Q: That was partly why you went, as far as the music itself was concerned, not being comfortable as the circumstances were? A: No, wha' happen is that we did get out even before that, if you understan', when the change created everybody come, whe people start coming back when that music start now. When we a come back, we a come in, people coming forward now. Man a realise seh this style a music did kinda change, it did tek a different turn. So it's not a man, say, people was leavin' in them time, people was comin' back that time. If you notice the music was gone really, as we a say, real bad! An' the music was being crashed, or you a seh everyt'ing did get crash, the music too an' everyt'ing. So it's not jus' you alone did go, everyt'ing did get crash. Beca' no dance neva a gwaan too tough, y'know, neva a gwaan you understan'. It was jus' like a war vibes, like a maybe you would a seh, like, mebbe no really like Iraq, maybe jus' like them country whe under war. It was just them kinda business a gwaan, you understan'. Q: Blood, too much of it. A: Yeah! So everyt'ing did kinda get 'pon a halt, or put 'pon a pause for the time being. You understan' when somet'ing is put on pause, an' then when you done an' you come offa the pause, you start again, you continue. Yes, so it's on the continuation now, music change did create. Ca' if you notice there was a change, change a politicians them an' change in music. So, a so it go. And then now, the people who feel like seh better was created, or better had come, it's when people start coming back. Beca' them did feel like say everyt'ing did deh right back 'pon level a turn again, an' t'ings start pick up back once more. Yeah. So people could not leave when t'ings did start pick up back, people did leave when t'ings did a crash. So most of them time was leavin' time. Yeah, so don't get it the wrong way. Q: One thing when it comes to your name, your position within the music, is that you were on a par or almost equally successful at the same time as Dennis Brown and Gregory (Isaacs) produced their best work during the mid seventies. But since that time, for some reason you are not as known internationally as those two. How come? What would you see as the main reason, considering your success at that time and being established firmly in the music since those days? I suppose bad advising, bad management, lack of determination, lack of successful recordings played their part, but what would your analysis be? A: No, well, from them time deh is jus' the people them who you'd find who choose fe come work with you, 'cause I was there an' I was like known. An' if you notice all a whe me tell you 'bout, it was a time before that time. It was a time when me work hard in a the studio an' don't work with more than one stable, really. So them, fe whatever reason, them choose fe work with these people deh, an' never choose fe work with I. 'Cause I was already established, you understan'. So it was that them people deh did get kinda more people a back up or 'fed' as you woulda call it, it was like more breast-fed, y'know. Ca' thru it was like inna the grasp of certain people palm, certain people who come inna the business a 'ave some few dollars, 'ave some dollars to spend, financially them figure them shoulda did focus on them people deh more than I and I. So I couldn't tell a man where to spend his money.

Q: Do you think the main reason behind this is that you spent too much time in Bunny's stable, that you should've been more flexible and moved around more? A: No, the main reason for that was that the man 'imself would spend the money 'pon them other man deh, know who 'im waan spend him money 'pon. So it no matter whe you did do, is jus' the intention or wha' the man did feel fe we. If we 'ave the money an' come in the business an' a circulate an' a spend it, me haffe know seh we a go fe the 'cream of the crop'. An' me haffe know seh me was the cream of the crop, ca' me was the man of the time. An' yet still the man a go deal with other people, you understan'. So it's not about whe if me stay so maybe the man deh a carry a feelings, maybe that person then maybe 'ave somet'ing against that other person then if I 'ave the name. Ca' if you stay too long with that man, maybe it's because the man who decide fe come circulate fe 'im t'ings, nuff people - an' them a pick an' choose who is who, who 'im should work with or who 'im should not work with. Mebbe 'im choose not to work with that person, because I was along with that person an' choose not to work with I, because I stayed with that person for too long, 'cause him 'ave somet'ing against that person. So it's jus' about who the man waan fe deal with. Maybe it's not about how great you are, it's jus' about who the man want to spend with. That I was still there, that couldn't really demolish I or stop I, 'cause I done go through the gate a'ready and established. So it's just that we never have no additional funds from that angle, but there was other angles and there was other people. 'Cause if you notice I was like with Virgin, ca' them time deh whe you 'ave the major company was Virgin and Island. Some people was with Island, some people was with Virgin, you understan', an' I was with Virgin. Q: What would you say is the joy of making music up to this day, more than thirty years after you got that breakthrough with 'None Shall Escape'? A: What is the joy?

Johnny Clarke @ Rebel Salute 2005 (Photos: Sis Irie)

Q: You get the same vibe of creating? A: Yeah man, the vibe is there, even more now. Because nobody na do it an' the people them still need I an' they need I and I vibes, so I and I haffe deal with it even more now than it ever was. 'Cause the people them - nobody na build how I and I stay, you see, so is like we haffe deh ya same way. We a gwaan feed the people them, ca' them need to be fed an' they need the feeding. 'Cause the music, I and I music, is like medicine to them. And the space na full up fe really give them medicine, an' them waan them medicine. So now more than ever, we haffe gi' them the medicine an' them feedin', musical feedin'. Q: How come you slowed down on recording since the eighties, because there has been recordings few and far between each other over the past twenty years or so. A: No, because what happen is that the people them still request them stuff deh whe we do from them time deh. Ca' mebbe the reason why is because the CD... you understan'? The CD is like a blessing, ca' remember seh some a them tune deh is like them bring them back 'pon a revival vibes. All a them old tune deh whe deh 'pon record a'ready, the CD now wake them up back again, the Compact Disc. Q: Do you keep track of what is being put out on CD of your past work? A: Yeah man, ca' they are all there for us to see. The company whe put them out, them na hide it, a that we know. And is mostly the old tune them an' the people them still want them, that's why on any show we do now, anywhere a part of the world now a them same tune is like them brand I jus' make yesterday. So the old tunes now, or all new tune now, welcome yes, but is not a must. Ca' we deh ya a gwaan there now an' is so much show I do now an' all them t'ing deh, an' a them tune deh now, same tune them. So we a eat up an' a re-eat, so we a go eat our food offa the same tune. Ca' we a nyam food offa them tune right deh now, ca' we a eat that again. So we a eat to the fullness without any new music, so we no haffe... we 'ave new stuff, yes, beca' our latest album is a current, a current whe we did do the album fe a company named Peter Pan.

Q: With Niney ('Rock With Me', 1997). A: Niney The Observer, yea. But at the same time, that was jus' to show seh we still active an' we can still deh 'bout. But a the tune them whe the old tune them, man a jump up over our old t'ing a' waan it same way. As me seh; soon nobody na full up, the fullness stays. So it keep we now alive same way, so the vibes a gwaan now, people is right in there. Q: You don't feel it's necessary to record new material, anymore. A: You coulda answer that too still, as well as when we get the time an' the chance, we do it, yeah. But if a man no feel like him waan come mek we record nutten new, 'cause most a the man them that carry we an' put 'pon riddim an' t'ing, but we no mind. Because whether we go 'pon riddim or go 'pon nutten new, we still deh active an' still people waan we same way, ca' we a get nuff work an' do t'ings. An' is highly respected fe them tune deh, ca' as I say thru nobody no deh-deh with the space na full, we haffe deh-deh. We haffe still deh fe kinda keep the people them check we same way an' keep the vibes flowin', you see wha' me a seh. So we no need fe keep the vibes flowin' is not off a new tune, is offa the same tune them. Beca' them young youth deh now waan come know 'bout them ya tune deh now. So them tune ya now did a come like new tune to them young youth ya. So even the new tune we a go mek ya now offa the old people them, an' for them youth ya, ca' them youth ya deh now a come like the old tune a come like new tune to them. Ca' them a jus' a hear them too, them find out seh a them a the tune them, a them a the tunes them. Q: How much airplay do you get in Jamaica now, they still spin your vintage stuff? A: Me no really check that yunno, me no listen, ca' me mostly a listen talk-show fe listen wha' gwaan, how the country a run an' all them t'ing deh. Me listen the radio an' listen wha' gwaan, ca' me no listen to the radio station whe play the music right now. Me listen whe the man them a talk 'bout, the country a run an' listen to the people them, wha' gwaan inna the surrounding. Ca' sometime it's good fe know what is 'appening, you know if you open your door an' where you going (to) go from where. Ca' when a man a lef' me, alright, him mus' know where to go from where not to go. An' sometime the bes' indication is listen the talk-show man them, them a go tell you wha' gwaan. The way Jamaica a res' ya right now, you know you cyaan listen the music ya right now 'pon the radio. Which, in my own time whe them play my music an' them a play, me no mind - when me say 'mind', that mean them a play my own set. But me cyaan (do that), me haffe keep in check ya now - as far as the radio station - what is being said on the air.

Johnny Clarke (Photo: David Corio | www.davidcorio.com)

Jah Shaka & Johnny Clarke (Photo: David Corio | www.davidcorio.com)

Q: What do you miss the most about the values of making music back in the days now? What is missing today? A: What's missin'? The exclusion of a lotta instrument. Yeah, y'know some a the sweet melodical sound an' how tunes used to flow with the lyrics an' all them t'ing deh now, it's like a man jus' a drop dung a rough t'ing, the man jus' a come sing. An' sometime them put all a singer whe mebbe the singer is not even fe 'im key, but him haffe fit in same way. So maybe you have all these tune flat, they stay with mebbe too low an' it na go change. Beca' them 'ave fe go 'pon da riddim deh, you understan', or maybe him waan all a higher pitch. Beca', sometime whe we did love too is to present our voice on the riddim the best way, through we know seh that it gonna be on a record forever, for long or forever, so we get the bes' pitch. So if you sing the bes' way in G, an' then when you feel like you sing it to them G an' it sound good, an' you try A an' you find seh A is a better pitch, and then you go above the A you'd find seh you gaan ova the board, you stay a A - the bes' pitch for a record, so a man a get to the best way. But if a man a go do somet'ing an' it too flat, or it too low, an' then again whe 'im put that 'pon record, but still 'im coulda do it better. Bwoy, why you neva a jus' do it better an' put it 'pon the record. You 'ave man put out somet'ing 'pon record whe a go stay deh, an' then them artists a seh, bwoy, you know you coulda do it better yunno. A record that, man. When you do that 'pon live show, when you say you coulda do it better, but when you a do it 'pon the record, do it the best way! That's why man tek more than one cut, ca' a man tek a cut an' him go back... or sometime him come back all a next day an' him do it over, or him say mek that stay 'pon that track deh but I'm going try yunno, ca' I feel better today. Ca' the bes' him a look for out of himself, the bes' voice. Beca' you know seh each time you can tek an' you tek an' you can siddung an' see that you know you can sing that song better. You understan' wha' me a seh? Q: The standard is not there anymore? A: Beca' the force deh, like the riddim t'ing... I mean, no mind if you a do it fe like how Tubbys used to do it now fe the dancehall t'ing, sometime Tubbys used to have we sing 'pon a riddim whe mebbe the key no all that - but you can still fit in yunno, a sound t'ing that, y'know wha' me a seh? But if you a do it now fe record a go out there, a man mebbe sometime the key whe the man a do an' you know no professional artis' a sing it, me know say that right now if him sing that tune deh, when me hear the tune an' a hear him sing it, me know seh 'im can sing it better. Me na aks it, but to how me listen the tune an' mebbe me jus' see 'im do the tune an' me hear the tune, an' me listen the tune an' me know seh that tune deh coulda sing better. Maybe if him step up the key, you understan' me, sing it inna higher - sing it out more than me a come from more dung deh a belly-bottom, more than jus' a whisperin' t'ing. Sing out yunno, sing up, y'know them way deh? Like, in a studio an' a producer direc' you an' him a seh 'sing up, man, mek ya feel you round deh, man, give me the fullness!' Some producer a record some tune deh an' the artis' round deh an' him a sing an' him a indicate fe the artis' whe him waan him do round deh an' all them t'ing deh, an' when him done with the artis' the artist do it the right way now. So sometime some producer a help, while some now jus' put you 'pon a riddim an' you flat, an' him jus' love it. And right now the tune coulda jus' - is jus' a riddim t'ing, is a t'ing fe mek a man find a man pitch, the right pitch an' the best. That's why inna them days deh him choose the best, because the musician used to go to the piano an' them find a key fe you, a man mek you sing it inna the bes' key. So when a man hear you voice, man, it crisp an' clear, man. Ca' your pitch, you get the pitch, man. You know them sound a America, them go so... certain a that music sound, man, the people them pitch good yunno, ca' pitch important.

Johnny Clarke, Hasselt Belgium 2002. (Photo: Jahmon)

Q: You feel that the youngsters nowadays don't want to work on their vocals that much, that there's a lack of discipline somewhat. A: The pitch! Ca' them coulda sing the tune a sound more mellow an' nicer, but them jus' a go through the motion an' you feel seh them not even know 'bout the pitch. And I say it's not about - if you a go do it 'pon record, don't jus' do it every now an' then when the artis' know seh 'im coulda do it better, jus' do it with the heart 'pon the record, man, the best way. An' leave it alone when you know seh that done whe 'im a go press that now an' mek it go release now fe your fans them now, you no busy with a touch that again. Yeah man, you 'ave some producer when you done voice the tune an' tell you say come outta the studio, na go back in deh. Ca' him na waan you go (inaudible) that, beca' him a go know seh him get it solid that him no waan you no even snease 'pon that again. Beca' you sing it so great that it done, done, done, done with, an' jus' release we a talk 'bout now. Ca' him hear it an' hear say, bwoy, you do that proper! No come back no tomorrow night or no next week, now we done. You know? So, a so it go. While sometime you a do all a tune an' a man seh, like, maybe you a do tune too late inna the night, or a man say, "Bwoy, you sound like you waan sleep anyway, mek it cool off, low it, go home, tomorrow or next day we book some more time, come back an' do that tune deh again". An' then when you shake up yourself an' come back all a next day now, you see we a get the tune now the RIGHT way! So, a so t'ings go. Sometime every tune you jus' run an' forth to get it over with, you haffe listen the tune an' if you feel say the tune, like, can do back the tune again, man, an' don't run go reason this tune ya yet, you understan' me? Before the people them hear it the right key back, an' still keep wha' you 'ave just in case. But let me hear back somet'ing, jus' fe hear a different style an' you a match the two a them, whether it be the first one or the last one ya. You understan'? As well as you can add more lyrics, and you seh, bwoy, that tune deh did empty yunno, add a next verse. You know them way deh? A so them produce, a so we used to work, man. Q: If you put on a record at home, what do you prefer to listen to? A: Me?

Q: Yeah. A: Me is a man now whe it depends on the mood, ca' whenever time you jus' waan - let me tell you somet'ing wha' me really love to hear, me bredda: melody. I tell you brethren, you see jazz? The whole a the music them, R&B, whole a them 'ave the melody inna them. Me na really listen to reggae, ca' sometime me listen all some nice instrumental too, and some Jackie Mittoo an' some wicked organ a bawl out yunno! You understan' me, some instrumental or some man a blow, ca' a melody, man. Sometime me jus' waan fe - 'cause when me seh music a made like this, is not fe jus' the people who me a gi' it to alone, is all fe we too. 'Cause is like a curing t'ing, sometime me jus' waan fe hear some nice music, fe keep me nice. Through that now me a do all a run on a cassette or a CD, me jus' try fe put the best when me inna me car an' drive, as one tune then is a next wicked t'ing a come, as one then is a next somet'ing when tape a turn. You know? Different from a time now when you can listen to any lickle t'ing, whenever time when you waan keep up the bass, whenever time when you waan keep up the riff yunno. A pure art stuff a come back, one after the other. You see me? An' not jus' reggae alone, is that you come you hear all some BAD jazz, instrumental! Blowin', guitar, ca' you have all some guitar style. Jazz, sometime you 'ave some horn a blow an' all them t'ing deh, an' some... seen? An' in a reggae too, you no see it, with the instrumental. Q: Sounds like you're a real jazz fan then? A: Yeah man, beca' 'memba me a talk 'bout melody, ca' me a talk 'bout the melody. Jazz 'ave some kinda chord changes, nice change a chords. It mek you jus' nice an' relax, you jus' come inna your home an' feel nice an' refreshed, you feel light an' fresh an' you siddung now an' you na 'ave nutten fe do an' jus' want hear some nice music, some nice flowin' music, you see. Me no mean not jus' the ordinary, me talk music towards now he every man know wha' them a look for still. Seen. Q: What is the future for reggae music now, as you see it? A: The future? The future for reggae music ya now still is fe live show. Yeah, man haffe jus' gwaan deal with it out deh an' fe expand an' give thanks that we still on ya an' can get it to the people them live an' direct, and fe expand it. Increase the population, you no see it, an' show you seh we no drop off a shape. Ca' when them t'ings fe drop off, man like we still deh ya fe keep it up. Ca' mebbe if it not for we, mebbe it woulda gone a'ready, gone an' feget 'bout. So the future is all about keep it there, ain't no stoppin' reggae music. You know wha' me a talk 'bout, continuation - Itinually. Seen.

It is truly extraordinary how this man has maintained such a high standard over a long period of years, more than thirty years in the business, and he still sounds as youthful and vibrant as ever. Johnny Clarke in concert rarely disappoints as well as cutting some fine new records even today. The past ten years has seen him being more in demand on the concert/festival circuit as the interest for vintage music has grown tremendously, and most of his recorded output has stood the test of time exceptionally well and still sells. Historian Steve Barrow has, perhaps, been responsible more than anyone else these past seventeen years for presenting Clarke at his prime with sublime compilations such as the 'Dreader Dread' (Blood & Fire) and 'Don't Trouble Trouble' (Trojan). Other decent compilations includes 'A Ruffer Version' (Trojan) and Clarke in King Tubby dubwise fashion, 'Johnny In the Echo Chamber' (Trojan). When Johnny entered the scene in the mid seventies, he came with something new, crisp and fresh to the dancehall crowd. A youtful sound, straight to the youngters' head but with a traditional approach to maintain the long time crowd as well by cutting updated versions of 'standard' songs in Jamaican music. It was Bunny Lee's concept and Clarke truly benefitted from it, even though in hindsight Lee took it a bit too far. Alton Ellis made a famous joke about this fact. Clarke left the island at the political turmoil in the early eighties to live and record in England, he cut some fine albums for the Mad Professor.

After returning to his home country he has, over the past twenty years, cut some decent, if unexceptional, albums for producers King Jammys, Prince Jazzbo, Niney and recently for Jah Shaka. Clarke occasionally gets a 45 issued, of those released in the past couple of years I appreciate the flirt with his childhood rock'n'roll in 'Twistin'' (Ethnic Fight) for long-time UK based producer Larry Lawrence; his take on class differences and social injustice in 'Never Get Away' (Natami); guesting the Joe Gibbs stable once again expressing depression and apathy in 'I Don't Feel Like Talking' (Rocky Gibbs). All of them superb Jamaican music. Bunny Lee also issued some unreleased mid seventies cuts on 45s such as 'A Man Like Me' with Clarke clearly improvising the lyrics on the spot. Why on earth they didn't return to finish this song properly remains a mystery hearing the potential even in this raw approach to the song.

The former dubplate 'Can't Stop Me' (Thompson Sound) issued by his childhood friend Linval Thompson made quite a stir when it came out a couple of years back. Jacob Miller also had a great cut, 'False Rasta', on this version of the 'Ain't No Sunshine' rhythm. Lee also revealed an early flying-cymbal cut of 'Every Knee Shall Bow' featuring a slight mistake in the vocal department but a very interesting document of the early inception of this famous song, easily available on the seminal 'Originally Mr Clarke' (Clocktower) album from 1978 (and pirated in Canada). It remains to be seen what Johnny will offer in terms of new recordings. I'm pretty sure that he will not disappoint in that department, considering the high quality of his recent material. It's easy to get the impression of a perfectionist and, as most of us know by now, he is a natural talent who seldom lets us down. But there is more vintage stuff to collect though, I'm sure he will be the subject of many more compilations to come. Check out oddities like the legendary 'Golden Snake' on compilations such as 'A Hudson Affair' (Trojan), JC in a rock steady style! Or his Glen Brown recording of 'You Really Got A Hold On Me (Jump Back)' on 'Boat To Progress' (Greensleeves). Nuff respect to man like Johnny Clarke, yu a di Don in di area still. 7" single information courtesy Roots Knotty Roots.

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Article: Peter I (Please do not reproduce without permission)