Music'.” That was recorded here? “Five of the tracks.” I didn't know that was your album.

 “It was released in New York, I left it with Sugar Minott.” What happened to Sammy? “He's living in New York now.”

Has the Live and Learn label got anything to do with you? “No, that's my brother Delroy's label, in Washington DC, he has released quite a bitof stuff. That's where I used to operate, but the music business slowed down there. And I used to go back and forth too much. So I just settle in New York and let him take care of Washington.”

Carlton Livingston

Currently you have 3 albums in the UK, the Carlton Livingston, Sister Carol and an album from Michael Prophet. “Well that's a friend of mine's album, Satta

Blue. He's in DC as well. He used to play drums with Ras Michael. He's going into production now. Me and him are working close.”

It’s really good to see albums like that getting released over here. “Well if I was in New York, I would send it over and it would sell two or three hundred

and that's it. It’s too expensive.”

Who else will you be working with on album – Scion Success? “Well, Greensleeves are going to release another disco with him – 'Pain A Back'

(which is a slight remix of the tune heard on the Volcano tapes that came from Jamaica). It’s on the same rhythm as the '100 Weight Of Collie.' tune by Carlton Livingston. I released the Carlton album in New York, but I didn't put '100 Weight' on it. I was saving it for the next album.” That's why it’s called 'Fret Them A Fret'?”

“Yeah, as Greensleeves wanted the hit... that track. That's why it’s called '100 Weight Of Collie'.”Sister Carol is one of the best woman DJ's around at the moment.

How did you come to record her? “She's a Rasta sister. She find me. I knew of her, but I've never heard her or seen her. She used to be around the sounds - Downbeat, Papa Moke - but being as I kinda cooled out of the dance for a while I didn't really get to know her. It’s really Percy. She checked Percy. And we get together from there. I was doing some work at Frano's Studio – a small studio in Brooklyn, where some of the Sammy Dread album was recorded. She was

standing outside talking, and I said tell her to come in. She said OK. And after we reason and ting. She came in and did 'Black Cinderella' and 'No Way Better Then Yard' both on the album.”

Is that her first album? “No her second one.” Who released the first? “Serious Gold', another company based in New York. It was called 'Liberation For The

African'. I think, well after we did those songs and tings... I had it for a while, before I released it. Then I released it and things

started to look up. Before that, 'Serious Gold', this other guy from Jamaica… he asked her to do an album. She asked Percy, he said well ifthings are alright – go ahead. It was alright and she went ahead and did the album. At the time I only had six songs, but I just took my time. Didn't rush anything.”

Have you done any recording in Jamaica? “Only the Barrington Levy LP, Bounty Hunter'. And I did the Wayne Jarrett album. I think it was 81/82 when I went down and did the Wayne Jarrett album 'Chip In' for Greensleeves. I gave Junjo two tracks to give to Greensleeves from the first album. 'What's Wrong With The Youths' and Greensleeves put out a disco 'Saturday Night Jamboree' that I think went to number 1 in the Black Echoes chart. So Greensleeves wanted an album, but as some of the rhythms on 'What's Wrong With The Youths' were old rhythms, they wanted fresher ones.

Sister Carol

So I went to Jamaica. It was really Junjo's work anyway, but I was there assisting. I worked on the Michael Prophet album, the

Hugh Mundell, Johnny Osbourne, Barry Brown and Wailing Souls and Toyan albums.And some of the dub albums. I think it was

about eleven albums that Junjo did at the time – I assisted with.” So your productions are the Carlton Livingston, Sister Carol, and....

“Wayne Jarrett 'What's Wrong', Sammy Dread's 'Mr Music', Leroy Smart’s 'Too Much Grudgefullness', 'Smashing Superstars', 'The

Family Album', '21 Girls’ from Barrington. And then there's the albums with Scion coming up, and a Mikey Jarrett set. I should

have released the Mikey Jarrett a long time ago. And I have an album with Silver Fox as well.”

Isn't Sister Carol working with him on a cassette that ROIR is going to release? “It’s a bit complicated. The deal was for Sister

Carol, but after Silver Fox and Brother D were supposed to be on the cassette as well, something wasn't right.”

How did the team with Carlton Livingston come about? Everyone was expecting his first album to come from Dynamite/Clive

Jarrett. “Well, he's living in New York, close to me.”

What's the set up in New York now? Who is involved in the New York reggae scene? “There's myself and Percy, you have VP, that's the original Randy's

from Jamaica. Their relative is Chin Randy's. Where Percy works. You have Clive Chin, who works at VP. And Christopher Chin (VP).

Channel One who used to operate J&L recording. They are moved now, are dealing with their pressing plant on Long Island. You have Count Shelly in Brooklyn, You have Witty's, Music Masters and Gussie. Another Major distributor is J&M. With a special mention for the late Tanka/Bigga. He's now

who help set certain foundation in New York” Others include Studio One and Wackies. As far as sound system go. Jah Life would

recommended the following – Papa Moke, Leo-Tone, Downbeat, African Love.

“In Washington a friend of mine called Skeley have a sound call Jah Life International and General Hi Power.” Tell me about Scion Success? “How did he

get a name like Scion 'Sashay' Success?! “He made it up himself, it has a meaning, but I don't fully remember it – laughs.”

He's based in New York? “Yeah, he worked with a sound Earth Man International. He's a nice singer you know. I enjoy listening to him and he's full of lyrics. I

have almost two albums with him. I have to take my time to pick the...”

How did the confusion with Sammy Levi occur? “The tapes got mixed up. With Junjo, whenever I record anything, I usually send a tape

for Junjo. He could do business for me then as well. He sent the tape to Greensleeves, but I didn't put on the box whether it was

Sammy Levi or Scion Success.” Is Sammy Levi based in New York? “Yeah, I gave Junjo two tunes with Sammy Levi at first. Then I started to do a lot of work with Scion Success. And that's how the complications came in. Being as they sound alike. Scion he can sing four set of lyrics and all of them is good over one rhythm!”

Scion Success