[MV] Alright, I think it's recording. So you started in 76 - what about before then, what were your inspirations when you were starting out? What sounds did you check as a youth, you know?

[WI] Well I used to listen to this guy Ranking Trevor, deejayed King Attorney.

[MV] Him and U Brown, right?

[WI] Yeah. And then he started recording, and when I heard him now, I said I wanted to be a DJ. The first sound I went on was Sir John, the President, which later become Stereophonic.

[MV] Was Flux and them on the sound at that time yet?

[WI] No, not yet.

[MV] Just Big John?

[WI] Me and some other guy, no, Big John didn't play, he was the owner for the sound, he own it. There was some other guy playing. At that time Flux used to lift up box, until he became a selector. We change the name from Sir John the President to Stereophonic. And when I left Stereophonic I went to Gemini and . . .

[MV] Could we talk about - when you were on Stereophonic, you started in 76, you said? And so when did the other deejays start joining the sound? So like, Echo and Django and those guys, Ringo?

[WI] Oh, I'm not quite sure of the year, but I left. When I was there, they weren't there. That's it, so I don't know when.

[MV] So then sometimes, on the tapes, you know, sometimes you just come back and do a thing for the sound?

[WI] Yeah, you pass through, right, if I have nothing doing, I will pass through. that's how it was back in those days, a deejay will pass through another sound, and do a couple of lyrics and move on again. That's how it was.

[MV] I see, so you actually stopped being a Stereophonic deejay.

[WI] Yeah, and I went to Gemini Disco. I was there for a while, and then I left there, went to Virgo . . .

[MV] Wait, so when you were there, who was there at the same time?

[WI] Just me alone. Me!

[MV] You alone!

[WI] Yeah.

[MV] Just you? OK.

[WI] At the time it was just one deejay to a sound. One deejay would stand up all night and chant the mike all night.

[MV] Some of the written sources say things about you and Lone Ranger being deejay spars - is that really true?

[WI] Yeah yeah man, we started off together, yeah man, from we started off deejaying together. First recording I did was with Lone Ranger at Studio One, a track called Chase them Crazy.

[MV] Right, right, Mr. Bassie.

[WI] Right!

[MV] Now, other things at Studio One - there's that John Holt tune, with you doing the deejay part on the 12", right ["Why Can't I Touch You"].

[WI] Yeah, yeah!

[MV] Was there anything else?

[WI] Yeah, I've got at least eight more songs that hasn't been released, no, cause at Studio One, he has so many music he can't keep track of all of them.

[MV] What kind of rhythms were those over, do you remember?

[WI] Yeah man, I'm on this Alton Ellis riddim called Pearl. And I'm on the Heavenless. And I'm also on Pick up the Pieces, Lone Ranger is on that also with Quarter Pound of Ishens, and which other one - couple more riddim, I can't remember 'cause it's been so long, you know! Cause the first time I went to Studio One, it was 1977. That was when me and Lone Ranger did Chase them Crazy, and that day I did about four more songs, I don't remember them though, it's been so long, you know what I mean? But Lone Ranger was really the Studio One deejay!

[MV] Yeah, yeah, he cut a few LPs for them.

[WI] Right, I did most of my recording at Channel One and Joe Gibbs.

[MV] A little bit later though, right?

[WI] Yeah, yeah, a little bit later, yeah. And me and Lone Ranger also did a combination at Channel One, on the Joe Fraser riddim, a song called Big Fight. In it, I'm saying I am Mohammed Ali, and Lone Ranger is saying he is Joe Fraser, and we are in a contest, lyrically.

[MV] I see.

[WI] Yeah, and that's it. Me and Lone Ranger started together, move on, at that time he was on a sound called Soul Express, then -

[MV] Is that the same as Soul 2 Soul?

[WI] No, no.

[MV] A different thing, OK.

[WI] Soul Express was in Kingston. Then Lone Ranger left and went to Montego Bay, and that's where he started deejaying on Soul 2 Soul.

[MV] OK.

[WI] Mm, anything else you like to know?

[MV] Yeah, yeah, a few more things! I've got some questions . . . So you also started deejaying for Virgo at some point, right?

[WI] Right, yeah yeah.

[MV] So that was after you left Gemini?

[WI] Yeah, and it was me alone there until -

[MV] Still you alone.

[WI] Until Lone Ranger left Soul 2 Soul and came and joined me.

[MV] About what time was that?

[WI] No, the years I can't remember!

[MV] Can't remember, that's fine, it's always -

[WI] It was about 1980! Lone Ranger came on, I remember, 'cause an election campaign going on, a very violent election campaign going on.

[MV] That was when Big John and Flux and them were -

[WI] Yeah, died, 1980. And then I left Virgo.

[MV] And then - what about the Channel One sound system? I know there's some tapes of you -

[WI] I wasn't an official deejay on Channel One.

[MV] Time to time?

[WI] Yeah, you just know where's it playing, pass through, do a couple lyrics. Back in those days, you know, you had to go around and deejay for people to know you, to hear you. Ca' in the early days, there wasn't much recording being done by deejays, just few deejays used to go in the studio. Back in those days, deejays were in the dancehall, mostly, few deejays were in the studio recording. But in order to become recognized, to get big, you had to be in the dancehall, on the sound system. If you had no name in the dance, no studio would want to record you.

[MV] And then at some point you must have rejoined Gemini 'cause you went with them -

[WI] Yeah, well usually what happens sometimes, you leave, and then when they miss you they will call back for you, because I went back on Gemini, with me and Ringo together now, 'ca after I left Gemini, Ringo came on. And then when I came back on, we were there for a while.

[MV] Let's talk about Johnny Ringo for a second, so you'd known him for a long time?

[WI] Yeah mon, before him start to deejay. 'Ca he used to sell record in a record shop, and he was also a selector. Then after hearing me now - 'ca we all came from the East, me, him and Lone Ranger, from the eastern part of Kingston, so we all knew each other. And after Ringo heard me, and I got big, he decided he wants to become a deejay as well, and he patterned me, until he eventually went into his own style. 'Ca back in those days there was always a deejay that someone heard, and patterned, like - U Roy, U Brown heard him and patterned him, then Trevor patterned U Roy, until you eventually go in your own style, you find your own groove. But there's always some deejay before.

[MV] Inspiring you.

[WI] Always.

[MV] Trinity and Big Youth.

[WI] Ah, you know exactly what you're talking about! 'Ca Trinity sounded like Big Youth at one point.

[MV] Then he did his own thing.

[WI] Yeah, and there were couple deejays who sounded like Dillinger, 'cause Dillinger was wicked in those days as well.

[MV] So what other sounds were you on? I think Echo Vibration, too?

[WI] Right, and Lee's Unlimited as well.

[MV] Lee's Unlimited, how long were you on Lee's for?

[WI] Oh . . . less than a year, I would say.

[MV] Less than a year. Who else - still one deejay? Just you?

[WI] Yeah, and Ringo would come on sometimes, and then eventually now, Tippa Lee and Rapper Robert starting doing some shows with Lee's Unlimited. This radio guy, Don Henry, he linked up with Lee's Unlimited and was having some shows on the road. And Tipper Lee, Rapper Robert was there too, as some young deejays coming up in the business.

[MV] And Echo Vibration, who else was on the sound with you at the time?

[WI] When I went there, it was me, alone. But before me, it used to be - it was based in Kingston at one time, and at that time, Michigan and Smiley used to be the deejays for it.

[MV] OK, really!

[WI] Yeah, then it left -

[MV] Who ran the sound? Who was the owner and the selector?

[WI] Dexter. What's his name? I just remember his first name, Dexter. He's a wicked collector when it comes to ska and rocksteady. Wicked. Then they left Kingston and went to St. Mary, and it was while it was in St. Mary I went on there, for about a year, yeah I deejay for about a year.

[MV] Yeah, Echo Vibration, it's hard to find tapes for that sound.

[WI] Yeah, yeah! [Laughs]

[MV] And then later on, you deejayed a little bit for Youthman Promotion too, right?

[WI] Yeah! You know, just a likkle bit, it wasn't for long.

[MV] You showed up on that live LP they put out [Powerhouse Presents Strictly Livestock], you know -

[WI] Youth Promotion? I didn't know that! [Laughs]

[MV] Yeah, mostly it's singers, like Jr. Reid and other young kids, but you have a tune over I'm Just A Guy, the Powerhouse cut.

[WI] Oh damn, I didn't know. Because sometimes they're recording and you don't even know y'know, people come with their cassette, their tape deck, and record, and they later go on and do stuff with it that you don't know about.

[MV] Speaking about recording, back to Gemini, that session that got released on -

[WI] Skateland! Yeah.

[MV] That Mike Cacia session, that Deejay Explosion thing, do you want to talk a bit about that?

[WI] Yeah mon, that was official. The guys all contacted us and we got an advance, and it was in Skateland, Halfway Tree, Gemini Sound and that there's Eek-a-Mouse, Nancy, I think Brigadier Jerry, lot of artists is on that.

[MV] Even Prince Jazzbo and Trinity and those guys passing through.

[WI] Yeah, it was some guys, it was Heartbeat label, I don't remember where they're from, but they decided -

[MV] The US, I think.

[WI] Ah?

[MV] I think they're from the US.

[WI] Yeah. That was the first live album with a sound system really to be done. And it was done officially, they came with their equipment, hook it up and everything. And yeah, it was done officially. And after that you started having other live albums, like Volcano, Stur Gav, Aces, Lee's Unlimited, but the Gemini one was the first one.

[MV] Bebo Posse.

[WI] Yeah mon.

[MV] Metromedia, you're on a few of those tapes, did you ever really play for that sound?

[WI] No no, never, just pass through, pass through. 'Ca if you have tapes with Cutty Ranks on it sometime, you hear a lot of other deejays. Cause back in those days, it's not like now, the deejays used to live in love and unity. Not like now with their warring against each other. Back in my days, all the deejays were friends, all entertainers were friend. So like we had nothing doing, and we heard that, "Metromedia is playing down the road!" or Gemini, we just all went there, and got on the mike, 'cause there's even some Gemini tapes where you will hear Sugar Minott, Michael Palmer, Tristan Palmer, Phillip Fraser, lot a artist.

[MV] Yeah, there's a really good one that's sort of a "singer's showcase" that has all of those guys on it.

[WI] And it's not official. There's just in the party, enjoying themself and just decide to go up there for free.

[MV] So the clash vibes back then, were they friendlier too? I think there's a tape of you on Channel One clashing Stereophonic at some point.

[WI] Yeah, it wasn't a clash.

[MV] No, it wasn't a clash, it was just in the dance together?

[WI] That was actually my dance. I kept that dance. There were clashes, but few, very few in those days. Very few.

[MV] Stereophonic and Stur Gav -

[WI] Right, yeah, that was a clash. That was a clash. That was a clash. Ca - that was a clash. And that dance ended up being shot up as well.

[MV] Oh really?

[WI] Yeah, because there's some lyrics that Echo said, um, some people took offense and came up on the sound flashing bare, and man in the crowd didn't like that and just fire some shot in the air and the dance was over. But back in those days there weren't many clashes.

[MV] I see. So back in that time, as a live performer, which deejays did you most enjoy changing lyrics with, which selectors did you enjoy playing for, which sounds had the biggest vibes to you?

[WI] Oh, well three main sounds that I really had vibes on was Stereophonic of course, Gemini and Virgo. And the deejay that I par with mostly back in those days was Ringo, 'ca we were actually the first two deejays to be in the dance, deejaying combination. Like, passing the mike to each other, on the same riddim. Me and Ringo the first guys who did that in the dancehall. Yeah. Because, as I said I used to par with him a lot in those days, y'know? And it was on Gemini sound. I would hear him do a lyric, and I would say, "Ringo give me a piece yunno," and him doing it and would pass me the mic, and I would do my piece, pass it to him.

[MV] How come you guys never recorded that much together?

[WI] Yeah, that's strange, for some reason.

[MV] Do you have anything together?

[WI] No, no, no. For some reason. Um - I've got a track on the Army Life album where Ringo do a likkle harmony on it. But for some reason we never did a combination like how me and Ranger did. And in those time Ringo really wasn't recording, either. It was sometime after Ringo started recording. But back in the early days, you know. Because, the thing is you have to be in the dancehall for a length of time before a producer said, yeah, they want you in the studio. You have to prove yourself in the dance. And, y'know? People talking about you. That's how it was. 'Cause sometime a producer would send for you and tell you which lyrics he want, he has a tape with you on Gemini and him listen lyrics, and it's that him want. That's how it was. But you had to be in the dancehall first.

[MV] So speaking of the lyrics thing, in all these live dances it's often hard to keep track of who came up with lyrics first, you know. What were some lyrics that you originated that everyone else kind of copied afterwards?

[WI] Oh, lots of them! Lots of them, lots of them.

[MV] There's a tape of you on Gemini getting in an argument with Michael Irie I think -

[WI] Mellow Tuffie!

[MV] Oh, oh, it's Mellow Tuffie.

[WI] Yeah, yeah, it's "Borrow Clothes" lyric. I built it. I've got that CD too. And he's in front of me doin it! I had to rough him up. Yeah. And um, but, it didn't go any further than that really, and the only reason, why I took offense, is because he's doing it in front a me! If you wanna do it, do it somewhere else, but I'm there to do my lyric and you're doing it. But in those days it wasn't really a big problem. Until later on, now, deejays started calling deejays pirate, and that's when now it got out a hand. Alright, like, when I was coming up, I didn't have access to the studio. What used to happen in those days is deejays that used to go to the studio would come to the dancehall and listen us young deejays and go and record the lyrics. But somehow it didn't matter to us, because we weren't even thinking of going to the studio. We didn't know we could go into the studio. We didn't know we could go on a plane and go abroad. 'Ca we just love the music, and the dancehall. When bigness came upon us, we didn't go looking to get big. Because you're good at what you do, eventually you got big. But, didn't think about the studio. The first time I went in the studio, it was to do a dubplate for Stereophonic. I was nervous out deh, nervous!

[MV] What was the studio?

[WI] Channel One. It was on the Answer Me Question riddim. Because, um, a guy we used to go around with called Tony Walcott, he was the one who got me and Lone Ranger in the studio.

[MV] Different Tony from the Virgo Tony, right?

[WI] Yeah, different Tony from the Virgo Tony. This is the one who launch my career, Lone Ranger, and also Carlton Livingston career. Yeah, yeah he first took us to the studio. We would be at his house rehearsing. Cause, he was very close to Channel One, so he got all their riddims on dubplate for free. He was the one who actually told them what Studio One rhythm to lick over, he would carry the Studio One record there, play it, and Sly and Robbie would play it over. Cause you if you notice Channel One songs, a lot of them are remakes of the Studio One. So he took me to Channel One and said, do some dubplate for Stereophonic, and sometimes they would play it up in the dancehall. So that was the first time I actually went round a studio mic, doing four dub for Stereophonic, while I was on Stereophonic. And it was nice to stand up and hear something playing with you, you know? And I made, I made some mistake, it was the first time. Cause as I said before, we weren't thinking about going into the studio. Nobody knew of it.

[MV] Is it a lot different to do in the studio than live?

[WI] You're just nervous knowing that you're in the studio, you know? Like, in the dancehall, you're accustomed, you know the sound and what have you, if you make a mistake no problem, but in the studio engineer listen to you, and all of that, you get a little nervous. So the first time, but after that, it's like nothing.

[MV] So your first real 45s and such were for Coxsone?

[WI] Yeah, Chase them Crazy.

[MV] Is it true he gave you . . .

[WI] He gave me the name Irie. I am the first Irie, let me make that plain. First Irie.

[MV] Michael Irie, Tippa Irie.

[WI] You have Alton Irie, Patrick Irie.

[MV] Clement Irie, Derrick Irie.

[WI] OK, there was also Poppy Irie, Vicious Irie.

[MV] Vicious Irie?

[WI] Yeah, but I'm the first Irie. When I got the name I didn't even like it! That's the strangest thing, so many guys go after it when I did Chase them Crazy with Lone Ranger.

[MV] So was that a big hit at the time?

[WI] No, no, it wasn't big. But Coxsone asked Lone Ranger what's his name, he said "Lone Ranger." Asked me what name should he put on the record, I said "Welton." And Coxsone said, "Welton . . . can't just put Welton on the record." Cause in those days deejays had big fancy name, you are either Ranking This or Ranking That, or Natty This or Jah This, so him said, "You sound irie." In those days, "irie" was a slang for sounding good, or you look good, like a man would say, "That daughter there look irie," that mean that girl's look good, or "bwoy, drink that is irie!" So when he said "Irie," I said "DAMN, that shit sound like a COUNTRYMAN name!" I didn't like it, I didn't like it, but it went on the record so I had to stick with it. But trust me I didn't like that name. And only surprised to see so many other deejays come after me after that name.

[MV] So then after Studio One, where did you record next?

[WI] Channel One. Me and Lone Ranger did Big Fight, on the Joe Fraser, then I did a song called the Metric System, because Jamaica was going - just going into metric. I did that, then I did Natty Dread A The Foreigner.

[MV] Yeah, that's a big tune.

[WI] Alright. The reason is that, because I sounded like Ranking Trevor, and Channel One studio just love Ranking Trevor, the owner for Channel One, Joseph Hookim, he just enjoyed me and whenever I go there to record I had no problem. For some strange reason though, me and Ranger went to Studio One, and for some reason Coxsone just love Lone Ranger style.

[MV] But not so much you?

[WI] Yeah, and that's how it is. So, I did quite a few songs at Channel One, then I did some songs for Joe Gibbs, I did a slack album.

[MV] Yeah yeah, "It Feels So Good," right?

[WI] Yeah, right! And some twelve inch, and some forty fives.

[MV] Yeah, so there's that one combination tune, "Nice Up The Dance," with Prince Weedy.

[WI] Right.

[MV] Who's Prince Weedy?

[WI] Oh, he was a little deejay around at the time. And what happened, it was at Joe Gibbs, and they contacted me and said that the Michigan and Smiley songs is not being sold in the islands, like Trinidad, Barbados and those places. 'Ca I didn't like the idea of doing back somebody's song. That's not me, I have enough lyrics. But because the Michigan and Smiley song was such a big hit, they wanted to capitalize on that, so they asked me and Weedy to do it. Weedy wasn't even doing his part very well, and I even mention um, like Trinidad's name and so in it, and they sent it down there.

[MV] I see. So, when did you start working with Glen Brown?

[WI] Oh! Oh, another thing. The Green Bay riddim, I used to do the lyrics that I did on the record in the dancehall on Gemini, 'ca we got the 45 and play the vocal then play the version and I would deejay Wicked Have Fe Run, based on what the singer was singing about, "They'll Have To Run Away." So I just came up with "Wicked Have To Run." And Glen Brown hear me deejay in the dance one night, and said he want me to do that style on it. I'm the first deejay to go pon the riddim. The riddim is called "Green Bay," because the guy who sing it, he died in a shootout, and in an area called Green Bay, he was killed by soldiers.

[MV] Wait, who was the guy who did the original to the track? I thought Wayne Jarrett -

[WI] No, Wayne Jarrett did a song named "Youthman" on the riddim.

[MV] Oh, yeah, yeah.

[WI] [Sings] "Youthman . . ." But this guy did [Sings] "They'll have to run away, on a judgement day."

[MV] Oh, yeah, that one.

[WI] But he died in a shootout with soldiers. So because he was killed in an area called Green Bay, we just started calling the riddim Green Bay. And then of course some deejays did [sings] "Green Bay killing a murder" on the riddim and stuff. There's an album out on the riddim that Glen Brown put out, and he sung over the lyrics, because I don't know if he lost the guy's tape, and the guy's now dead, so he sing over the lyrics. But I forgot what the guy's name [Glenroy Richards], but that guy died. So Glen Brown hear me doing that lyric, that's the first time I'm meeting Glen Brown, and he said he wanted me to record.

[MV] About what time was that?

[WI] About 1978, I would say. Yeah. And, then now, came to New York 1982, and met up with Glen Brown again, and he said he wanted me to do an album, Ghettoman Corner. And I did that album, I didn't know when it was release, and then now -

[MV] There's two versions of that -

[WI] Right, what he eventually did now, was he went into business with some people in England, and he gave them some of the songs, and he also add Sylford Walker on some of the tracks, so that was a re-release this time with a combination of me and Sylford Walker. 'Ca you notice a lot of the songs on it is also on the Ghettoman Corner album.

[MV] Right, but the Ghettoman Corner album - there were two different releases of that album. There was the one that's easy to find in stores now, then there was another one with the same cover but with different songs.

[WI] OK - no, I don't know 'bout it.

[MV] So the tracklist of the other one - so the first one has Money Man Skank, Ghettoman Corner, Stone A Throw, Wicked Running, Lambs Bread, these tunes, the other one has Girls Up To Date -

[WI] Oh!

[MV] Big Apple, From Africa To Jamaica . . .

[WI] Oh, didn't know. You know, OK, 'ca after I did the album for him I went back to Jamaica and I didn't see him again or hear anything from him again. Until now recently now, some guys from England was in Jamaica, couple years ago, looking for me to give me some royalties, because that this time he sold them some of the rhythm, and then they compile it with Sylford Walker, and that was the Lambs Bread International album. And this is about, OK, I did this album 1982, and I'm now getting some money in 2001, no - about 2004, or 6, something, somewhere around that time. After, so that's over twenty years! And I'm hearing that some white man out yah a look for me to give me some money fe the songs! They came, went up back, till I eventually got in touch with them, and they sent it down.

[MV] Steve Barrow and Blood and Fire.

[WI] Right, them same ones. And I respected them for that. Whether or not they rob me I don't care. But to know that they came looking for me, got in touch, which, I did albums for a lot of Jamaican producers and I haven't gotten a cent up till now. I can tell albums, 45s, not one cent, and to this date, internationally, the songs I did for Glen Brown are the biggest songs with me. I got a number one in Jamaica 1982, Army Life. That's only known in Jamaica, and New York, the Jamaican people.

[MV] That was for Channel One, right? Hitbound?

[WI] Hitbound label, but it wasn't their song. It was a guy named Tanka, but because he didn't have no label in Jamaica a so, he just allow them to release it on their label. Roland Burrell is also on the riddim, Johnny Dollar, and then Yellowman came out it, Soldier Take Over, which is one of my lyrics as well [laughs].

[MV] Oh really!

[WI] Yeah. But, um, Glen Brown songs, I went to Germany last year, six weeks tour, and that's the songs they knew.

[MV] It's probably because of the Blood and Fire release.

[WI] Right, yeah! I went to Brazil, a month ago, and they knew that, y'see, because it has this roots feel. It has the Tubby's mix and so it come to - what I notice, the people who love the roots music, they love that King Tubby's kind of mixing, bass and mixing, and for some reason - it's so funny that I say, damn, noone in Jamaica knows those songs, nobody, I can't - noone. And all over Europe, Brazil and everyone knew the songs. And - this label, Dynamite label, I did Army Life -

[MV] Army Life the LP.

[WI] Yeah, for those guys. And then the guy release some of the tracks from it, and those got popular in Europe as well. "Walk and Talk," which I did. "Musician" on the Taxi label, and, um -

[MV] "Put It Down" is another one.

[WI] Right, "Put it Down."

[MV] There's a double-tracked one - the double track is you doing -

[WI] Harmonizing. I'm the first deejay to do that. I did that in Army Life. If you listen to Army Life, you hear at least two to three different voices, after the - something, something just told me to harmonize it, and I just did it like that. No-one told me to, it just occured to me, said to just harmonize it, and that's it. But, the Glen Brown songs, they are the most popular.

[MV] Given how popular they are, do you think there's a chance you'll release some of the ones that weren't on the - find a way to put out the Glen Brown productions that weren't on that Blood and Fire CD.

[WI] No, I don't have access to the songs, or, y'know, the tapes, trust me. And I'm telling you something, I don't remember those lyrics. It was while I went to Germany, I have to listen to the songs, write them over, and study them in order to go on the show, because they were never released in Jamaica, and I'm in Jamaica for twenty-odd years. After I recorded it, I'm in Jamaica all this time, never heard it, until these guys from Germany say they want to take me on a tour. And of course, I'm a person who investigate, I said "What do they know in Germany?" and they told me, your Glen Brown album. So I had to get the CD, listen to it, write lyrics, study, done all a that, until eventually, it came back eventually. You know? And in Brazil those are the songs they love all the same. Ghettoman Corner, big! That's the biggest song fe me.

[MV] Yeah, a big song and a big rhythm, right?

[WI] Yeah, called Slaving rhythm, right. All they all know Lloyd Parks, Slaving. And there's a lot of other guys who came out on that riddim before me. I Roy's on it, "Black Man Time," Big Youth is on it as well, yeah and I know those riddim from in the 70's. And, um, the Mr. Harry riddim, "Rolling Stone," they love that one.

[MV] Yeah, that one's great.

[WI] Yeah, that riddim is wicked.

[MV] Dirty Harry, right.

[WI] Right!

[MV] The Jazzbo on that one is wicked, too.

[WI] Jazzbo, yeah! Leggo Beast, no call the sister them conkie, you know what's going on!

[MV] "Dirty Harry," too. [not in fact the correct title of the song]

[WI] Yeah. Those rhythm are immortal, for some reason they are standing the test of time. They always sound fresh whenever you hear them.

[MV] So, the Reprobate LP, that was for Channel One.

[WI] Channel One album, yeah.

[MV] So that was Hookim and Niney producing that?

[WI] Yeah.

[MV] Anything you want to say about recording that one? That's another favorite of mine, actually.

[WI] Oh, Reprobate?

[MV] Yeah, it's a solid LP, you know?

[WI] Yeah, now, they love it in San Diego, and I'm doing a show down there tomorrow, and Friday, and they say I got to do those songs, and I don't remember those lyrics! I'm going to get it though and I'm going to have to listen to it. But "Reprobate," "Out a Hand," they told me that they love those down there, "Obeah Man," "Chalice a No Something Fe You Ramp With," yeah those are on the Reprobate album.

[MV] "Mr. Irie."

[WI] Right!

[MV] "Come Me Just A Come" - you did that one too for Linval Thompson too, I think.

[WI] I've never heard those. I did songs for Dillinger, one song, I did some songs for Tappa Zukie, I did some songs for Linval which I've never heard them from I've recorded them.

[MV] Really, because that song was released on a German reissue label!

[WI] I've never heard them.

[MV] It's on the back of a Freddie - it's the same riddim as a Freddie McGregor tune. ["Jah Help The People"]

[WI] OK. 'Ca, actually, a lot of people don't know y'know, I think Big Ship album was actually Linval's album yunno.

[MV] Yeah, it was Linval's production.

[WI] Right. And um, I did some song for Carlton Patterson on the Black and White label. About one, "Come Nurse." Never got a cent from those tunes.

[MV] No?

[WI] [Laughs] Never, never, never. Haven't seen it since! I did that in the - 70's, late 70's, I've never seen it since.

[MV] Ringo recorded a bunch for Carlton Patterson -

[WI] Right, right, "Push Lady Push."

[MV] Did he get treated any better?

[WI] No. 'Ca what happen eventually those guys migrate, went away with their tapes and stuff, and they never tried getting in touch with the deejays or anything. Y'know? But the beauty of it is those songs I'm not collecting royalties for, I'm giving shows, that, that's the songs they want to hear, so I'm kind of getting paid back, y'know?

[MV] I see. Another big one is on Thrillseekers, "Wea You Fah."

[WI] Oh, yeah yeah yeah, "Wea You Fah," yeah, Barrington Levy's also on that riddim. You didn't know that? Yeah, Barrington Levy did, um, [sings] "Ah yah we deh, ah yah we deh, giving thanks and praise." Well, um, the guys that put out that, one of them is Lone Ranger's manager, Chester, he and his brother put out that Barrington Levy, and then they recorded me on it. Cause, um, Barnabus Collins riddim, they put out that as well, and that's the riddim, that Barrington Levy got his first hit song on, [sings] "Collieieie . . ." 'ca they gave Junjo a cut of the riddim, and Barrington Levy was on that riddim.

[MV] OK. And then also, you did some recording for Sugar too, that "Jailhouse Affair," right?

[WI] I did? I don't remember, no I don't remember.

[MV] It was a 12" with you on one side and Captain Sinbad, "Captain Fe The Ship" on the other.

[WI] Eh? OK. I've never heard back that, don't remember that one.

[MV] I'm trying to remember how the lyrics go . . .

[WI] Mmm?

[MV] [Sings badly] "Lord them back me down a jail, suh", something like that.

[WI] Damn! I would have to hear that. Beca' what happened, a lot of them went to England and release the songs and I've never heard them, never heard them.

[MV] So you also did some recording just with Sly and Robbie for their own label.

[WI] Yes, yes, on the Baltimore -

[MV] "Ballerina" -

[WI] Yeah, Ballerina, Sitting and Watching, and on the Baltimore, "Hotter Reggae Music."

[MV] That's a great rhythm.

[WI] Yeah. And I did rapping style, because, when Sugar Hill Gang did "Rapper's Delight," I was the first Jamaican deejay to capture onto their lyric. And I used to do it in the dance. And Sly heard, 'ca, one thing in those days, the producers, they were in the dance, or they would get the tapes, from the various sound, and they would listen to the deejays. And for some reason I'm one of the few deejays Sly and Robbie choose to work with. Cause they really weren't into deejays.

[MV] They preferred singers.

[WI] Yeah, singers. But me, for some reason, they just like my style.

[MV] So did you record anything other than those two songs for them?

[WI] Yeah, but one wasn't released. I did three. It was the Ballerina, Hotter Reggae Music, and if I remember right, I'm on one of Jimmy Riley's riddim I think for dem.

[MV] "Love and Devotion," or something else?

[WI] No, I think it was, um, [sings] "Everybody, loves somebody," I don't know if that was released, but those three.

[MV] And then you did some later recordings, too. Like you did "Cry fe the Ape" for Jammy's, right?

[WI] For Jammy's, yeah, on the Stagalag. Yeah.

[MV] What else later on in the decade did you record?

[WI] Oh, um, this guy, a label called Kangol, me and Yellowman were the first artists to go on it. Yellowman did Blueberry Hill. [sings] "I lost - found my train," when Yellowman started singing, Kangol label. Tiger's on that label with Don, his [sings] "Don donovon donovon." And I'm on that label as well, about two songs. And um, [mumbles] - well I did some songs recently for the guy for this place, for Tom, they're not released. Not released yet. I did it um, last year.

[MV] OK, I look forward to hearing them.

[WI] Yeah man, two songs, two wicked songs.

[MV] What rhythm?

[WI] Um, I think one is on the - think one is on the Heavenless riddim. Yeah.

[MV] Oh, there was an LP I forgot to ask about. I actually don't have this one, but it's on the Rohit label? [LP title is Sweetest Ever]

[WI] Oh, yeah - damn! I did that in 1982 as well, and I don't know what became of it. I saw the album, they drew my face on it. It wasn't a picture, it was a drawing of my face. Yeah, Rohit album, right. On one track they wanted me to diss up Yellowman.

[MV] And, um - well, I've covered a lot of things . . . so out of your work, what are your favorite recordings that you've done?

[WI] Mm, yeah man. "Army Life," obviously, that's my number one song. "Army Life" good. The album is wicked too. The riddims are solid. Very - that's my favorite album.

[MV] Very spare drum and bass.

[WI] Yeah, Sly and Robbie all the way. I just love the riddims. That's my favorite album, but my biggest album is the Lambs Bread International, that's the biggest. Anywhere I go, people know that one.

[MV] People want to hear that.

[WI] Yeah, definitely. But for me, the nicest part for me was deejaying in the dance. I'm just a dancehall DJ! That was where I got my fun from, trust me.

[MV] So what do you think of the Dub Club, in terms of recreating that old dancehall vibe?

[WI] Love what they're doing, I love what they're doing, trust me. Love what they're doing.

[MV] Yeah, it's great.

[WI] Yeah man, definitely.

[MV] So what are you up to right now? You said you've been touring in Europe, touring here?

[WI] Yeah, um, what I've mostly been doing is selecting. I'm wicked on that, no-one touch me on that. But old-school, I'm on my own, I used to select for Gemini, at one time, in the nineties, up to about 2001. Spinning for Gemini sound. Till I eventually left, went to - was playing a big set -

[MV] What did Archie do? Was he on the sound then?

[WI] No no no! Archie left from in the 80's, and he hasn't went back, he migrated.

[MV] Speaking of - we should talk about the Gemini England tour.

[WI] Oh, that was good, man, 1983. Me, Johnny Ringo, Squiddly Ranking, Archie went. That was wicked. That was where I first met up with Tippa Irie, Papa Levi, and, um, Pato Banton, the rest a dem. We clashed, Gemini and Saxon, and that was the first time I'm hearing speed rapping.

[MV] Who won?

[WI] THEM with the speed rapping, man, is the wickedest thing I ever see come into the deejay! They are speaking so fast and I'm hearing everything they are saying, 'ca they are clear. And you know, English guys and stuff? 'Ca I was standing up, and the first time I hear, I said "Damn! how them doing that so fast?" It was wicked! That was the wickedest invention to deejaying I've ever heard, speed rapping with them guys. Yeah man, wicked. They tore the place up.

[MV] So did you guys bring that style back?

[WI] I took it to Jamaica, I'm the first man to go back to Jamaica with it. I recorded it fe Channel One, and they didn't release it! Becaa it sounded weird to them! And then after that Papa Levi came in "Mi God Mi King," number one in Jamaica. If they had only put out mine first. Because, it sound strange to them but they cannot, um, determine what the people want to love, yunno, if something is new, the thing is in this business, when you come in with something new the people will grab it up. I mean, I did a lyrics called "Professional," or "The General," and them I'm speed rapping, wicked! They didn't release it. And then Papa Levi and "Mi God Mi King" came, straight number one.

[MV] Other than these recordings for Tom, are you doing any other new recording?

[WI] No, not really, 'cause -

[MV] Mostly dubplates and things?

[WI] Yeah, dubplates.

[MV] Are those a pretty good source of income for you?

[WI] I don't do quite often, but, y'know, it's OK. Like when I was in Germany, I did dubplates till I was hoarse. Because, what they normally do there, whenever a dub is gonna cut, they contact all the other sound guys, and they all come and lined up. "Ghettoman Corner" was the most done, then "Wicked Have Fe Run," everybody wanted that as well, and they wanted clash style, too, cause they do a lot of clashing in Germany, in Europe. Friendly clashes though, no war, but just clash, and they love that. But mainly selecting I'm doing.

[MV] What's your sound called?

[WI] No, I just freelance. Just play as Welton Irie. Play as Welton Irie. And there's enough for it, because not many people can play the old music like me. I play old soul, old R&B, disco, old calypso -

[MV] US R&B or the Jamaican R&B?

[WI] US, US man, in Jamaican parties they love everything. 'Ca we grew up there -

[MV] So blues night kind of stuff?

[WI] No, like the 70's disco music them, like the Tramps, Candi Staton, Tina Charles, Shalamar, Whispers, Spinners, you name it. Once it was a hit in America, they love it in Jamaica, from in the 70's all the top soul songs, Temptations, Four Tops, Smokey Robinson, you name it. But you know, in an old hits party, we call it old hits, you got to play soul, disco, soca, reggae, ska, and everything. And nobody touch me on that.

[MV] So you live in Jamaica still, right?

[WI] Yeah.

[MV] Whereabouts, in Kingston?

[WI] Yeah, Kingston, Kingston. And it's CDs I use, 'ca it's much easier to travel with. That's what most of the people a play.

[MV] Don't need a box boy?

[WI] No, no. 'Ca to travel, you need so many records to travel with, it doesn't make sense.

[MV] Then the plane leaves it, and you know . . .

[WI] Right, but you alone, a person, sending for you alone, you can't carry so many records either. I just have two CD pouch, wicked!

[MV] Yeah, all the big sounds that come through the US now seem to do that, you see Stone Love play, they have the big binders of CDs.

[WI] Yeah, definitely, it's easier. And more economical, you can just - when you have a sound and you have all four selectors, each one of them can be somewhere else playing, making some money for you that one night, so you know? It's OK that way. It's only Germany now they only use vinyls! They actually, most of the people, the young people who are getting into reggae, roots reggae, for some reason they'd rather play the vinyl than CDs, 'cause when I was in Brazil, they only play vinyl there, those that play roots music. And in San Diego, see it's just a record there they'd rather use, you know what I mean? Japanese as well love to use -

[MV] Yeah they pay a lot of money for those originals.

[WI] Yeah they do, they do, but we Jamaicans who travel, who have to travel all about, we just use CDs. A lot of them we sit down with the records and burn from the record to the CD, in real time, so you know, a lot of time! 'Ca you have to hook up the burner to a mixer, and you have a turntable, and you record it.

[MV] So what do you think of the modern deejays and the modern soundsystem scene? Anything there you like, that you don't like? What do you think of the direction that the music has taken?

[WI] Well as you know, nothing stay the same, 'cause when I came in, there was the U Roy and so, and I came in a newer style, so it's always evolving. So, what I do know is they're making some damn good money, they are more businesslike, it's not about the love of the music for most a these - artists. It's about money. Can't blame them 'cause they have seen guys like us been in it for so long and have nuttin' fe show fe it. Them serious about them money. And as I said y'know, the thing is, I don't want to say against what they're doing, it's the people who have to decide, and as long as the people them supporting, and buying the stuff and going to the shows - that's it. It's not like I'm going to say "Bwoy, I don't like the lyrics they're talking" and this, it's not for me to say so, the public.

[MV] Especially when you have that "It Feels Good" album, you know?

[WI] Right. I know they preach a lot of violence, but all I'm saying is the people dem didn't want to hear that stuff, they don't have to go and buy the records, so, you know what I mean? That's it. And also in the rap music everything, because when the guys started rapping in America, there weren't no gun lyrics or gangsta, but everything just change, and I notice the younger generation they are more into those kinda lyrics, you know what I mean? And they're just, supplying the market dem. That's all they a dweet.

[MV] Actually, why don't we talk for a bit about - because you were kind of one of the people at the forefront of the slackness coming in -

[WI] Yeah, me and Echo. Yeah. Yeah.

[MV] So do you want to talk about that - just started as jokes in the dance?

[WI] Just jokes, jokes. Yeah, a just fun, making a difference, because most of the deejays that time were cultural deejays. So the few who chat slackness they got a little edge sometimes. We would have more girls in the dance. The cultural deejays would be a lotta men. We, you know, all the girls there. We had the girls dem and plus, when I was on Gemini we played mixed music, 'ca we would break, you would play some disco, some soul music, so a lotta girls were at the dance and when we took it, little culture, a little slackness, so everybody got a piece of, you know, what they like. So Gemini used to be RAM, seven nights a week. Ram, every night a the week.

[MV] So where did they play?

[WI] Mostly Kingston -

[MV] Was Skateland sort of their home base?

[WI] In the later - no, no, because Gemini had his club. He had a club. Well, we play all over, all over man, all over. And in Kingston if there was a rub-a-dub sound, close by to Gemini, the rub-a-dub sound would flop. Beca' it would mean that at that dance, when them hear say a pure woman up at Gemini, them gonna leave and come to Gemini. The rub-a-dub sounds were more popular in the countryside, where the dreadlocks are and them bun them ganja and ting. But in town, Gemini rule! Ruled it at that time, yeah man. And it sounded damn good, nothing sounded like Gemini. Clean, heavy, mic stage, he had the best mic stage at that time, so you know - and all the deejays when they were in the dance, wanted to come on. Sometimes me and Ringo in the dance and we can't even get to deejay! Lee van Cliff would be there, Toyan, Louie Lepke, all the upcoming deejays, Yellowman used to come there and beg us mic, lotta singers used to come, Tristan Palmer, Michael Palmer - because Gemini mic stage man, it sounded clean and crystal-clear. It was fun, basically just fun. Yeah man, it was fun, trust me. So you know, basically that's it.

[MV] Well, thanks a lot for sharing, and -

[WI] Yeah man, I hope you got what you wanted.


©2008 Michael C. Villet

Thanks and respect to Tom Chasteen and the Dub Club for the link and for bringing Welton to California.