Island_Stage_Magazine_Issue4

M A G A Z I N E July 2014
Lucky
Dube’s
Legacy
Celebrating his 50th
Birthday- August 3, 2014
www.island-stage.com

04. 54. 79.
58.
84. 73.
67. 89. 70.
12.

Musically
Speaking
by: Lloyd Stanbury
The African Reggae Connection

Alpha
Blondy
For many decades, Reggae music has been passionately
embraced by Mama Africa. In the 1970s artists such
as Jimmy Cliff, Joseph Hill and Bob Marley became
musical icons in Africa, paving the way for Reggae
as a significant source of inspiration and influence to
musicians from the countries of South Africa, Ghana,
Sierra Leone, Nigeria, and Zimbabwe. Thomas Mapfuma
of Zimbabwe, and Nigerian Sonny Okosun who both
recorded and performed revolutionary Reggae songs
in the 1970s and 1980s, are the earliest proponents of
African Reggae to achieve critical acclaim internationally.
As a result of the cultural exchanges and common sociopolitical
interests of Jamaican and African musicians,
Reggae music in Africa has evolved and grown, and may
now be placed in two broad categories:
1. A fusion of the rhythmic principles of traditional
Reggae with local African music styles.
2. An imported Jamaican musical style that embodies,
in sound, image, and lyrical content, a certain political
consciousness and cultural identity.
Bob Marley’s performance in Harare at the Zimbabwe
independence celebrations in 1980 is regarded by
many as the turning point when Reggae expanded
throughout Africa. Today, there are Reggae bands in all
regions of the continent, and the influence of the genre
on traditional African music continues. Several African
Reggae artists rose to international prominence in the
1980s and 1990s, including Alpha Blondy and Tiken Jah
Fakoly from the Ivory Coast, Lucky Dube from South
Africa, as well as Majek Fashek from Nigeria. In more
recent years we have also witnessed recording artists
such as the Sierra Leone Refugee All Stars, the Nigerian
acts 2 Face, Asa, and P-Square rise to international
prominence through the infusion of Reggae and
Dancehall with their traditional African music.
© Sista Irie Photography
Since Marley’s ground-breaking performance in
Zimbabwe in 1980, the flow of Jamaican artists into
Africa for concert performances has continued.

Protoje
© Sista Irie Photography
Jah Bouks
2 Face
© Lance Watson Photography
© Sista Irie Photography

The African music market is now regarded by Jamaican
Reggae artists as one of the most important for live
performances. Many Jamaican artists have visited and
performed in countries such as Kenya, South Africa,
Zimbabwe, Ivory Coast, Tanzania, Nigeria, Ghana,
Uganda, Ethiopia, and Gambia. Many African Reggae
artists also travel frequently for performances in
Europe, and to a lesser extent the USA.
Reggae’s popularity in Africa should not be attributed
solely to creative and cultural exchanges, and the
common socio-political bond between Jamaican and
African musicians. There are also very significant
historical linkages between the Rastafari movement
and East African countries such as Kenya, Uganda and
Tanzania that further support the wide-scale acceptance
and popularity of Reggae on the continent.
Ashade-
Sierra Leone
Refugee
Allstars
The connections between Reggae music, Rastafari
and Kenya can be traced to the Mau Mau uprising
and military conflicts that occurred in Kenya between
1952 and 1960. The Mau Mau revolutionaries were
primarily young men and women of the Kikuyu group,
who vowed not to cut their hair until Kenya was
liberated from white colonial settlers. It is said that
images of these long haired men and women with locks
reached Jamaica, and were quickly adopted by the
Rastafarian community as a form of resistance within
the movement. The Kikuyu are the largest ethnic group
in Kenya, and their influence in government regarding
economic and social development of Kenya is very
significant. The historical connections between the Mau
Mau, Rastafari, and Reggae, as well the close friendship
between former Jamaican Prime Minister Michael Manley
and Jomo Kenyatta (regarded as the founding father of
the Kenyan nation), probably explains why Kenya is by
far the African country where Reggae is most popular.
The Kenya/Reggae connection is exemplified in the
common use and reverence accorded to names such
as Uhuru, as in Black Uhuru, and Uhuru Kenyatta the
current Kenyan Prime Minister, as well as the use of the
names Haile Selassie, and Marcus Garvey, to describe
prominent streets in the city of Nairobi.
© Sista Irie Photography

Ras Michael
© Sista Irie Photography

“I’d rather be a free man
in my grave, than living
as a puppet or a slave”.
― Jimmy Cliff
© Sista Irie Photography

Island Stage Magazine
The origins of Jamaican Rastafari Nyabinghi drumming
and chants, is traced to the 19th century resistance
movements in Uganda and Tanzania that were
inspired by the legendary Queen Nyabinghi. Nyabinghi
drumming groups in East Africa were primarily made
up of women who were also revolutionaries. The
drumming and chanting were embraced by early
Rastafarians in Jamaica, and influenced the shaping
of Jamaican Ska, Rock Steady and Reggae. Reggae’s
acceptance and popularity in Uganda and Tanzania
continues to be deep rooted and wide-spread. Count
Ossie, and Ras Michael and the Sons of Negus became
popular in Jamaica, Africa and the rest of the world for
their Nyabinghi style Reggae music.
My visits in recent years to several countries in
Africa have enabled me to put into perspective
circumstances that contributed to the growth and
popularity of traditional Roots Reggae music around
the world. Africans, more than the inhabitants of any
other region of the world, have historically embraced
Reggae music with great passion. The musical works
and messages of early Reggae pioneers such as
Bob Marley, Peter Tosh, Jimmy Cliff, Steel Pulse,
IJahman Levi, Culture, Third World, and Burning
Spear, are regarded by many Africans as the fuel
that carried the flames to burn down apartheid and
other injustices faced by the poor black people living
on the wealthiest continent on earth. Many years of
support from anti-Apartheid and African liberation
sympathizers around the world enabled and boosted
Reggae music’s global popularity. The bond between
Africa, Reggae and Jamaica is not only a very strong
one, but in my opinion provides the basis for Roots
Reggae’s continued global viability. The emotions and
sentiments expressed by Jamaican Reggae artists and
their African counterparts towards each other presents
a rather interesting paradox.
been done however to build the bridge to unite the
Diaspora.
The recent resurgence of Roots Reggae music in
Jamaica, now labeled “The Reggae Revival”, happened
because of the reconnection of many young Jamaican
musicians to their African sensibilities. Apartheid
may be legally dismantled, but the suffering and
exploitation of our brothers and sisters continue in
Africa and other regions around the world.The youth
population of the Western world who are of African
descent have also lost their way in terms of their
knowledge and understanding of Africa. New roots
Reggae songs by emerging young artists such as
Chronixx, Protoje, Jah9, and Jah Bouks speak to
historical and current African issues, and have become
increasingly relevant in informing and educating
people about Africa.
As music business models continue to change and
the emphasis on revenue shifts from recorded music
sales to live shows and copyright royalties earned
from radio and TV play, markets like Africa will also
take on new economic significance for Reggae artists.
The points raised above clearly reveal an inseparable
connection between Reggae and Africa. Undeniably
Reggae needs Africa, and Africa needs Reggae.
Lloyd Stanbury is a Jamaican Entertainment
Attorney and Music Business Consultant
Follow Lloyd
Jamaican Reggae artists yearn to go to Africa, while
African artists yearn to visit Jamaica. Enough has not
Issue 04 July 2014
PAGE
10
www.island-stage.com

SAT JULY 12TH
SUN JULY 13TH
THROUGH THE ROOTS
THRIVE HIRIE AFRO OMEGA
NATURAL ROOTS KNOW UR ROOTS
FUNK & GONZO TRIBE OF I
LIBERTY PARK
900 S. 700 E. | SLC, UTAH
FORTUNATE YOUTH
STRANGER CODI JORDAN
2 1/2 WHITE GUYS MAKISI
BLUDGEON MUFFIN
TICKETS AVAILABLE AT
REGGAERISEUP.COM
ALL AGES WELCOME | RAIN OR SHINE

LUCKY
PHILIP
DUBE
AUGUST 3, 1964 - OCTOBER 18, 2007
© Lee Abel www.reggaeportraits.com

On August 3, 1964 a Bright Star was born on a small
farm near Ermelo in the eastern Transvaal (now
Mpumalanga)- South Africa. Lucky Philip Dube wasn’t
expected to live, and therefore was not given his
name until he was six months old. He was born when
apartheid law was forcing black African families to go
without proper health care, nutrition, education and
employment.
His mother was the only breadwinner in the family as
she had separated from her husband before Lucky’s
birth and was forced to leave Lucky and her other two
children, Thandi and Patrick, in the care of her mother.
She earned such meagre wages in her job as domestic
worker that she was barely able to send money back
home for her children. Lucky’s father drank heavily and
he had little contact with him; a fact which influenced
his career and caused him to shun alcohol, cigarettes
and drugs.
Lucky’s grandmother would often go without food, to
ensure that he and his siblings ate. At only five years of
age, Lucky started his first job working as a gardener
for white families to help put food on the table. This
experience was painful, as he was treated badly and
even physically abused at the hands of his “so called
employers”.
At the age of 8, Lucky began school, and he excelled
at it. He continued to work as a gardener on his off
hours, even after a 9 mile walk, and a lot of the time,
with a hungry belly. It was there that he discovered his
great love in life; music. He was part of the choir and
soon became the choir leader, a role in which he was
so successful that his choir was placed third in an interschool
competition, a first in the history of the choir.
Lucky now found school a safe haven, and his popularity
amongst his teachers and fellow learners soared.
Lucky found some musical instruments by chance in
a school cupboard one day and he and some friends
formed his first musical ensemble, The Skyway Band.
©Lee Abel www.reggaeportraits.com

This was cut short when a teacher discovered their
activities and locked the instruments away.
In 1982 while still at school, Lucky joined his cousin
Richard Siluma’s band The Love Brothers, playing
traditional Zulu music known as Mbaqanga. Lucky’s first
album recorded in Johannesburg during school holidays
with The Love Brothers was released as Lucky Dube and
The Supersoul. He was the lead singer but did not write
any of the material.
Later, Lucky and Richard would also record a Zulu/Rap
album together in Afrikaans “Kap Se Dance” under the
assumed name of “Oom Hans.” This was Lucky’s “alter
ego” as he was always wearing a mask when performing
the Afrikaans songs. It was successful, and Lucky
eventually added a third set to his shows, but had to stop
out of sheer exhaustion and fear for his safety from the
surging crowds trying to unmask him.
Around this time Lucky began to learn English, having
started his schooling in Afrikaans. While at school he
discovered the Rastafari movement. Though he did not
consider himself a Rasta in the traditional sense, his
dreadlocks and espousal of Jah (God) lent him the air of a
Rastafarian.
In Lucky’s second and third albums, he was more involved
with lyric writing. The sales figures were beginning to hit
gold status and people began to notice him.
Because of his mother’s concern about the uncertainty of a
musical career, Lucky swore to complete school. After the
release of his fourth album, he was beginning to make real
money.
As the crowds loved his reggae tracks Reggae Man and
City Life, which he introduced into his performances,
Lucky and Richard decided to record a full album of reggae
songs and judge the response to that. Drawing inspiration
from Jimmy Cliff and Peter Tosh, they felt the socio-political
messages associated with Jamaican reggae were relevant
© Lee Abel www.reggaeportraits.com

to the institutionally racist society in South Africa.
This set the future course of Lucky’s career. His
reggae lyrics were social messages aimed at the
struggle of the Black man, while still maintaining
a commercial sound. His first reggae mini-album
Rastas Never Die appearing in 1986, was a
complete financial failure. It was not as popular
with the audiences and in addition the South
African government, fearing apartheid activism,
banned the album. This did not deter him however,
and he slowly included more and more reggae
tracks into his live performances. As time passed,
the audiences grew to love this ‘new sound’ and
associated that sound to Lucky Dube. Lucky’s
second album, Think About the Children reached
platinum status in South Africa and established him
as one of the country’s biggest stars.
Lucky continued to release commercially successful
albums. In 1989 he won four OKTV Awards for
Prisoner, another for Captured Live the next year,
and another two for House of Exile in 1991. He
appeared at the 1991 Reggae Sunsplash, where he
was invited back on stage for a twenty-five minute
long encore. His 1993 album, Victims sold over
one million copies worldwide. In 1995 he earned
a worldwide recording contract with Motown. His
album Trinity was the first release on Tabu Records
after Motown’s acquisition of the label. Serious
Reggae Business, a compilation album released
in 1996 and won him the title of “Best Selling
African Recording Artist” at the World Music Awards
and the “International Artist Of The Year” at the
Ghana Music Awards. His next three albums each
won South African Music Awards. His last album,
Respect, earned a European release through a deal
with Warner Music.
Lucky shared international stages with artists
such as Sinéad O’Connor, Peter Gabriel and Sting.
He also performed in the 2005 Live 8 event
in Johannesburg. With an astounding twenty-
© Lee Abel www.reggaeportraits.com

one albums to his name, he earned over twenty awards for his musical contributions - both in South Africa and
internationally.
Lucky acted in the feature films Voice In The Dark, Getting Lucky and Lucky Strikes Back.
He was a humble man with a down-to-earth approach and superb musical taste and genius. He was an artist with a
message, with a reason and a message behind everything he did. And Lucky was totally in touch with his audience.
On October 18 2007, Lucky Dube was brutally shot and killed in front of his son and daughter in Rosettenville,
Johannesburg, by car hijackers. He is survived by his wife, Zanele, and his seven children.
On August 3, 2014 Lucky would have been 50 years old. We will celebrate his life and his legacy. We will never
forget. Lucky Philip Dube was not just an artist, he was a father, a friend and a humanitarian.
Island Stage is honored to share this beautiful tapestry of Lucky’s life and legacy. In the pages following, you will
hear directly from Lucky’s son, Thokozani (TK) Dube and his daughter Nkulee Dube, both who share very special
memories of their father with us. You will also hear from people who worked closely with him such as Mark Miller,
Lucky’s Director of International Business, and Randall Grass from Shanachie Records. We are also honored to
include two epic interviews conducted in 1997 with Lucky by Sista Irie and Michael Kuelker.
Lee Abel and Lucky Dube
All Lucky Dube Images are provided by Lucky’s long time friend and
gifted photographer , Lee Abel
We hope you will cherish the following Special Feature as much as we
do!!

“Lucky Dube! uhh Lucky Dube yeah! ay Lucky Dube I Lucky
Dube! What could he have done so wrong ? Did we even know he
was one of the JAH prophets? Listen to his great songs, oh JAH !
What a man we have lost so! We always will remember you now
& forever -for the works you have carried out. And we will not
forget all of the things you did ! This is a sign to show that times
have changed. They have changed, They have changed Yeah, they
have changed yeah! They have changed- Times have changed,
yeah! Ooh mankind !
Always and Forever by: Gramps Morgan
From the EP “2 Sides of My Heart - Vol 1”
Now that you’re amongst the stars, We will make sure your
works live on. Crying tears will fall time to time ,But memories
of you help us carry on soooo, we will not forget all of the things
you did ! This is a sign to show that times have changed.
They have changed-They have changed-They have changed yeah-
Times have changed-Times have changed, yeah uhhh
Lucky Dube all the youths gonna cry. Lucky Dube the whole
world’s gonna miss Lucky Dube! Jamaica will never forget
Lucky Dube! Africa will always love Lucky Dube! The youths
gonna cry Lucky Dube! The whole world’s gonna miss Lucky
Dube ! Jamaica will not forget you Lucky Dube! Africa is saying
We always will remember you now & forever for the works you
have carried out , and we will not forget all of the things you
did ! This is a sign to show that times have changed. They have
changed, The times have changed yeah! They have changed,
They have changed -Times have changed, times have changed
-Have changed, yeah ! Some will come, some will go. But the
works you’ve done will still live on. Just like the prophets of old
you were one, a chosen one ! Some will come, some will go But
the works you’ve done will still live on . Just like the prophets
of old you were one, a chosen one! Just like the prophets of old
Surely, Surely We always will remember you now & forever for
the works you have carried out. And, we will not forget all of the
things you did ! This is a sign to show that times have changed.
They have changed -They have changed They have changed! Oh
Lucky Dube, look what we have done to you.
Oh, mankind, is so unjust oh Lucky Dube you live on Forever!
more oh Jah oh Lucky Dube, you will live on yeah, oh Lucky
Dube Yeah Everything’s gonna be alright...
© Lee Abel www.reggaeportraits.com

Nkulee Dube
Best Memories of My Father “Lucky Dube”
Getting to know him...
There are a lot of memorable moments with my Dad.
He was a “hands-on type” of father to all his kids.
He spoiled us rotten and still managed to maintain
his strict persona. My dad taught me a lot about my
Heritage and how I should carry myself as an African
Zulu woman.
I did not get the chance to be raised by him, but the
little time I did have with him will be cherished for the
rest of my life.
The first time I met my Father, I had just turned 20
year of age and he was worried about “teaching an
old dog new tricks’’ he would say. He thought his
influences would be limited to a 20 year old woman
who had her own way of living before meeting
him. Luckily for him, I was raised by a very strong,
independent woman and he didn’t have to do much to
put me in line.
Adapting to the family structure was easy for me
because I was raised with the same morals, and we
had a lot in common. We shared the love of Horror
Movies and the love of traditional beliefs and values.
We still try and keep his values as much as we can as
a family.
My father the comedian!
My Father had a massive sense of humor even if it
was at someone’s expense and most of the time it was
at my expense too. Maybe because I was the freshwoman
in the Family! (laughs)
© Lee Abel www.reggaeportraits.com

Island Stage Magazine
I was a dancer and had broken my foot in half doing
a spin on my toes during a performance. I didn’t
prepare my body before the show and that was my
mistake. I had to have surgery to join the two parts
together. My dad came with me to the hospital the
morning of surgery and checked me in.
All was going well and the doctors had marked the
points of incision and then they took me to the
operating room. The operation was a success, my
foot was saved and they took me to into recovery.
I was still out of it when my dad came in the room
and started preparing the most frightening day of my
life. He took one of the white pillows and wrapped it
around the other foot, then he woke me up and told
me the bad news, he said “The doctors have operated
on the wrong foot”. I looked down and saw the white
covering on my foot and started crying and screaming
my lungs out. I believed him because I couldn’t feel
anything on both my feet and I was a bit out of it,
also my vision was not clear. The doctor heard the
screams and came running to check on me, only to
find my Dad laughing his eyes out! I‘m thankful that
he didn’t have a camera with him! (laughing)
A Caring Person.
One time we were driving from Johannesburg to
Newcastle, I think it’s about a 1000km’s and when we
were about half way we saw an old lady on the side of
the road hitchhiking. My dad stopped to pick her up
and she told us she missed her bus going the opposite
direction from where we were heading.
My dad filled up on gas and we drove the opposite
direction for about 4hrs to take this old lady home.
She was shocked and so was I! We arrived at her
home in Umlazi (Durban) and she gave my Dad a Big
hug and ten dollars for a drink or sweets... She said
she was so appreciative of that gesture. Once on the
road back, I asked him “was ten dollars enough for
Issue 04 July 2014
PAGE
19
such a long trip”? He said to me “The best rewards
are the ones that fill up your “Soul Account”. That way
you will always be wealthy no matter what happens
in your life. That taught me a lot about my father
and helped me make a lot of deposits in my “Soul
Account” the only wealth I can bring with me when I
pass on.
My Inspiration
My father inspires a lot of people around the world
and that inspires me to work harder to keep his
Legacy alive for generations to come.
Travelling & performing in other countries has blessed
me with the gift of meeting some of the people my
father has helped through school. Education has
always been crucial to him. I met doctors, lawyers and
musicians whom my father has touched directly or
indirectly.
I remember one of our tours to “Vanuatu Island” it
was my first time there, and what I saw will stay with
me forever. It was a few months after his passing
and we had to finish off some of the shows that were
booked before the incident. The Love we received was
overwhelming. People were camping on the streets
coming from neighbouring islands to share the love
and mourn with us. It was a very real spiritual journey
for all involved.
He loved his fans so much and always made them feel
like they knew him personally. They were a big part of
our family because he would come back from a tour
and tell us stories about the people he met on the
road with such passion and love in his eyes. This puts
a bit of pressure on me as a performer to be half as
good as he was on stage and off-stage! (smile) He is,
and always will be my Inspiration...
www.island-stage.com

Island Stage Magazine
Lifes Lessons
He taught me Respect of all that lives..
He taught me Love without boundaries or limits..
He taught me that Unity is stronger than any
ammunition..
He taught me that Prayer is not a substitute for Hard
work..
He taught me that God is a “promoter” of this Show
(life), so stay in his good books and you’ll be booked
in all his festivals (laugh) makes a lot of sense..
The only comfort I get from all this, is knowing that
my brother (TK) and I were there for him, as horrific
as it was I’m glad he was not alone or with strangers,
he was surrounded by the love of his family.
Lucky Dube, my dad, is surely missed by all.
Much Love- Nkulee
© Lee Abel www.reggaeportraits.com
Issue 04 July 2014
PAGE
20
www.island-stage.com

Nkulee Dube
© Lee Abel www.reggaeportraits.com

No female artist has managed to fuse ethno-soul and jazz
with ragga in one song the way this 27-year old singer,
songwriter, Nkulee Dube has done in such a short space
of time since entering this challenging and yet exciting
industry.
Born to the family a music legend, Nkulee Dube has big
shoes to fill to preserve and sustain the name of her late
father, Lucky Dube. Nkulee, whose music can be classified as
‘ethno-ragga’ fused with soul and jazz, is no stranger to the
performance circuit and the music industry; she has been
a backing singer and dancer for the late Lebo Mathosa and
later Ntando Bangani.
She glides and slides with ease in between her songs as she
traverses between ragga and ethno-soul as if she was born
on stage. As a guest artist and backing vocalist, Nkulee has
been part of her late father’s performing band ‘One People’,
and Nkulee has performed at major festivals in Australia,
Holland, Papua New Guinea, French Guyana, Suriname, etc.
Nkulee has already appeared in a compilation album
released by Sillywalks Entertainment in Germany, where
her song ‘Give it to Me’ is amongst some of the world’s
greatest reggae and ragga songs by artists such as Sizzla.
Additionally, Nkulee has been featured on some of Skwatta
Kamp members’ albums; Slikour and Nemza.
A powerful performer, just like her father, Nkulee has shared
the stage with the Jamaican reggae/ragga artists Sizzla,
Turbulence and others in countries such as the USA, Europe,
South Africa, the South Pacific, Namibia, and Kenya.
She is one to watch and could easily fill the shoes of the
greatest South African performers, such as Brenda Fassie,
Lebo Mathosa and of course her beloved dad Lucky Dube.
Most importantly, Nkulee is a blessed artist in her own right
with her own style and has many miles to travel...
Nkulee is currently recording her new album which will be
released this year and her debut solo album “My Way” rose
worldwide to critical acclaim.
© Lee Abel www.reggaeportraits.com

TK Dube
MAMA (MTV African Music Awards) 2009 in Kenya, TK receives the Legendary
Award on behalf of his father.
Lucky Dube – The Man Behind the Music
by: TK Dube
There are many memories that I can share with you regarding my
father that many do not know about.
I remember at one time we used to be like oil and water, simply
because I did not understand why he would want me to focus so
much on school when I could join him in the music industry. To me,
everything seemed simple. He could easily teach me the ropes and
I could have real practical experience and work with it. With no
doubt, music is in my blood but he just didn’t see it that way.
I remember after I completed my matric, I thought that this is the
time for me to follow my dad’s lead and join him in the industry.
However, he had other plans.
He really enjoyed sitting around with family, watching movies (he
could tell you year the movie was made, the story line and the
actors/actresses in all movies).
We were home this one time, busy doing absolutely nothing, and I
was in my room writing some lyrics in my little black book. I went
to the kitchen to get some juice, and on my way back he asked if he
could see what I was writing.
He looked over some lines I had written and he liked a few of them.
At the time, he was working on some song (unreleased yet) as he
always did when he had come back from a tour. He said “lets go and
put these lines down, I like them.” Now the way we did it was, he
was singing and I would do my little rap on the song (sounded quite
nice and different – mixing rap and reggae). After we had recorded,
he sat me down and told me that he would not stop me from doing
music, but first I had to go through varsity so that I would have
something to fall back on.
He always put education first, before anything. He always said that
without education, it would always be a challenge for one to make a
success of their life.
Unfortunately, when I finished my qualification in 2008 he was not
around to see that success we were building.

People often ask me how it feels to have had “Lucky
Dube” as my father given his status in society.To me,
he was just a father, and I knew little about him as the
man on stage and knew more about Lucky, the parent.
Band Life
Even though I was not old enough to understand
anything that was going on at the time, my Grand
mother (Freda Lowe) had this to tell me about how the
band was treated.
“He was the only artist that I knew of in the 90’s who
held a dinner for his band members at Christmas time
and gave them all a bonus - this happened on an
annual basis. Sometimes when on tour, if they were
all delayed in returning home due to flight/weather
problems, your Dad paid the band members their per
diems for EVERY day, even when they were not earning
anything and sometimes he came home, out of pocket
because of his kindness and generosity” – Freda Lowe
I remember one day when he had just come home
from touring. I wanted to know how much he had
made on tour. (Not that he was going to tell me how
much he made.) I was just trying to catch up on how
the tours were doing and where he went and how
things were. He told me it was not a successful tour
in terms of money, but what was successful about it
was the fact that people got to hear his music. He told
me that there were some challenges with some of the
event promoters and he had to pay the band from his
own pocket. What he told me is that he could not allow
them to come home empty handed after being on tour
for three months. Personally I thought this was absurd,
but as I grew older I understood that this is just the
type of man he was.
Humanitarian
© Lee Abel www.reggaeportraits.com
As many are undoubtedly aware of his poor upbringing,
he never wanted to see anyone who was capable of
making something of their lives lose their talent on the

street.
In many cases he would find people in his neighborhood
that had completed their matric (grade 12) with
excellent marks but had no means to further their
education. He would pay their fees in varsities, and
all he wanted in return was pass marks. He wanted
to ensure that he could provide to those that could
not make means to go to higher educational facilities.
He would do all of this without going public and try to
show what he was doing for charity. He would do this
purely from his heart. Most of the people that he helped
through school are today lawyers, doctors, accountants
and IT specialists. He was a man that loved education
because he believed that education was a true enabler
to any individual.
Personal Life
Many people only got to know about his family after his
passing. He ensured at all times that he kept his family
protected from the media.
He would always say “Ngifuna babhale uma ngikhipha
i-album babhale ngomculo wami” (I want them – the
media- to write about me and my music). Initially I
never quite understood why he would want to hide us
from the world. Now that he is gone, I really appreciate
what he did because he was able to keep his private life
private and his music out in the open.
Inspiration
Many times I would wonder about where he was getting
the inspiration to write the music that moved people all
around the world. When I approached him about this,
he would sit me down and tell me about his experiences
on tour, the people he had met and the difficulties they
were facing. He would write his music based on what he
had experienced and what he saw when visiting other
countries. This is why he would always stay relevant.
He made music for the people that was inspired by the
people.
© Lee Abel www.reggaeportraits.com

Last night
One of the memories I hold very close to my heart are
those of the last night I was with him.
I remember, they came (Nkulee & My dad) from
Themba’s house where I was residing. He called
me up and said “let’s have dinner”. He had come to
Johannesburg from Newcastle and he was in town for
the day, as he had some business to take care of. I was
busy studying because I had a test to write the next day.
They somehow managed to convince me to go dine with
them for the evening, and they would bring me back
early so that I could refresh.
We went to Spur in Eastgate (nearby mall in the east of
Johannesburg). He ordered one of his favorite meals,
King klip, rice and vegetables.
We had awesome laughs for the night and I will always
cherish that.
When they were taking me back to Themba’s place, the
last thing he said to me was “Sengiyahamba manje,
umuntu afunde asebenze” meaning “ I’m leaving now,
you must get educated and work”. Those were the last
words he uttered before he left us. That message is one
thing that I will always cherish in my life always.
Church
My dad was part of a traditional African church called
Shembe.
Now in the Shembe church, we don’t hold our sermons
in a church building, but we hold them outside in an
area that is surrounded with white stones. The person
who is giving the sermon will project their own voice
to talk to everyone. In most cases, especially in the
bigger churches, you would not always hear everything.
He went to every church he could and he donated a PA
system so that everyone could hear the word of God.
He and the late Mandla Nene, who managed his office,
would then teach a few individuals how to operate the
equipment. On top of that, he would also be responsible
for all the repairs of the equipment if anything happened
to it. Mandla Nene passed away in May 2014.
One thing that he was always scared of but took pride in
doing was to give the sermon or preach at the services.
The first time, he was very nervous and asked my Grand
mother (Freda Lowe) “Why would anyone want to hear
what I have to say at church?” Well, they did want to
hear what he had to say, and they did often. He was a
very spiritual being who went to church every Saturday
(Sabbath) when he was home, and would respect the
Sabbath when he was away on tour.
Lucky Dube Legacy
The Lucky Dube legacy is one that can never be
forgotten. When you have an artist that is so relevant to
so many people in the world, it is not possible to forget
them or their music. He spoke about happenings in the
world, and real life stories of real people.
The band manager (Lenah Mochoele) who worked with
my father for many years, is also releasing a book;
My Spiritual Journey with Lucky Dube where she
shares her personal experiences with the man behind
the music. She is also the current band manger of The
Lucky Dube Band.
In the future, I am also planning to release an album
that continues where he left off. However for now that is
still being worked on.
The legacy that Lucky Dube left behind will never die
because of the messages he left in his music. I take
these messages everywhere I go, and I hope that
people listen to his music with the understanding of the
message.

TK Dube
© Lee Abel www.reggaeportraits.com

© Different Colours Production
TK Dube

Thokozani Dube (TK) was born in KwaZulu
Natal (province in South Africa) in Newcastle
to Nokuthula Buthelezi and the Late Lucky
Dube on 20 May, 1986.
He had humble beginnings, and in the early
stages of his life he didn’t know his father, as
his parents had gone their separate ways.
TK re-united with his father at 11 years of
age, and even though they were not together,
it made life a lot better as he now had both
parents in his life. (If you didn’t know, now
you know how the song “Lucky Dube – Son
I’m Sorry” came about)
TK started school in Newcastle at Hope High
School from Grade 1 to Grade 3. After reuniting
with his father, he then began to
attend school in Johannesburg with his older
sister Bongi. He studied at Bishop Bavin
School until he completed his matric (Grade
12) in 2004.
In 2006, TK furthered his studies and
completed his Bachelors in Information
Technology at the University of Johannesburg.
Sadly, his father passed away while he was
doing his 2nd year (2007).
In 2009, at the age of 23, TK landed a
job in a software development house in
Johannesburg where he worked for three
years as a C#/Java/Visual basic software
developer. He then made a career move and
is currently employed at one of South Africa’s
largest telecommunications companies as
an Accounts Receivables and Collections
Developer (Java/SQL/Shell) for the mobile
division.
While employed, TK was able to complete
a course in IT project management. He is
© Different Colours Production

Island Stage Magazine
currently completing his BCom Honours Degree in
Information Technology Management, and he is an
aspiring IT project manager.
TK Dube
Initially when TK’s father passed, he did not want to
make a move into the music industry, as he felt that
his mentor was gone. He didn’t think it would be the
right choice for him to make at that time. Athough
both of his sisters (Bongi & Nkulee) would be there to
help, TK did not feel like it was the right thing to do,
so he carried on with his studies.
Despite not wanting to join the music industry earlier
on, in October 2010 TK decided to start a company
that would continue in his father’s legacy.
The company, Different Colours Productions, is
currently managing The Lucky Dube Band (previously
known as “One People Band” - Changed to align the
name more with the Legacy).
The Lucky Dube Band is currently working on a
project that is due to be released soon. TK wrote
a song on the album entitled “Ease the Pain” The
song style is a mix of Raggae/Ragga/Rap, and he has
performed that song along with one or two Lucky
Dube classics.
In 2012 the band toured the Pacific and TK performed
in New Caledonia including Lifou. Locally in South
Africa, he has performed with the band at an awards
show (Siyabakhumbula awards) where they were
paying tribute to his father, Luck Dube.
In August of 2013, Baseline, a venue in Johannesburg
put on a show to celebrate the life of their father, the
legend, Lucky Dube. Nkulee and TK were amongst the
performers for the night.
Keep your eyes on TK, you will be seeing and hearing
alot more of him in the not too distant future!!
© Different Colours Production
Issue 04 July 2014
PAGE
30
www.island-stage.com

© Different Colours Production

© Lee Abel www.reggaeportraits.com

Island Stage Magazine
Mark Miller
Mark was responsible for arranging and contracting
a number of Lucky’s shows around the world,
including most of his South American shows and some
European shows.
“Being with Lucky was a very special period of my life,
as I was also Bob Marley’s stage manager from 1978
to 1980, so how blessed can one man be!”
We asked Mark how he feels about Lucky Dube’s
legacy musically, as an artist and personally as a
human being. Mark told us “Lucky’s music, like
Bob Marley’s music, will never die. It will outlive
generations as the messages both artists conveyed
through their compositions give people hope, dreams,
and the reality that there can be a better life. As an
artist and as a person, Lucky was one of the most
genuine, loving individuals ever to walk this earth.”
a South America tour, we were in Brazil and had just
completed a show in Salvador. After the show, the
promoter came to us and said there was a second
show about an hour and a half away and Lucky
agreed to do it. We arrived at about 3am in the
morning at the second venue and there were about
6000 people waiting to see the show. While we sat
on the bus, Lucky just talked about regular things;
life, his ideas and dreams. Just like two old friends
and while I was blessed to be present, it was as if
Lucky was talking with his creator and I was just
a witness. Very moving I can tell you. Lucky went
onstage as the sun was just coming up and did his
regular ‘blistering’ set until we all were completely
spent.. Unbelieveable…”
Photo: Mark Mark Miller & Nkulee and Nkulee Dube
When we asked how Mark sees the musical lineage
living on through his children, he told us that he
currently looks after all the international business for
Lucky’s daughter Nkulee Dube. “Nkulee will carry the
torch for the Dube family to millions of music fans
worldwide. Her compositions contain some of the
same drive, same feeling, and same messages as did
Lucky’s songs.”
Lucky was always very professional in his dealings
with others. We asked Mark what advice did he think
Lucky would have for other artists who are trying to
become successful in Reggae? He replied, “Never give
up on your dreams”
We asked Mark to share with us, one or two special
memories of his time with Lucky.
“Lucky and I used to sit on the tourbus while the
roadcrew were setting up the stage. One time during
© Lee Abel www.reggaeportraits.com
Issue 04 July 2014
PAGE
33
www.island-stage.com

© Lee Abel www.reggaeportraits.com

Island Stage Magazine
Randall Grass
hoped it could happen again with Lucky. We reached
out to George Michaelow of Fast Lane International,
the booking agent who had booked Alpha Blondy’s
breakthrough U.S. tour; he also was impressed with
Lucky and agreed to book a tour for him.
From the moment we first released Lucky Dube’s
album “Slave”, the “buzz” began. Lucky’s strong and
resonant singing in combination with his sociallyconscious
message lyrics, assertion of Rastaconciousness
and South African-tinged classic reggae
riddims proved to be an irresistible combination for
lovers of roots reggae hungry for a new messenger.
I remember the exact moment I first heard Lucky
Dube’s music. It was late one night in 1987; we at
Shanachie Records often worked late into the night
and tended to do our A & R listening then. We had
received an LP by one Lucky Dube from Gallo Records
in South Africa, from whom we had done deals with
for albums by Ladysmith Black Mambazo and others.
As myself and Dan Collins, one of the owners of
Shanachie put on the LP and listened, we looked
at one another. “This is really good!” Dan said to
me. I agreed. Especially striking was the Peter Tosh
influence in Lucky’s vocalizing; not too many people
sang like Peter. Though Lucky was at that time totally
unknown in the States, we decided then and there to
do a deal to release the album in the States.
At that time, a few years in the wake of Bob Marley’s
passing, dancehall was ascendant. There weren’t
many artists emerging on the reggae scene with
a classic roots style. We had previously had great
success launching Alpha Blondy in the States. We
Issue 04 July 2014
PAGE
35
When he came to tour, his dynamic, often two-hour
live performances with full band, complete with horn
section and female back-up singers reminiscent of the
I-Three were a sensation. Lucky often remarked that a
two hour show was short for him; in Africa audiences
expected and got much longer performances.
It was also the peak of the international antiapartheid
movement and much of Lucky’s music was
oppositional to apartheid—sometimes overtly on
songs such as “Together As One”, which explicitly
advocated the coming together of races or “War &
Crime” which as the line “let’s mash down apartheid”
to more oblique references such as “Slave”, which on
the surface was about alcoholism but which could be
applied to socio-political issues.
I also remember the exact moment I met Lucky. I had
traveled to Philadelphia where Lucky was playing on of
the first tour dates; if memory serves, it was a club
called The Empire but I can’t swear to that. I arrived
around the time for soundcheck and as I made my
way back toward the stage in the empty club, I saw
a lone figure sitting on the stage, his hands clasped
around his drawn up knees. Coming closer, I realized
it was Lucky, evidently waiting for the musicians to
gather onstage for the sound check. No superstar
www.island-stage.com

Island Stage Magazine
posing for him. No entourage of “yes men.”
I greeted Lucky and he replied pleasantly, but in
what I would come to learn was his normal rather
low-key, phlegmatic way. Lucky usually was quietly
serious and he didn’t waste a lot of words but he
was also quite definite in his beliefs. He was open
to hear other points of view; but he was not easily
convinced. I soon found that Lucky had a sly humor,
tongue-in-cheek lines or puns delivered with deadpan
expression. And his love of horror films often came
up.
Over the next few years we released several Lucky
Dube albums. Between the promotion of those
releases and Lucky’s willingness to make sacrifices
to do major national tours—at much smaller venues
and for much less money than in Africa—he was
established as a major reggae star in the States,
outselling all but the likes of Marley and Tosh. He
was great to work with; totally willing to do endless
interviews, never complaining about long hours
and less-than-first class conditions on the road.
Sometimes we discussed ideas for music that might
help take him to higher heights in the States. But he
was very definite about wanting to maintain a sound
with strong South African quotient in it.
In the Nineties, Gallo Records received an offer from
Motown Records for the next Lucky Dube album which
we were unable to match. I remember Lucky telling
an interview that he was looking forward to being on
a major label but, he said “if it doesn’t work out I’ll
come back to Shanachie with my tail between my
legs.” It was good example of his basically humble,
often self-deprecating attitude.
Of course in Africa and Europe, Lucky was an even
bigger star. In the States, he made an indelible mark,
carrying the torch for classic roots, message-oriented
reggae delivered with a full band and presentation
Issue 04 July 2014
PAGE
36
that very few in the reggae world delivering at the
time. The last time I saw Lucky, we talked about
music but also about life; he at the time was very
worried about his daughter and we compared notes as
my wife and I were going through similar travails with
our teenage daughter at the time.
When the news came of his death it was a horrible
shock both because he was relatively young when
he died, but also of course because of the way it
happened—a random murder connected with a carjacking.
They say “only the good die young.” In
Lucky’s case this is sadly true. If he were still around
today I know he’d be making powerful relevant music.
At least he was able to witness the fall of apartheid.
But he was not afraid to express strong opinions
about the machinations of politicians in the postapartheid
government in South Africa. We could really
use someone like him around today. Meanwhile, we
are blessed to be able to listen to his music which
continues to give us inspiration.
Follow Randalls’ Blog
www.greatspiritsmedia.com
“These guns and the roses that we’ ve got to live with, let
us unite against being divided. You belong to one political
party I belong to one musical party. Let us take control of
the situation, otherwise we’ ll be trapped in this”
Guns and Roses - Lucky Dube
www.island-stage.com

© Lee Abel www.reggaeportraits.com

Lucky Dube
interview with Sista Irie
Austin, Texas
August 22, 1997
Living in Austin, Texas, known as the “Live Music
Capital of the World” has enabled me to meet many of
reggae’s finest singers and players. Lucky Dube was
one I will never forget. Little did I know, this interview
would be the last time I would see him. Ironically,
growing up with apartheid, Lucky had two paths in life
to choose from; the positive (music) and the negative
(drugs). He chose the positive, only to be cut down by
the dregs of life pursuing the negative. - Sista Irie
What was it like in South Africa growing up
under apartheid and how did it affect you as a
musician?
As a boy, we didn’t know that there was anything
wrong at the time. Apartheid was just part of our daily
lives. It was just a way of life. It was the way we grew
up until we began to listen to politicians and started
listening to music like Peter Tosh. That was the one
music that really opened my eyes as far as apartheid
and injustice goes in South Africa. But before that,
as a boy, that was how our parents grew up and we
never knew there was anything wrong. When I started
doing music, that realization got a bit difficult for me
because I could not sing about all the things that I
wanted to sing about because the government was
totally intolerant of anything that was against them.
And so, it got difficult. A few of my songs were banned
at that time and it was hard to reach people. But,
somehow, we managed to get the message through to
the people.
You must have had some awareness that the rest
the world didn’t live
under the restrictions
of apartheid. Was
there an underlying
movement among
among the youth to
try to rise up against
the government or
to try to get support
from outside of South
Africa?
Getting help from
outside was going to
be difficult. It was the
youth in South Africa
that had to organize
themselves, thus the
riots in 1976. It was the
youth that came together and started fighting against it.
Was there much of a difference in the leadership
between Presidents P.W. Botha and F.W. DeClerk?
I can say there was, because some of the things we saw
in DeClerks leadership is he was not as tight as Botha.
Mandela would have been released during Botha’s time
but because of who he was and what he stood for, Botha
didn’t release him. It was DeClerk who released him.
DeClerk did some things that Botha wouldn’t do so there
was some difference even though they still had the same
constitution.
Was it a surprise to the people of South Africa that
DeClerk would turn the government over?
(laughs) It was time, just time. I don’t think he would
have voluntarily turned over the government. It was just
the right time to happen. I should give him some credit.
At one time, it was suggested during Botha’s presidency
that there should be general elections but he would not
allow it. So I would give DeClerk some credit that he

allowed the talks to start happening that led to
elections. Guys like Botha would never have allowed
that, so I can give DeClerk some credit since he
allowed the talks even though it was like pulling teeth.
Were you there?
Oh yes...(low laugh) and I was involved very much in
voter education because alot of people did not know
how to vote. I went around the country teaching
people how and why they should vote.
Since Nelson Mandela has been President, have
new opportunities been created for performing
artists?
Musically, I can say the only thing that has happened
with us is we can sing about things we were not
allowed to sing about before. Not to say it is totally
free now but there is some slack.
Is it freer for artists to come and go from South
Africa?
Yes, for me it has always been like that, even during
DeClerks time. I have always been able to come and
go. I never had problems.
What do you think it will take in this lifetime to
turn around the deep seated attitudes of racism.
© Lee Abel www.reggaeportraits.com
Hmmm. I think people are depending alot on
politicians. They think politicians can make the change
to this whole thing about racism. They think the
politicians will be the ones to bring black and white
together. But I don’t think that is the case. Just like
there is one song on the album ‘Taxman’ a song
called “Guns and Roses.” It says government has
five years as a maximum to make change. Unless
they are re-elected, they have five years of power and
control... but we, the people, have a lifetime together.
So politicians go in there and have in mind making
alot of money while they are there and then go off to

some island or somewhere in the world cool for them after being in power while the people are just left there. It is
going to have to be up to the people to make decisions, not politicans. They have proven in many many ways that
ALL they care about is the DOLLAR and the POWER.
That is what it is all about. I don’t think there is any doubt about that. One of the things you sang about
last night is when you stand for truth, you stand alone. Do you feel differently when musicians such as
yourself have such a powerful message and singing to a room full of people who admire the message?
Doesn’t that create a foundation of people who will stand up for the truth and try to make changes?
Yes. I think it does, YES! When I say you stand alone, it is because in the past, and even now, I am standing alone
on some issues. When the album Trinity came out and Taxman, alot of people were saying how can you stand and
sing a song like that when it is against the government now in South Africa. But you see the thing with me, I was not
against the past government because it was a white government, and I won’t say yes, yes, yes, to Mandela if they do
not do right. It doesn’t matter to me if it is a white government, black government, Chinese government or whatever
government. As long as there is injustice, I will speak. And that is how I came to stand alone. But finally, the
world out here, or maybe people not in South Africa, will eventually realize that having a new government in South
Africa does not mean that everything is cool and everything is smooth and everyone is happy. During DeClerk’s
government, you would read about it all the time. You would read about South Africa and that this and this and this
is all happening. But now all has died down leading people to think all is cool. But, it is not.
I was glad to hear you talk about that last night. I think it was during the song Freedom- you said
something about when we (South Africa) got our freedom, they misunderstood. Would you explain?
Yes, that comes from the song “Guns and Roses” from the album Taxman. You see in the past we did not know
about political parties. We knew they existed but did not know that much about them. The only political party
we knew at the time was the IFP (Inkatha Freedom Party) but it was not a party that would tell DeClerk to make
changes. I don’t know what it did, but it was there. Other parties like the ANC when it came back again and then we
had all these other political parties that came up making promises and what they can do- who can do what, that was
fine, they made us aware of the wrongs of the National Party. We said “yes, that is wrong, fine.
But then we voted and now we have a government that was chosen by the people, for the people of South Africa,
and that was the end. People were not taught about freedom, they were taught how to vote and why they should
vote but when freedom came, the people did not know what to do. As it is now, people are killing each other in
the name of freedom, the Zulus and Xhosa, they fight each other just because now we have these political parties
that we have joined. Some of us, we don’t not know why we had to join political parties, it was just something we
did because it was cool to belong to a political party. The political parties have now divided us. The Zulus, Xhosas,
Shembe and Swazis, those were ONE, those were ONE people fighting ONE enemy which is APARTHEID and now
because freedom came and they started joining political parties, they are fighting each other.
What will happen?
I think what will happen, people must take control and make the decision for themselves to stop the fighting,
because politicians will not stop the fight. Like I said yesterday, somehow it is working to somebody’s advantage.

Even though they will go on television and say “yeah, this is nonsense, we must stop this, please, please, please”
that is just politicians talk on television so that we think they are doing something but all they do is just talk. They
will sign peace treaties every second or third month but what is a peace treaty? It is just a piece of paper that you
sign and you put it into a file in your office and that is it. The people are not in the files in the office, people are out
there. And so until people make that decision I do not think politicians can help us here.
At one time I went to KwaZulu Natal with the Red Cross when this thing was very heavy. I went to talk to the people
there and to find out what was going on. I found out that people who used to live in one township, Zulu and Xhosa
together, used to live there, they didn’t even know one was Xhosa and one was Zulu. Now, they know who is who
and some people even had to move out of their houses because they would say there are 100 Xhosas that live here
and only 20 Zulus, so this means this is now a Xhosa area, so Zulus need to get out of here. The same the other way
around but those are people who have lived there together for years. Now, freedom came, politicians came, political
parties came and these people got divided.
This segues to my next question that is about America, black leaders, or any group of leaders who are
supposedly leading their people towards a better tomorrow. And yet, they are promoting separatism
and encouraging hostility towards other races in this country. It worries me, that even though they are
not politicians, they are widely respected in the black community and it is undoing positive energy that
has gone into unification because there are people who are easily excitable who believe that in order for
black people to move forward that separatism must continue to exist. How do you feel about that?
Well it happened on this tour, not sure which city, I was talking to a woman who asked how you can be a black guy
and not be racist. And that is the thing that is going on in the black community. I don’t know why it is like that. I
think black people should be an example. Even the black leaders should lead people in such a way that they don’t go
the same way that white racist people led their people in the past. Because if I am a leader and I say to people, we
must hate or kill white people but at the same time find it wrong if a white leader would says ‘lets hate or kill blacks,’
that would be seen as being racist and devilish. Why is it not seen as being racist or devilish when a black leader
does it? It’s got to be balanced somehow.
It doesn’t mean if black people do something wrong, we have to say it is ok because they are black and when it is
white people we jump up and down. That’s what is happening now in South Africa. People think because we have
a black government, that even if they do things wrong, we cannot say anything against it because it is a black
government but that is not the way I want it to be. And that is not the way unity works for me. If it is wrong, it’s
wrong.
I agree. I have just a few more questions. I know you have a great deal of sensitivity towards women
especially as I listen to songs on the Taxman album. Where does that come from?
“WOW” (obviously delighted in the question). Its because in my life I was helped mostly by women. I didn’t have a
father figure in my life. My father went away maybe three months before I was born. The men around me like my
brothers and others were drinking and did not give a damn about anything. It was my mother and grandmother who
were there for me.

Since I did not have a home, I was moved from one family member to another all the time. But whether it was my
sister or aunt, it was women who played such a big part in my life. As a boy, there are things in life happening that
you don’t understand as you are growing up and you were supposed to go to your father and ask what was going
on. I didn’t have that. I would go to my grandmother and she would be the one explaining things to me. Now when I
think about about it, I get embarrassed when I realized “I asked my grandmother THAT?”
(laughing) Is she still alive?
Yes. She is still alive and my mother.
She must be very proud of you.
Well, to my grandmother, she is in a way but she always asks me when I am going to get a proper job.”It’s now been
thirty years of doing music but she still asks me, “so you still don’t have a job?” I say but this is my job. To them,
singing is not a job especially with my grandmother. “A job would be truck driver, a policeman or doctor. That’s a
job”, she says, but you say music is a job? She doesn’t get it.
Well you are healing people like a doctor. The last question, what message would you have for the youth
in America growing up in urban areas who feel like there is no opportunity and the only way to make
money is to deal drugs, and the only way to feel loved or to belong is to join a gang. What would you
say?
That is a difficult one. It is difficult because as it is now, we have a problem in South Africa. We have gangsters and
that whole thing. But it is difficult to deal with. As I said last night, the only thing I smoke is music. I know when
people see a dreadlocked man onstage, he must be smoking ganja but that is not the way it is with me. I think
drugs is out of the question. You have to be proud of who you are in society and what you do. I am proud of what I
am doing as a musician and I know some of these kids go out and say I don’t have a good home or good parents. I
came from the same situation too.
I never had a home. I was moved from one family member to another. I could have gone into serious drug dealing or
some other serious thing but I wanted to be somebody and do something with my life. I just stayed away from drugs
and tempting things where I could see making easy money and live nicely, but that is only a short time. At the end of
the day, you are not you. I would say to those kids that drugs are a bad thing. It is something you can’t be proud of.
Flashing that cash around is costing you your life.
There is a song also about drugs on the album ‘Victims’ where this guy, someone I know, also had parents
who didn’t care. He met these other guys like himself who said we can help you out and sell drugs. He took that
opportunity so that he could go to school. At the time it was a good thing because it helped him, but in the end, he
was shot during an exchange because someone double crossed someone and he was shot. So it might look like a cool
thing to do but it is a very dangerous. You can find other ways to go on in life even when it is difficult. Things have
been difficult for me and other black kids in South Africa but I am glad that I chose the other way, the music thing
instead of drugs. Maybe I would have been dead by now. That’s just how it works.

Well music is the food
of life so I hope some
of those young people
will turn to music as
well.
That would be nice.
(laughs) It would be nice
to have more musicians
with a positive message.
It does not have to be
a political message or
reggae music. Every
type of music has got a
message if you write it
that way. It would be a
good thing to have more
musicians with positive
messages. I hate songs
where guys only sing
about sex and drugs and
saying how bad they
are “you mess with Ed,
you dead.” That is a bad
influence on kids but for
some reason the kids like
it.
Well, Lucky, right after
playing this interview
on the air, I will be
sure to play some very
positive music. Give
thanks, Lucky and all
the best.
© 1997 Sista Irie, all
rights reserved
© Lee Abel www.reggaeportraits.com

© Lee Abel www.reggaeportraits.com

An Interview with Lucky Dube – 1997
by Michael Kuelker
For five years in the 1990s, I was a stringer for the St. Louis Post-Dispatch writing concert
reviews and other music pieces, and it was in that capacity that I interviewed South African
reggae star Lucky Dube on July 23, 1997. Having cut a series of popular and critically well
respected albums and having toured the world several times over, Lucky Dube was by then
a well-established international artist, and as part of a six-week tour, he was coming to St.
Louis, Missouri to perform on August 14, 1997 at Mississippi Nights.
Lucky patiently addressed all of my music-and-culture queries in that 25-minute
conversation that now long-ago day, sometimes handling a piece of my question, varying
between brief and extended replies. For the Post-Dispatch article that was published the day
of the concert, I could use only a portion of the talk. The complete interview appears here in
the pages of Island Stage for the first time. - MK
Lucky Dube, I’m glad to have the chance to talk with you. Let me begin with a question that I am sure a
lot are asking you. What you made you leave Shanachie Records and what made you return?
There was an opportunity that came to be with Motown the one year. And as it is always every musician’s dream to
be with a bigger record company, bigger distribution and bigger everything, when this opportunity came I thought I
must have a shot at it.
But unfortunately, I joined Motown when they were having internal problems, you know, of their own. So I got
bounced back and forth, back and forth. But this album that is coming out now is coming out with Shanachie again.
I’m back with Shanachie now.
Were the internal problems related to poor promotion? What happened there at Motown, if you’re able
to say?
I think they were having changes, management changes or whatever. Some people had to go, new people were
brought in, and just internal problems there, yeah.

Island Stage Magazine
I pay my gardener
To clean up my garden
I pay my doctor
To check out da other ting
I pay my lawyer
To fight for my rights
And I pay my bodyguard
To guard my body
There’s only one man I pay
But I don’t know what I’m paying for
I’m talking about the taxman
What have you done for me lately, Mr Taxman?
– Lucky Dube “Taxman” (1997)
The title song to your new album for Shanachie
is “Taxman,” a powerful populist song. Is
the rate of taxation in your home country
particularly bad?
Yeah. I think 45% is what we pay. We pay the
highest taxes in the world, but I think we are
somehow the poorest. Our people don’t enjoy the full
benefit of this tax money and what’s happening now is
that this money disappears, the taxpayers’ money just
disappears from the government offices. Our minister
Issue 04 July 2014
PAGE
46
of health lost about 88 million rands over a very short
period of time. Most of these guys are taking the
money and they buying property in America and Paris
and everywhere. Which is a bit disturbing because
the taxpayer pays the taxes so that the money can
be used to make the peoples’ lives in South Africa a
bit better, have schools, have roads and houses most
importantly. But now people still don’t have houses,
there’s still not enough schools and everything, and
yet the money just disappears from government
offices. That’s the worry. That’s what brought about
the song “Taxman.”
In your song “Trinity,” if am I understanding it
correctly, the term Trinity refers to you. How
did that nickname arise?
At school, when I was in high school and there were
these movies, Trinity is Still My Name [1971], the
western stuff … This guy Trinity, he was always
fighting for the people, fighting for those who don’t
have the power to fight for themselves, and he was
always against the criminals, stopping criminals from
stealing from people and stuff like that. And so he
was always fighting for righteousness, and so because
of what I was talking about as well at school during
those days, the kids started calling me Trinity. I was
like the Trinity guy at school.
[Note: There was a series of early 1970s
westerns known as “Trinity” movies by Italian
director Enzo Barboni. The spaghetti western
was also very popular for a generation of
Jamaicans at the dawn of the age of reggae.]
So even at that age, you were showing signs
of being interested in the rights of oppressed
people.
Yeah, man.
www.island-stage.com

What gives you the greatest hope for progress in South Africa?
I think as it is now the only hope that I have is that through the music we’ll be able to make people aware of things.
Now we can sing about things that we wouldn’t sing about in the past, even five years ago. So I think the message
in the music will reach more people. It will be precise. We can now call a spade a spade. That’s my only hope, that
the music will bring about a change.
How often do you perform in South Africa?
Very often, very often.
Have you ever been under government surveillance for your activities – for the upfront nature of your
message?
Well during the past governments’ era [during apartheid], they would, like, send government officials to my shows to
listen to what I was saying, but it doesn’t happen anymore.
It changed even during that government because eventually they accepted the fact that I was not saying, ‘Kill whites’
or ‘destroy whites’ or whatever-whatever. I was just talking about togetherness of South Africans, not saying blacks
should rule or whites should rule or anything like that. And so at the end of apartheid that’s the thing what the
government wanted to hear as well.
How extensive is Rasta in South Africa?
I wouldn’t say Rasta is very big in South Africa but I say reggae is big in South Africa.
What styles of reggae are most popular?
There’s all kinds, all kinds. Ragga, roots, there’s everything really.
Do you find it difficult to write songs?
Songs come to me naturally. It is, yes, in a way difficult because I don’t sit and say, I want to write a song this
week or I want to write a song today or tomorrow. I wait for an inspiration or an idea or whatever and over a certain
period of time develop it into a song. So it takes a long time, it takes a long time.
Can you describe for me a particular song, maybe one from the new album, that took a while to nurture
from idea to finished product?
The ‘Taxman’ song, that song and all of those songs basically came immediately after the release of Trinity. I started
writing those from the time Trinity was released. Some of them would come I would first get the words to it but

© Lee Abel www.reggaeportraits.com

not the music. Some of them, the music but not the words, some of them it would be just an idea of a song but I
wouldn’t know where it’s going and over a certain period of time I would start getting it together.
I am curious what you’ve learned about song craft in the studio. You write and produce your music.
Have you taken more of a hands-on approach as you make one album after another?
How it started was, when working with my producer Richard [Siluma], I was always co-producing my albums with
him but I just didn’t take credit for it until Trinity. That’s the first one where I took credit for it. But I was always
working as a co-producer with him.
I’m interested to learn what you’ve learned about song writing or song recording in the last few years
now that you’re more of a veteran of making and releasing albums.
Well, I haven’t learned much about the studio as in the buttons, but I have learned that there’s good-sounding
studios and bad-sounding studios. We now have to choose between studios. Let’s say maybe there’s one studio
that is good for laying down tracks and there’s one studio that’s very good for putting down voices, and so we would
switch between those studios. I think that’s what I’ve learned in the past years or so.
In the past we would just have a studio and we would do the music there, we would do the vocals there, we would
mix there in that same studio. But over the years, like I said, we find one studio sounding very nice for the music,
and the other one sounding very nice for voices, so we switch between studios now.
Where have you performed so far this year?
We started this tour in South Africa. We did a few shows in South Africa. We came over here. We did one show in
Miami and then we got out to Suriname. We did two dates in Suriname and then we got back in here.
Where would you like to perform in the world that you haven’t yet had the opportunity?
Hmm. Russia. Yeah.
How frequently do you get a chance to play in Jamaica?
I performed there in 1991 and 1992. That was the last time, yeah.
In concert your music, reggae music, is so powerful, it’s high energy, it’s militant, it’s sensual … Do you
feel like your message gets across?
I think people do understand, and I think they do get the message. Because my lyrics, I’m not complicated at all.
I’m basically more of a storyteller. I tell people stories in a very simple and understandable way. In my lyrics the
words I use are just normal, daily words, not poetic rhymes or whatever-whatever, just daily words that people use.
The message, yes, gets through easily. People understand what I’m talking about.

How large of a group are you touring with right now?
There’s 15 people.
I understand from the Internet reports that you are doing really long shows. That must exhaust you.
Do you do special conditioning? Do you take your own cook on the road with you?
Not really, no. [He chuckles.] We have our tour manager, Eddie, he is a qualified cook – but he never cooks
anyway. [laughs] We’re just surviving, you know.
I’d like to ask about your influences. When people ask this, they usually mean musical influences but I
would like to throw the question open to any influence – musical, familial, whatever. I’m interested in
how you as an artist have developed.
There’s people back home musically, Steve Kekana and the Soul Brothers who have influenced me very much
musically. As far as reggae music was concerned, it was Peter Tosh that influence me quite a lot. At home there
was no one musical. So the music thing – I was born a musician. At home there was no one really that was
interested in music at all.
What were the circumstances when you heard Peter Tosh and really got connected with what he was
singing?
It was just that he was singing about things that were happening in Jamaica or wherever his experiences were from,
and the very same things were happening in my neighborhood. That’s when I had that connection, that’s when I
started liking his music and listening more to his music.
Was he still with the Wailers at that time?
Yeah, man.
It occurs to me that I really don’t know how old you are…
I’m 32 now. I’ll be 33 on August 3rd.
I thought you were a little older [Lucky laughs] but that’s only because you’ve accomplished so much
already – so many albums and so much renown. You’ve had a good career so far.
What Tosh songs did you first hear that connected with you?

Island Stage Magazine
‘Mama Africa’ was the one I heard and I liked. And
‘Glass House’ was one that got me.
Was it his militancy that struck you? What made
Peter Tosh appealing even more than Marley for
you?
I think it was more his voice and his phrasing.
Something in his voice really.
It’s a terrible loss to the world when he was
murdered, which was almost ten years ago to
the month.
Do you ever worry … I don’t want to get morbid
here, but one of the things Peter Tosh had
trouble with were hangers-on from the old
neighborhood. Do you find that to be a problem,
people from the margins who want to cling to
your coattails?
Lucky Dube’s latest album at the time of the
interview was Taxman (Shanachie 1997)
Heh. It happens. It’s something we can not run
from. It comes with the territory. So we live with it.
Even though it’s difficult, we live with it.
I’d like to give a shout out to St. Louis radio DJ Les
Aaron. He took my buddy Joe Davis and me to see
Lucky Dube at Mississippi Nights in the early 1990s. It
was my first reggae concert, an evening which made an
indelible impression. - MK
Press photo from Tabu Records, an imprint of
Motown
Issue 04 July 2014
PAGE
51
www.island-stage.com

Island Stage
Spotlight

Rocky Dawuni

Island Stage Magazine
ROCKY DAWUNI
An international musician and humanitarian activist
from Ghana, West Africa. Often described as a
cross between Fela Kuti and Bob Marley, he has
released five acclaimed albums, thrilled audiences
across the world with his fiery live performances and
collaborated and performed with Stevie Wonder, Peter
Gabriel, Bono, Jason Mraz, Janelle Monae and John
Legend, among many others. Dawuni’s eloquence,
cultural diplomacy and successful melding of music
and activism have led him to become a passionate
spokesperson for various global causes. He has joined
forces with Product (RED), UNICEF, the Carter Center
& the UN Foundation.
In 2012, Dawuni was appointed the Tourism
and Cultural Ambassador of Ghana and World
Ambassador for the Musicians Union of Ghana.
The same year, UN Foundation’s Global Alliance for
Clean Cookstoves named him a global Ambassador,
alongside Julia Roberts and Chef Jose Andres. He is
also a distinguished member of the Global Alliance for
Clean Cookstoves LeadershipCouncil, which is chaired
by Secretary Hillary Clinton and includes former
President of Ireland, Mary Robinson and President
Michelle Bachelet of Chile. In late 2013, he joined UN
General Secretary, Ban Ki Moon at the United Nations
Framework Convention on Climate Change in Warsaw,
Poland, where he both performed and spoke.
photo © Rachel Samuel
Issue 04 July 2014
PAGE
55
www.island-stage.com

Island Stage Magazine
CNN names him one of Africa’s Top 10 International
Artists and International World Music Awards
announce Rocky as “Best African Artist”
“Performing his self-described “Afro-roots”
sound, a fusion of reggae and Afro Beat
groove,few artists have a more positive vibe
than Rocky. His show is an incandescent Afroroots
dance party.” Tom Cheyney-LA Weekly
“A night billed as “KCRW’s Global Soul with
Stevie Wonder and Friends,” brought together
Grammy nominee Janelle Monae and reggae
superstar Rocky Dawuni, who gave an
impassioned performance to a crowd of 18,000
folks at the historic Hollywood Bowl in Los
Angeles.” – Samantha Prince/Carib Press
“His influence has been widespread, working
with Bono and Stevie Wonder while his songs
are consistently featured in popular American
television shows. Rocky is one of the rare
African artiststo break through to a broad
audience.” – Derek Beres/Huffington Post
in the tradition of both Fela Kuti and Bob Marley in
utilizing his music to uplift, unify and inspire.
LINKS:
“War/No More Trouble”
“Jerusalem”
“Nairobi I Love You”
Rocky Dawuni EPK:
Official Website:
Rocky Dawuni Discography
The Movement 1996
Crusade 1998
Awakening 2001
ABOUT ROCKY DAWUNI:
Ghana’s international music star Rocky Dawuni has
leveraged his popularity within and without of the
Continent to champion social causes and inspire
a generation of artists and fans alike. Dawuni’s
eloquence as well as his successful melding of
musical celebrity and social action has made him
a spokesperson for various causes worldwide.
Over the last few years, his music and electric
live performances have attracted thousands to his
concerts. Rocky’s upcoming working title album,
“Afro Roots,” fully captures his unique fusion of Afro
Beat and Reggae while confirming him as an artist
Book of Changes 2005
Hymns for the Rebel Soul 2010
Issue 04 July 2014
PAGE
56
www.island-stage.com

© Glen Wilson

The Meditators

Island Stage Magazine
BIOGRAPHY
THE MEDITATORS REGGAE BAND, Durban KZN, South Africa.
Durban is the largest city in the South African province
of KwaZulu-Natal. It is also the second most important
manufacturing hub in South Africa after Johannesburg. It
forms part of the eThekwini metropolitan municipality.
Mthembu from Chesterville on trombone and backing vocals
and Alberto Chemane on percussion. The band has been
performing at uShaka Marine World as resident band since
its inception in 2004, and the band sustains itself through
private parties bookings and Corporate functions, concerts
and club gigs as well as organizing events.
The Meditators are event organizers for the Annual Bob
Marley Earthday Celebrations and have been since 2009.
This is a large gathering that takes place at uShaka Marine
World every year, paying homage to the legend Robert Nesta
Marley. This is event is largely supported by local Kzn reggae
bands, paying tribute to Bob Marley and showcasing their
music at the same time, giving the reggae music industry
an opportunity to grow. We have seen the growth and
improvement over the last 6 years in the level of local reggae
music as well as the growing support for The Meditators
original music. The 2013 headliner at the event was The
Meditators featuring Nkulee Dube(Lucky Dube’s daughter) the
2014 headliner for the show was AZANIA GHETTO BAND from
Cape Town.
The Meditators were invited as service providers by eThekweni
Municipality to present the Celebrate Durban International
Reggae Festival 2010/2011 and hosted two Superstar
Jamaican artists, Tony Rebel/Queen Ifrica as well as many
local KZN reggae and traditional music bands.
The Meditators are a group of Rastafarian musicians,
presenting unique and original form of reggae music true to
the Jamaican Roots Reggae Culture.
Discography
Founded in 1991 by Ras Shante Bekwa, the band currently
comprises of 7 full time members.
Ras Shante Sandile Bekwa is the band leader from Mayville,
on lead guitar and lead vocals, Ras Dan Khethakuthula Msomi
from Lamontville on backing vocals and rhythm guitar, Ras
Barret Hlela from Clermont on bass guitar, Ras Sfiso Mpanza
from Clermont on keyboards ,vocals and percussion, Ras
Bunny Mkhize from Clermont on drums, Ras Simphiwe
Issue 04 July 2014
PAGE
59
www.island-stage.com

The Band
Shante Sandile Bekwa
Shante is the leader and is the original founding
member of the band since 1991. He is the lead
vocalist, composer and arranger of all the original
music. He plays the lead guitar and provides the
unique originality to the music of The Meditators
with his guitar skill and his vocal ability. He lives in
Mayville with his family and has a strong influence
on the awareness and respect for Rastafarians in his
community. He gets great pleasure from sharing his
musical and martial arts (Kung Fu) skills with the
youths in his community and has personally made
an enormous contribution to the growth of the
reggae music industry in KZN and South Africa.

Dan Khethakuthula Msomi
Dan is from Lamontville, KZN and joined The Meditators
in 2004 as a backing vocalist and quickly developed into
a talented guitarist! He performs lead vocals as well and
composes his own tunes, and lives with his family in South
Beach, Durban.

Bunny Nathi Mkhize
Bunny joined the band as part of the Island Crew
Collaboration in 2000 and plays drums and percussion.
He is from Clermont, Kwadabeka where he runs a
successful fruit/veg take-away business with his
partner Barret, (bassplayer) and is an active member
of the Kwadabeka community in terms of youth
development and crime-watch in the area. He follows
the Rastafarian faith, does not eat meat, or drink
alcohol.

Simphiwe Mthembu
Simphiwe is the newest member of the
group, he joined the band in 2010. He
plays the trombone and sings backing
vocals. He is works full-time as a carpenter
and loves playing music with The
Meditators in his spare time. He lives in
Chesterville, KZN.

Sfiso Kuhle Mpanza
Sfiso is from Clermont, Kwadabeka, KZN. He
joined The Meditators in 2000, as part of the
I Land Crew band. He is a dynamic keyboard
player and backing vocalist and enjoys percussion
as well and contributes enormous energy to the
overall performance of the band on stage. He
lives with his family and children in Clermont
and is an active member of the local community
encouraging growth and youth development
through music and skateboarding.

BARRET THABANI HLELA
Barret joined The Meditators as part of the I Land Crew Collaboration
in 2000, and as the bass player for The Meditators, his consistency
and style has become a real part of the foundation of the unique live
sound of the band. He lives in Clermont, Kwadabeka with his family.
Alberto Chemane
Alberto is originally from Mocambique and first started performing
with the Meditators in 2009. . He is currently a full-time student at
UKZN. He performs with various bands in Durban and also has his
own band performing original World Music. Alberto is a dedicated and
hardworking drummer, percussionist and composer of his own music.
He is a valuable addition to The Meditators band. He currently resides
in Durban.
Ric Storm Haine
Ric is the full- time live sound engineer for The Meditators since
2012, and also manages the bands studio, Big Up Productions, in
Jacobs, KZN. He is passionate and active in youth development and
promoting a healthy lifestyle, specifically in the arenas of surfing and
skate boarding. He lives in Durban with his family.

Miriam
Simone
© HIMages Photography

Miriam Simone is one of Europe’s hottest up-coming female Reggae artists, hailing from Amsterdam and Surinam. To-date she has
released four music videos, and several singles, performed at major Reggae events, collaborated and shared stages with some of
Reggae’s biggest artists.
At the age of four Simone started to sing. She was influenced by Gospel, Soul and Reggae music. At the age of thirteen she sang with
several bands and church choirs in Amsterdam. As a young adult (eighteen years old) she joined a Reggae/ Hip-Hop group called
Postmen, as a background singer, where she honed her vocal skills. She later joined a Dutch group called Dredda Youthz, where
she rocked on several tunes that were major hits in Surinam. One of these songs were entitled “Uma no Krey”. This was merely the
beginning of Simone’s career.
In 2010, Simone decided to launch her solo career. She then co-founded the music label Dredda Records. In July, 2012, she released
her debut EP entitled “Follow My Dreams” ,This EP included the singles,”Disappointed” and “You Know How To Love”, produced by
Bobby “Digital” Dixon, with whom she is currently working on her debut album. The singles received high rotation on Jamaican
television and cable networks, including Hype TV, CVM TV and RE TV. Radio stations in Jamaica, such as Irie FM, Hitz 92 FM and Roots
FM also welcomed the Dutch/Surinam singer with open arms. Her single, “Disappointed”, won the What´s the Verdict award for best
online international song of 2012 on Roots FM (Jamaica).
To-date Simone has shared stages with some of the most renowned Reggae artists in the world, such as Sizzla, Chronixx, Jah 9, Tarus
Riley and I octane and performed at major events such as Capleton´s show St Mary We Come From, Trenchtown Rock, Tarrus Riley &
Friends, along with several other shows in Jamaica, Surinam and Amsterdam. She has also collaborated with Jamelody, Fyakin and
has unreleased songs with Sizzla and Capleton.
In March 2013 Simone released the single “Dem A Chat”, accompanied by a music video. She is currently gearing up for the release of
her latest project; a Mixtape also entitled Dem A Chat.

Island Stage Magazine
Miriam Simone is one of Europe’s hottest up-coming female
Miriam Simone
Reggae artists, hailing from Amsterdam and Surinam. Todate
she has released four music videos, and several
photo © Ruud Sikkema
singles,
performed at major Reggae events, collaborated and shared
stages with some of Reggaes biggest artists.
At the age of four Simone started to sing. She was influenced
by Gospel, Soul and Reggae music. At the age of thirteen she
sang with several bands and church choirs in Amsterdam. As
a young adult (eighteen years old) she joined a Reggae/ Hip-
Hop group called Postmen, as a background singer, where she
honed her vocal skills. She later joined a Dutch group called
Dredda Youthz, where she rocked on several tunes that were
major hits in Surinam. One of these songs were entitled “Uma
no Krey”. This was merely the beginning of Simone’s career.
http://www.dreddarecords.com
Issue 04 July 2014
PAGE
69
www.island-stage.com

Dominica’s Michele Henderson wins
CARICOM song competition
Dominican, jazz, fusion singer Michele Henderson is the winner
of the Caribbean Community (CARICOM) song competition, and
her winning entry “Celebrating CARICOM” is now the regional
body’s official anthem. Henderson beat out 57 semi-finalists
and ten finalists to emerge winner in the competition which was
announced last year.
She says she screamed in disbelief when she first heard the
news, and she is “happy and proud” for the accomplishment.
“I want to thank CARICOM for the honour. I want to thank
my husband (Roland Delsol Jr.) from the bottom of my heart
for believing I could do it and for producing the song; Earlson
Mathew for his arrangement; Michael Ferrol for his drumming
skills and the St. Alphonsus Choir for their choral input.”
According to the competition rules, the song should reflect a
strong Caribbean cultural identity, have versatility and lend itself
to be played by various instruments, have a strong Caribbean
cultural flavour and rhythm and inspire a sense of regional pride and unity.
Irwin Laroque, General Secretary of CARICOM (a Dominican himself) shares that the regional panel of judges considered her
composition “an excellent reflection of the culture, identity and aspiration of the Caribbean Community engendering regional unity and
pride and a fitting tribute to the 40th anniversary of CARICOM.”
The win is rather timely as next year will mark 20 years since Henderson burst on the music scene with her winning composition “My
Pride”- a song she penned for the 1995 DOMFESTA (Dominica Festival of Arts) song competition. Much like that song, “Celebrating
CARICOM” is a rallying cry for unity.
Henderson states that while keeping the rules of the competition in mind, her main goal was to create a song that would cause a
groundswell and impact Caribbean people in a genuine way.
“In addition to its use at official functions, it’s my hope that “Celebrating CARICOM” will cause people from member islands to come
together and build on our strengths. Regular rotation on local radio and a corresponding video on TV would go even further to
encourage persons from all over the region to see that we really are more similar than we are different,” she says.
Henderson hails from Grand Bay, a community often times referred to as the cultural capital of Dominica and sings in English, French

Island Stage Magazine
and French Creole. No stranger to the Regional stage, she
has performed at the CBU Song competition in Barbados,
Trinidad’s Jazz Artists on the Green, St. Lucia Jazz Festival,
Carifesta in St. Kitts and Trinidad, St. Bart’s Music Festival,
Spice Jazz in Grenada, the World Creole Music Festival in
Dominica and numerous concert events in the French islands
of Martinique and Guadeloupe. The seasoned flutist has six
albums to her credit including her most recent Home (Chez
Moi). She also successfully writes for competitors across a
range of genres from pop to cadencelypso to calypso.
The powerful vocalist has been honoured by the government
of Dominica for her contribution to culture and the
development of the French Language; and as of 2004
appointed Goodwill ambassador to the Eastern Caribbean
island.
Dominica’s Minister of Culture Hon. Justina Charles and
parliamentary representative for the Grand Bay community
shared the government’s pride at her most recent
achievement.
“I want to as Minister of Culture extend congratulations
to Michele for emerging winner of the CARICOM song
competition and as parliamentary representative of her
community I must say that I am extremely elated about her
win. Michele has been doing wonderfully well nationally,
regionally, internationally. I think that her mother, her sisters
and her family must be very proud of her and we in the Grand
Bay constituency and Dominica by extension are very proud
that such a prestigious honour has been earned by one of our
own. Her example confirms to us her potential. We wish her
all the best in her future creative pursuits.”
The results were first announced to CARICOM Heads of
Government at the twenty-fifth Inter-Session Meeting held in
March 2014 in St. Vincent and the Grenadines.
Conference of Heads of Government to be held Tuesday 1st
July, 2014. There she will also be presented with her winning
cheque of US$10,000.00.
CARICOM was established on 4 July 1973 by the Treaty of
Chaguaramas on the principle of regional integration for
national and regional development. The grouping comprises
15 full member states (Antigua and Barbuda, The Bahamas,
Barbados, Belize, Dominica, Grenada, Guyana, Haiti,
Jamaica, Montserrat, Saint Kitts and Nevis, Saint Lucia, Saint
Vincent and the Grenadines, Suriname, and Trinidad and
Tobago) and 5 associates (Anguilla, Bermuda, British Virgin
Islands, Cayman Islands and Turks and Caicos Islands). The
Secretariat is headquartered in Georgetown Guyana.
PHOTO CREDIT:
365MMP
MICHELE HENDERSON ONLINE:
www.michelemuzic.com
www.facebook.com/michelemuzic
www.twitter.com/michelemuzic
michelehendersoninc@gmail.com
Henderson’s first official performance of “Celebrating
CARICOM, the official CARICOM song will be at the opening
ceremony for the thirty-fifth Regional Meeting of the
Issue 04 July 2014
PAGE
71
www.island-stage.com

© HIMages Photography
“It’s time for evil
to fear good”
Micah
Shemaiah

Island Stage Magazine
The road to recognition can be a tedious one with no benefits
at the end but even if there are no riches to be had Micah
Shemaiah is set on delivering positive messages of love,
unity, pride and strength. With a solid family foundation
Micah Shemaiah has the indomitable will power to hone his
skills as a reggae musician and ensure that his message is
heard. Two words, with one musical aim: Micah Shemaiah.
members of
the Twelve
Tribes of Israel
like Dennis
Brown and
Bob Marley
along with his
parents who
Being born into the Twelve Tribes of Israel, Micah Shemaiah
is held to a different standard. His name may not ring a bell
yet but it will. You may not have heard his songs yet but you
will. Micah Shemaiah will become a staple in reggae music;
a standard bearer in the hearts and minds of reggae lovers.
His upbringing in RastafarI has laid the foundation for humble
yet militant expressions of truth. With a required stipulation
to ‘read a chapter a day’ from the bible, Micah Shemaiah is
the man who learnt from early to chart and control his own
destiny. Micah had no choice but to be grounded. From Dread
Heights in Gordon town to Clifton Road off Chisolm Ave, Micah
has experienced the influence of other musical greats who
also trod in Rastafari. He is most influence, however by co-
Issue 04 July 2014
PAGE
74
taught him
through their
teachings that
Rastafari is real and that the world was ready to receive the
message of RastafarI.
Micah Shemaiah literally means ‘one who fears the Almighty’
and ‘one who loves the Almighty’ and he lives this fact in his
meditations and his music. Contrastingly, Micah Shemaiah’s
musical path took him to the field of a paralegal for seven
years at Patrick Bailey & Company at the urging of his mother
who wanted him to ‘lay off the music thing for a while’ and
get a 9 to 5. Micah submitted to his mother’s wishes but as
it usually does, the passion and love for music came calling
www.island-stage.com

again. Music for Micah is the only way he can
express the kind of words and meditation he has
and as such music is more empowering to him as
it courses through his veins inevitably.
Micah Shemaiah is a Roots Rock Dub Reggae/
Soul Singer & Songwriter. As a budding promise
of reggae talent, Micah Shemaiah is a motivated
performer who encourages the empowerment
of youths and disadvantaged people worldwide.
His writing style embraces and combines several
genres of music, thus, delivering unique sounds
that will appeal to any ear. Coupled with his
awesome vocal strength, He also plays the guitar
and is actively involved in the overall production
of his music. Performing Live Acoustic music
is Micah Shemaiah’s first love. He enjoys the
freedom and passion with which he is able to
deliver his messages. Raw and soulful.
Micah Shemaiah released his self-produced
debut album ‘RASTAMAN MEDITATION” in 2009.
The first album is a stepping stone for Micah
© HIMages Photography
Shemaiah on the road to realizing his talent

Island Stage Magazine
as a musician. RASTAMAN MEDITATION is available on all
major digital download sites. Also in 2009 he shared stage
with Legendary Jazz musician Monty Alexander at the Lincoln
Center, New York City on his request. Plus, he has performed,
extensively in the United States and on local live stages
such as, East Fest and Prime Ministers Youth Award in his
homeland Jamaica. Recently he returned from his first tour of
the Motherland travelling with Ancient Vibrations of RastafarI
under the patronage of The University of Philadelphia in
United States to South Africa (Cape Town and Johannesburg)
with stop over performances in United Kingdom (UK). This
move highlighted the atrocities of Rastafarians in Jamaica
via the “Bad Friday’ documentary produced by Junior
Wedderburn, Deborah Thomas and John L Jackson.
Micah Shemaiah will also be releasing Shalalak; Rockers
Rebirth in 2014. Shalalak is a collaborative Rockers album
which will feature tracks such as Dread at the Control watch
video here: http://www.youtube.com/watch?v=WHj97H52EOY
Original, Rasta Luck. Artistes such as Infinite, Exile Di Brave,
TJ (Likkle Briggie) and Jahkime will also be featured. Also
featured on the rockers album is single Reggae Rockit which
was released on 7 inch vinyl on April 15, 2014 by Cornerstone
Music outta Japan. Listen to track on Soundcloud here:
https://soundcloud.com/micah-shemaiah/reggae-rockit
or order a copy of the 7inch here: info@csmusic.jp .The
album will be produced by WeGeneration Music and E.D.B.
Entertainment. Look out also for Micah Shemaiah 2nd album
to be released later this year.
Micah Shemaiah is scheduled to perform in Europe this
In May, 2013 he released his hit tune Dread at the Control
produced by himself, on the E.D.B Entertainment Label which
features Tj (Likkle Briggie, Hempress Sativa, Infinite and
year. Look out for dates and venues near you. We had a
conversation with Micah and included it on the following
pages.
Jahkime on 7inch Vinyl as a Limited Edition press. All copies
were sold. It is currently sold on all major Digital download
sites including Itunes.
Issue 04 July 2014
PAGE
76
www.island-stage.com

Island Stage Magazine
ISLAND STAGE OUTERVIEW
Micah, you have said that your lyrics and music
are about things that your own Spirit is working
to master. How do you feel about having the
power to help so many others master their own
spirits through your creative process?
I can only pray that the music I make inspires the
souls of many for it is a part of my life’s work that
I deliver the inspiration given by RASTAFARI. If the
people feel it then it means I N I a do I works.
We love Reggae Rockit! It’s been on repeat ever
since we received it. The beat really reminds me
of one of my favorite East Indian Artists Nitin
Sawney. I love that ancient sound. Who do you
like to listen to when you are not making your
own music? Who is in your player right now?
To tell you the truth, I don’t really listen to a lot of
music these days, so much saturation in the buisness.
When I seriously listen music is when I go to places
like Kingston Dub Club and Dubwise. Most of the
sounds I hear everyday are for raving and losing
yourself, that’s not for me. I was fortunate to have
been born in a time when the great sounds were still
around for a little while. So I think I got a likkle taste
of what the real thing is, that’s why I stick to the
original sound of our great music.
of earth, the fascinating elements of the world are all
brought to light by us.
A report recently came out indicating that there
has been a sharp downturn in Reggae sales in
the US. I have always been curious as to why
Reggae has always done so well in Europe and
not so much in the US. What do you attribute to
this apparent downturn?
I will say one thing, it’s funny how that report came
out right in the midst of a sharp upswing in the
Reggae Industry with the introduction of some strong
new talent pushing through. Also anyone who is
looking for Reggae or any good music through sales
and opinionated media will miss out on the natural
mystic. Blessings to all people.
Reggae Rockit has landed!
Do other genres inspire you? What sound...
not necessarily “word sound” but what Sound
inspires you?
All sounds inspire me all kinds of music, and not only
music but visual arts and people inspire me to write
songs and make music. I think the creator speaks to
us a lot through the souls of our brothers and sisters.
A lot of this comes out in the arts and behavioral
patterns of PEOPLE. So I think people are the magic
Issue 04 July 2014
PAGE
77
www.island-stage.com

© HIMages Photography

Chaddy
Royal

Island Stage Magazine
“Chaddy Royal’s distinctive sound and elevating message
is on the verge of re-exposing the world to true original
reggae” -Limerance Magazine
Growing Up in the ethnically diverse Crown Heights
community, this Brooklyn native was introduced to all kinds
of music. However, hip hop played a dominant role at that
time in terms of his influence. Every young kid growing up in
Brooklyn either wants to hustle, become a Basketball player
or a famous Rapper. If it weren’t for Chaddy Royal and his
family moving to Baltimore in 2000 this may have been the
same outcome for him. Moving to Baltimore turned out to be
a blessing in disguise, as it is the very place where his love
for Reggae was born.
In 2002 Chaddy found himself researching the life of Haile
Selassie and his teachings. It was through listening to roots
music and conscious dancehall, the desire was sparked to
live a more conscious lifestyle. Captivated by what he was
learning, he began to grow his locs and change his diet. It
was in his room that he practiced and developed his very
own style and flow over Dub instrumentals by King Tubby,
Augustus Pablo, and Lee “Scratch” Perry. This ultimately
progressed into his love for writing and chanting lyrics.
Prior to becoming a recording artist, Chaddy Royal expressed
his words through poetry. Watching the movie “SLAM”
starring spoken wordsmith Saul Williams, ignited Chaddy to
start writing poetry and share this gift with people. While
attending college for a short time Chaddy decided to join a
poetry team an experience that prepared him for performing
for a large group or audience. Eventually the love for writing
poems transitioned into song writing.
In a time where deception within politics and the media
is running rampant, Chaddy decides to use his music as a
weapon to counteract the brainwashing. “My primary aim
is to make people feel the lyrics, the emotion, and bring
awareness to the topic being conveyed” Chaddy explains.
Issue 04 July 2014
PAGE
80
www.island-stage.com

Which brings us to his Debut album entitled “The Awakening”, released on itunes in March 2011. Chaddy decided to make a giant
step towards pursuing his music career by traveling to South Africa in Oct. 2010. While there he recorded his debut album “The
Awakening” with executive producer, Bereket Tafari aka Riddim Yut’. The album features 16 tracks including poetry from highly
respected spoken word poet Afurakan, and was recorded at Gontji production studio. Some popular tracks from the album are Jah
Jah Lives Within I, Kill Them with Kindness, Why Why Why, Strong and Courageous, and I’ll Never Roam.
In 2012, Chaddy released his 2nd project “Universoul Rebel EP”, this album includes 11 tracks of Uk style steppers and dub music.
This EP features songs like “Warrior”, “Keep and Care”, and “Stress Free”. An official video for the song “Keep and Care” was
released towards the end of 2012 and consists of a who’s who of talented Baltimore area poets, Dj’s, artists and more. Rastafari
Elders Irice (a childhood friend of Bob Marley) and Brother Jack (former drummer for Ras Michael & the Sons of Negus) also made
cameos in the music video.
Currently Chaddy is looking to release a new album called “Rectify Your Ways” which will be released sometime during the summer
of 2014. Be on the look out for a new single entitled “Love Over Warfare” which will be released on soundcloud, produced by Jimmy
Cui of Rumble Rock Records.
Chaddy,tell us what inspired you to embrace Reggae Music. I always love to hear how the music has impacted lives.
Well reggae music has definitely impacted my life in a huge way by simply providing a new way for me to express my emotions and
thoughts. It was through this mystical music (that triggers states of higher consciousness) that I was also able to gain more insight on
life and living with purpose and direction. Sometime during 2002 I was in my early 20’s making alot of silly choices which eventually
got me put in jail for the first time, and after that experience I started to rethink alot of the things I was doing. I then started to
follow more of a path headed towards righteous livity. This was all sparked by wanting to learn about Haile Selassie, a name that was
often praised and revered in most of the songs I was listening to at the moment. His Imperial Majesty was a key component that led
to me living a more healthy, conscious, and spiritual lifestyle. I found myself reading more and more about him and the history of
Ethiopia and the royal lineage that began with King Menelik and Queen Makeda of Sheba. My diet started to change and I decided to
let my hair grow and lock up.
In 2010, you made a trip to South Africa to record your debut album, The Awakening. Why South Africa? How did that
come about? Many artists only dream of making a trip to Africa. Tell us about that experience.
Yes your’re right, going to Africa is a dream of many but for me it was a dream that I had to make a reality. The idea to even save
up enough money for a plane ticket and leave my part-time job at the time, came about from deciding to pursue my passion and
jump start a successful music career. Prior to this I connected with a young upcoming producer in 2009 from South Africa named
Bereket Tafari aka Riddim Yut’. Early on I was impressed by his production skills in which carried a very unique rootsy sound that had
the ability to summon some of the deepest emotions in me. In Oct. 2010 I decided to make plans to visit him and do an album with
him. This decision gave me the opportunity to visit the land of my great ancestors and it was my chance to learn as much as I could
about the culture and history of the land. I was already well aware of the enormous wealth in mineral resources of Africa and knew
that there was a side of Africa that is not often shown to us here in the west. So I did not feed into alot of the usual concerns that
keep many people from wanting to go. I’ve gotten to see several gold & platinum mines which had the shape of a huge mound. I was
amazed at how talented and creative alot of South Africans are. While there I met hip hop artists, graffiti artist, dancers, painters,
craftsmen etc. who were all extremely gifted in their own right. The only thing they were lacking was the proper exposure to take
them where they needed to be. Most of the tracks on the album were recorded in a Gontji which a zulu word for shack with a zinc

Island Stage Magazine
roof, and we used a very old computer that kept freezing
up on us to mix and edit . Despite these circumstances we
were still able to put out a quality sounding album. Thanks to
Tsatsi who is a very gifted audio engineer that I met there.
I performed for some students at a local school in Boksburg
(which is a suburb of Johannesburg), went to Soweto where
I also performed at a reggae event there and got to see
Nelson Mandela’s home, and lastly at a place called Yebo
studios where Miriam Makeba recorded. I visited one of
the legendary recording studios called Downtown recording
studio in Joburg where some of South Africa’s biggest artists
recorded songs. The land there is so vast and the soil so rich,
it was breath taking to witness the beauty of the land from
my own eyes. There were even places and neighborhoods
there that reminded me of certain parts of the states.
Something I’m sure most people would find hard to believe.
While there I learned that no matter where you are in the
world, you will always find people going through the same
human issues and problems. Some will even remind you of
those you know back home.
What, in your opinion is the connection between Africa
and Jamaica with regards to the music?
It is of course the drums and the vibrations that forward out
of it. So right there you have a people reconnecting with
the land of their roots through sound vibration. It is also
known that alot of the Maroons from West Africa ended up in
Jamaica, and as a result of this you can hear that influence
in terms of the rebellious spirit inside the music. Some parts
of West Africa even resemble some parts of Jamaica, which
is why it was easy for the maroons to escape in the hills
and mountains away from the slave masters and adapt to
their surroundings. Now the environment plays an essential
role in producing a certain vibe that is felt while listening to
reggae music.
Where else have your travels taken you?
I’ve been to places like Botswana, St. Martin, Barbados so far
and I do plan on seeing more places in the future.
Issue 04 July 2014
PAGE
82
Who would you say is your biggest influence in
Reggae Music? Who’s in your player today?
I have quite a few, but the biggest influence would have to
be Dennis Brown who has always seemed to captivate me in
a deep way with his passion and vocal ability. In my player
you will find some Sade, Teddy Pendergrass, Anita Baker,
Phyllis Hyman, Evelyn Champagne King, Marvin Gaye, Stevie
Wonder, Ojay’s, The Dramatics, SoS band, Peter Tosh,
Dennis Brown, Garnett Silk, Don Carlos, Augustus Pablo,
Simply Red, just to name a few lol. As you can see I love
music from the 70’s and 80’s.
If you could perform along side any artist, who would
that be? Name only One
Beres Hammond, love his vibe on stage.
Tell us about your latest project
Right now I’m in the process of finishing up my new
album entitled “Rectify Your Ways” produced by a UK
roots selector named I-niverse. The concept arose from
acknowledging the transitional time that we are in here on
Earth. This album is a call for certain people to refrain from
their wickedness and strive to be better human beings.
There will be about 7 tracks, 4 dub versions and also strong
artwork to seal up everything.
What advice can you offer to young artists out there
who are trying to get their music heard? What can you
tell them about the industry as a whole?
As an upcoming artist myself there is not much advice
I can give here in regards to young artists getting their
music heard, as I am also trying to master that very thing
myself lol. However I will say as long as you are focused,
consistently work hard on improving your craft, and have
a serious passion for what you do then rest assure that the
right people will find you. You can also start out by doing
an interview with a successful online reggae magazine such
www.island-stage.com

as this one :-). As far as the industry, some of the common things I always
hear about it is how artists get cheated out of their contracts and royalties,
or how it is every man for themselves. So what I would say to eliminate this
issue is to make sure you have the right team of people around you. People
that have your best interest at heart, a good lawyer or manager can help you
go over legal contracts and agreements. Don’t feel pressured to land that big
recording contract from a Major label, it has proven that you can be successful
artist being independent as well. Another important thing is to always remain
grounded, which is why it is best to have one foot out of the industry and
one foot in. This is to ensure that you don’t compromise who you are and get
too caught up in the fame and material success and lose sight of the initial
purpose that got you there in the first place.

Meekie Humble
&
HutHead

Interview
IS: Where are you from, and how did you get into the
business of Reggae Music?
We are from Nairobi Kenya and got into the business of
Reggae music by first attending international reggae concerts
organized in our beloved country. We began attending
musical artists forums and workshops expo exchange, and
also we actively participate in local talent shows in our
community.
Life is the inspiration, His Imperial Majesty is the greatest
inspiration and ever since our relationship has deepen a
certain revelation have come to us through reflection and
meditation.
IS: How did the the two of you meet?
We were introduced and linked up together through our
beloved breddren and very great friend of ours, Fireson Bantu
who is currently writing and performing his music in Europe.
IS: What significance do the names Meekie Humble &
Huthead represent?
Meekie symbolizes the meek and humbleness of one’s
self character whereas Huthead signifies the fiery ancient
african heritage culture, our enegies complement each other.

Island Stage Magazine
IS: What do you think the connection is between Africa
and Jamaican Culture/Music. What does it mean to
you?
Africa and Jamaica are directly connected by the struggles of
African people. In the 1950’s Afro Caribbeans drew inspiration
to fight on from the MauMau warriors of Kenya who spotted
“dread locks”. Now in this time Africans in the motherland
are looking to our Caribbean kin for cultural inspiration, so it
appears that we are STILL very well connected! It is a mission
that is beyond people who sing music and read books. Black
consciousness is the root of it and the greatest example to the
youths, and that is the unifying force. Africa represents home,
Caibbean and Earth itself.
Which artists influence your music style?
Sugar Roy and Conrad Crystal, Damian Marley and Nas,
Andrew and Wadada Blood Tantro Metro and Devonte, Chaka
Demus and Pliers.
Who do you listen to when you are not recording?
Chukki Starr, Pressure Buss Pipe, Telflon, Junior x, Khari
Kill, Jah9, Kabaka Pyramid, Spragga benz, Gappy Ranks,
Delly ranks, Protoje, Raging Fyah, Barrington Levy, I-Wayne,
Issue 04 July 2014
PAGE
87
Admiral Tibet, Bitty Mclean Peter Hunnigale and Exco Levi.
IS: Tell us about Kenya and Reggae Music?
Nairobi is a word which originated from the Maasai which
means the place of cool waters and is the capital city of
our beloved country kenya. Reggae music is broadly played
in clubs across the country, but it’s yet to be revived and
embraced at the live band festival shows and concerts,
stadium arenas and cultural venues and institutions. More
effort unity and unselfish drive should be considered to
mentor and change the perception of the Kenyan reggae
music scene both in business and talent wise in order for
bands/artists to succeed. Respect to those who try make
things right.
IS: What are your current projects? Any touring plans?
Well we are working on projects towards
Education,Community development Agriculture and farming.
These things compliment the music we are making and gives
us inspiration. We are working on our next musical project
where we will be collaborating with other artists from home
and abroad.With time and by the will and the grace of the
Most High we looking forward to touring soon.
www.island-stage.com

IS: If you could name ONE artist you would like
to perform with, who would that be?
Jo Mersa Marley
Do you have any advice you would like to share
with other young artists and musicians who
want to break into the Reggae Music Industry?
Advice to our fellow youths and artists is know
yourself, love yourself, your are beautiful, you ARE
the legacy. Learn about your heritage. Remember,
you are the star in your own movie.
Photos courtesy © Ras Makonnen Photography

Island Stage Magazine
Cristy Barber Talks Industry
by: Maliika Walker
Cristy Barber started her career in the music industry as the
Director of Operations for Front Page, the company owned by
hip-hop great KRS-One. That is no surprise considering her
first tattoo was of the logo of A Tribe Called Quest. Today Ms.
Barber is the President of Ghetto Youth’s International,
the label owned by Marley Brothers Stephen, Julian and
Damian. Her career spans close to 25 years and covers
public relations, marketing, promotions, A&R, and artist
management. Ms. Barber has worked with artists such
as Damian Marley, Stephen Marley, Beenie Man, Morgan
Heritage, Spragga Benz, Supercat, Mavado, Queen Ifrica,
the list goes on and on. She was nominated for a Grammy
in 2003 as Producer of the compilation, Def Jamaica. Cristy
credits her success in the music industry to her everlasting
love of music and her commitment to keeping her artist’s
interests close to her heart as she works tirelessly to expand
their audience.
It was honor to speak with an executive with such a deep
understanding of the reggae music industry. Part 1 of our
conversation focused on the Reggae Grammy and was
published in Island Stage Magazine’s April issue. Here is part
II of our conversation. Cristy shares her thoughts on such
topics as label services, radio relevancy in today’s market,
and reggae’s global presence.
Ghetto Youth’s recently released veteran DJ Wayne
Marshall’s album, Tru Colors, which was his first album in
ten years. Europe based artist Christopher Ellis,the son of
reggae great Alton Ellis, released his debut EP, Better Than
Love, last November . This summer the label will release
music from father and son. The debut EP by Jo Mersa was
released in June. Fans were eagerly anticipating the EP
titled, Comfortable, across the globe as Jo Mersa has been
touring with his father extensively the past few years and
has built up an audience of his own. His father, Stephen
Marley, will release, Revelation Part II: The Fruit of Life, later
this summer. The album will go a different direction from,
Revelation Part I: The Root of Life, because this release will
explore the branches of reggae music. The fruits of the tree
that reggae birthed, one of which being hip-hop.
Issue 04 July 2014
PAGE
89
Cristy Barber
www.island-stage.com

Island Stage Magazine
Maliika: I recently attended an event where an artist
stated that they no longer make money from their
music because companies like Spotify or iTunes give
artists what they want to give them, not what they
deserve. If you do not know how to perform, then
you will not survive in this business. What are your
thoughts about that?
I don’t agree with that. I just did three new deals within the
last month; it’s an artist’s game at this point. When I started
in the industry, almost a quarter century ago, we had like
forty major labels, now we’ve got three. There are these new
things coming up called label services, where the artist can
now do these deals where they own their master, they’re
the record label, and they just utilize these label services
for a support system. So now, the artist can be there own
record label. They can do deals where they own their master.
They’re one album deals. They’re making a large percentage
of the revenue off the back. The label services just take a
percentage.
Maliika: Do Label Service deals offer any kind
marketing/promotion?
Some of these label services are offering a marketing and
promotion budget but it’s not as much as what the majors
provide. I’ve worked at nine major labels in my career
and I am an expert in that system; there’s a lot of wasted
marketing dollars there. The great thing about being in the
reggae industry is that, even when we were making money in
the heyday at all these majors, we have always had to figure
out a way to make a dollar stretch. So because I’ve been
trained that way, this is now the industry for me. When you
come out of a major label system, and you’re not used to
making a dollar stretch, people freak out. I don’t freak out
because I am used to working with a dollar. So right now
it’s true touring is essential. I don’t want to release a record
unless I have a tour behind it. You definitely want to be a
great promoter on stage, and be able to tour. Right now, if
you’re smart, and you got the right people behind you, those
label service deals are out there to be done. I just did three
Issue 04 July 2014
PAGE
90
of them.
Maliika: It’s an exciting new day for artists. How are
people in the industry adjusting to these new budgets?
You just have to be smart. Everybody is lucky to be in the
music industry right now. So a publicist or radio person may
not receive the same fee as they used to for their services.
Everyone has to tighten up his or her belt straps. People
would like to continue having great clients so people are
willing to work with you.
Even with the Macklemore situation; it’s great that you can
do something so independent and then when you get the
major label involved, you get the wheels moving. It did
really help them on a certain level but you can also make
a lot of money being somebody like the Lumineers. The
Lumineers, are popular and they’re still not on a major label.
They’re still going through a label service and they busted off
of the label service. So there are ways to do it, if you have
the right team and the smarts behind you. It’s a change of
events right now in the music industry and it’s a learning
curve. Everybody’s getting involved, and these deals are
starting to get done. When I started negotiating them a
couple years ago, people were just starting to get educated
on them and now I can actually have a bidding war with
label services. So it’s definitely starting to be something that
artists have accessible to them.
Maliika: How can new artists take advantage of what
label service deals have to offer?
You do have to have a story. It’s not something that a lot of
new artists have the ability to go into. You do have to have
something to present to them. But, then again, some do.
Because some label services will offer an upstart artist, not
a marketing promotion budget but, you have a place to put
your music out where you can make the money right off the
top if you choose not to use any of their services that they
offer.
www.island-stage.com

Island Stage Magazine
Maliika: Album sales are not what the used to be. How
do you feel about the RIAA sales certifications? I know
in some countries a gold record is 100,000 copies but
the U.S. standard is still 500,000.
The one thing I really want to fight, besides the Reggae
Grammy, is the RIAA here in America. Singles are selling but
the album RIAA certification numbers should be reduced to
a level fitting today’s market. It’s just not fair. Now very
few people are going platinum on their albums and very few
people are going gold on their albums genres across the
board. You might have had ten people in the year 2013 that
went multi-platinum. Mind you that is all genres combined.
It’s crazy. It should change. It’s not fair any more.
Maliika: Some feel that iTunes helps independent
artists sell their records easier to the public. How do
you feel about iTunes?
iTunes monopolized the market. I’m not thrilled about the
way they do business on a certain level. It’s like they have
a set percentage they take across the board, no negotiation.
There’s no marketing and promotion with them. Nobody
has a backdoor to iTunes, although that’s another thing that
people are very uneducated about. Everybody has to fill out
the same marketing sheet, nobody knows what he or she
would be getting until that Tuesday morning (music is usually
released on Tuesday). Well unless you’re Rihanna negotiating
a big, iPod commercial, but 90 percent of the people in the
music industry it’s a crapshoot, it’s like the lotto. You don’t
know what you’re going to get on your Tuesday.
Maliika: I remember when I used to get excited about
album releases and would run to the record store the
day of release. Now a lot of people run to Spotify.
Issue 04 July 2014
PAGE
91
Spotify and streaming in general, it’s where a lot of people
are, especially young people. Young people like to do
things on their phone and people like to discover music
through streaming services. These services have to pay,
the artist, the songwriters, and the label for streaming that
music. Streaming services do not annoy me as much as the
monopoly that iTunes has. But it is what it is. Right now
about 70% of any artists digital sales come from iTunes. The
other label services combines and makes up the remaining
30%. So technically, you could just sell your music on iTunes
because physical barely sells for anybody.
Maliika: I know physical does not sell nearly as much
as it used to but I still find myself looking for vinyl,
especially within reggae music.
Oh yes, you know there’s a surge in that right now too.
There is a movement in trying to design covers like that now,
bringing back those kind of old album covers from the 60s
and the 70s. I was in a record store recently and ironically
enough, I actually have more CDs in my collection than they
had stocked in the music department in the store that night.
Maliika: How vital is radio in today’s market place?
What people don’t realize is that radio is as vital today as
it ever has been. Radio is still the game. I think the last
stats I saw, about a week ago, Pandora and YouTube were at
the top. Spotify is only ranked number five of all streaming
services which is interesting. With radio, even Sirius Satellite
Radio is only ranked number seven. It makes sense if you
think about it because you have to pay for Sirius. Now in
2014 one of the biggest car dealers in America, GMC, has cut
their contract with Sirius Satellite Radio. That’s how a lot of
people end up getting satellite radio, you get a new car and
you lease it. Radio is everything, it still breaks a lot of artists.
I mean you hear people breaking off of YouTube but you still
need radio to play the game. Everybody that you’ve seen win
a Grammy this year, whether it’s Macklemore or Lorde, it was
radio and video, that broke him or her in the game. Radio is
so crucial, but it’s a real hard game. It’s probably the hardest
www.island-stage.com

Island Stage Magazine
game in the music industry to play. When you have a radio
hit, it changes everything. It’s great to be on YouTube and
I’ve had projects that sold 5000 copies that have had publicity
like you would think it was the new Justin Beiber record.
Publicity is great, but radio still moves the needle. It’s just as
important as it ever has been. So it’s still a game we have to
play.
Maliika: Reggae is a global music. It’s a music that
seems like it has a much wider audience outside of
the U.S. Do the record sales back that up at all? Are
record sales better outside of the U.S.? Does the artist
gain more financially in the global market?
There’s a gentleman named Coleman Sisson, who lives in
Houston, Texas. And he started Radio Margaritaville for
Jimmy Buffett, the first Internet radio station. They sold it to
Sirius Satellite Radio. And when they sold it to Sirius, they
did this trial thing where they put different people in a room
and they played all different types of genres to them. They
had them check off pieces of paper of what they liked and
they didn’t like. They’d have a, a 14 year old Asian girl and
a 44 year old African American woman and then maybe a
32-year-old white man. Coleman asked the heads of Sirius,
if there was a genre that you played in this room that, no
matter who you put in there, age, nationality, religion, race,
that they always say they like it? And they said, it only
happens when we play reggae.
something you want to see in concert. And America’s has
always been the furthest behind in reggae.
Europe is much more versed in reggae music because the
majority of the black people who live there are from the
Caribbean or Africa.
In the UK, reggae music is considered pop music. So, if
you are a white person in the UK living in the urban areas,
everybody that you’re around is either African or Caribbean,
so you’re going to be exposed to reggae music also because
that’s what they listen to. There are places where reggae is
popular yet the people speak different languages, Japan and
Germany for example, but they appreciate the music much
more than North America does. However, it’s always going to
be the most popular music in the world that makes the least
amount of money, unfortunately. If you are a reggae artist,
songwriter, musician, you are doing it for the love of the
music. It’s that simple.
Follow Ghetto Youths International
The thing is with reggae music, especially with people who
aren’t so submerged in it like you and I, it’s that summer
music, and it’s that fun music. It’s even what they call cruise
music, although half the people on the cruise don’t realize
that it’s actually Calypso they’re listening to. It’s that feel
good music that people want to listen to and, and unless it’s
those records that really break through or those artists that
really break through, the record sales have really never been
there. Outside of those success stories like a Bob Marley or
Shaggy or those times when those singles do very well. The
record sales just aren’t there. Touring is really what reggae
music is about. It’s always been a live music, it’s always been
Issue 04 July 2014
PAGE
92
www.island-stage.com

Island Stage would like to thank the following people. Without their
contributions, this issue would not have been possible.
Lee Abel
Sista Irie
Lloyd Stanbury
Michael Kuelker
Maliika Walker
Nkulee Dube
TK Dube
Mark Miller
Randall Grass
HIMages Photography
Different Colours Production