Any new record company outside Jamaica that can feature foundation
artists like Yami Bolo, Cornell Campbell, Prince Allah and King
Kong in its first batch of releases is clearly a name to be watched.
Some first rate contemporary roots material has just been released by Roots Foundation Records, based in Vermont, USA with more promised for the near future. First off is Africans Unite, an essential CD from unjustly neglected roots vocalist Sylvan White. This consists of material originally recorded, often for the Freedom Sounds label, between 1978 and 1983 but with three tracks getting their first ever release here. All tracks are backed by either the Soul Syndicate Band or the High Times label with some of the added dubs mixed by Tubby himself. This is also available in vinyl as a double LP. The other CD is Healing Of All Nations from Yammie Bolo. Produced by Linval Thompson and backed by the original Roots Radics band, the album contains 12 vocal cuts and 4 additional dubs, all newly voiced and re mixed in Jamaica this past year. It is also available as a vinyl double LP. The sleeve notes for both CDs are full and informative with many attractive photos of both artists and producer Linval Thompson.
If that's not enough, Roots Foundation have also brought out nine 7" singles, all with an attractive checkerboard label design and looking just the way they come out of Jamaica. This is roots reggae that sounds the way it should do and is presented the way it should be by people who know and love what they're doing. The roster of artists is truly impressive as the list will show:
Plus on 12"
Congo 'Ashanti ' Roy - Farmers Wise Up b/w Nyabhingi Mix
Six of the 7" titles were mixed by Scientist and this shows in the crisp horns and rock solid bass lines. My personal favourite is U Brown's Fire Burn but the consistency of these releases means that everyone will have their own choice. Further releases promised in the near future include CD/LPs from U Brown, Roots Radics and Gladstone Anderson and 7" and 12" titles from Cornel Campbell, Papa Tullo, Al Campbell, King Kong and many more.
"Roots music" outside Jamaica often means reggae lite but this is the real thing, respected Jamaican artists on fresh and upfront productions. Many record companies in the past who have attempted to market reggae music outside Jamaica have mistakenly tried to dilute the music for a wider audience. That Aaron Yarbrough and James Griffith of Roots Foundation have committed themselves to JA style 7" vinyl also shows that they trust the music, trust their audience, are in it for the long haul and are a force to be reckoned with in the future.
(AY for Aaron Yarbrough and JG for James Griffith)
ZINC FENCE. There's
great consistency in the sound/style you get over the nine 7"
records you've sent. Much of that is due to Scientist's production.
How was it working with him & how did you get him onto the
project? He worked with Clinton Fearon on What A System recently
and seems to be much in demand right now.
AY - Actually only some of the songs were mixed by Scientist,
but yes he gives them a very distinctive sound indeed, a Big Bad
Sound! Of the nine 7" only six of them were mixed by Scientist
- U Brown's "Fire Burn", King Kong's "Works Of
Jah", Yami Bolo's "Jah Fire Throne, Sylvan White's "RootsMan
Time", & Cornell's Campbell's "Wanti Wanti"
& "Paint Face Warrior". All of these songs feature
newly recorded riddim tracks & voicings that were produced
by myself & Donovan Joseph. In the case of a few of them Linval
Thompson helped out too. 
As far as players go most all of the tracks with the exclusion
of Cornell's "Wanti Wanti" were backed by Flabba Holt
on bass, Style Scott on drums, Congo "Ashanti" Roy on
rhythem guitar, "Chinna" Smith on lead guitar, Gladstone
"Gladdy" Anderson on keys, "Skully" on percussion,
Dean Fraser on sax, Nambo Robinson on trombone, & Johnny Moore
& David Madden on trumpet. "Wanti Wanti" is backed
by a lot of the same players, with the exception of Winston Jones
on drums, Andrew Campbell on bass, and Ray Rochester sharing keyboard
duties with "Gladdy".
All of the newly recorded 7" material featured on Roots Foundation
label that was produced by myself - with or without any additional
producers - contains "checkerboard" patterns, any re-issues
or other producer's material released on Roots Foundation contain
circular patterns on their label imprints.
In regards to some of the "re-issued" material - the
two Prince Allah/Donovan Joseph tracks "No Love" &
"No Officer" were remixed & re-voiced with Bravo
at the controls at Leggos in Jamaica. As for the Jah Woosh "Ital
Living" we had this one digitally remastered from an old
7" dub plate I own, boy I really wish I knew who the engineer
was but the history behind dubplates can be pretty vague!
Scientist is a good man to work with. Its the type of thing where
you go in the studio and you know the sound your going to come
out with, and its gonna be BIG & BAD! When we originally recorded
these tracks at Leggos last year, the whole time I could just
hear in my head Scientist tearing them up! Its that distinctive
his style! You can just hear in your head and say Scientist a
Mash it Up! At this point Scientist & I booked up some studio
time at Track Recording Studios in North Hollywood, California
and you can hear the rest!
2. Where did you voice the 7" records?
How far apart were the sessions? Were the vocalists aware of the
other vocalists cutting tunes for Roots Foundation, in other words
that they were part of a fairly ambitious project? Is that also
part of the consistent feel you achieve?
AY - All of the Roots Foundation productions (checkerboard patterns)
had both riddim tracks and voices laid at Leggos Studio, with
Bravo & Perry Hendricks at the board. The sessions were really
only a couple of weeks apart, and yes everyone was aware of everyone
else's contributions. The Cornell tracks were voiced first and
then the U Brown Yami Bolo, Sylvan
White, & King Kong tracks were all voiced within a two day
period. Its funny that you call it a fairly ambitious project
because in all truth thats exactly what it is! This is a labor
of love and we try to keep the vibes right in our works, I really
feel that the "consistent feel" you speak of is created
by all of the positive energy and good vibes contributed from
everyone involved. Roots music never dies man! In the case with
the "Living Murder" riddim track (riddim shared by King
Kong, Sylvan White, Yami Bolo, & Cornell Campbell on four
different 7"s) we had never intended to voice this many versions
all on the same riddim! As the artists heard the track EVERYONE
wanted to sing upon it and consequentially thats the way it all
worked out. I know a lot of DJs love it for the endless mixing
possibilities....
I've got more stuff from the same sessions, all to be released
soon. Some of the material was mixed by Scientist and some of
it interestingly enough was mixed by BullWackie (Lloyd Barnes)
& David Rowe in New York last month, some wicked sounds for
real!
3. These are records that I think will sell
well in the UK, home of Jah Shaka, Mad Professor et al. How far
are you aware of the UK roots scene?
AY - Well I'm less aware than I would like to be! I know that
we are beginning to have a fairly decent demand for our releases
in the UK. I'm in the process of trying to sort out proper distribution
in Europe at large as we speak, hopefully this will be worked
out soon.....To be honest I've never been to the UK! I do plan
to make a trip soon, and we are in the process of putting together
a live sound system "tour" that I would like to eventually
be able to bring over to Europe. We're looking forward to making
it over either way very soon.
4. You've chosen the 7" vinyl format.
(Incidentally I love the checkerboard label, which reminds me
of Cash & Carry 7") Any comments on why? Will these records
be on sale in JA? I've always felt that reggae is a singles music
and that international record companies have failed to handle
it properly because they've been obsessed by the album format.
Was that part of your thinking?
AY - I feel large "international record companies" have
always and will always fail to handle this music properly because
they are obsessed by a lot of things, especially money. Reggae
music first and foremost is built upon love. Love of many things
because love is the root of everything - without love you have
nothing!! You have a voice in reggae thats speaking truth and
rights and thats something a lot of people don't want to hear.
While the roots of reggae music are based upon truth, rights,
understanding, love, & such things - the roots of "large
corporate based companies" are money! And whats money the
root of? EVIL! You can never have the two of these work together
properly, for many reasons, but I believe this one to be the first
and fore-most.
Reggae is "singles music" but it also has a place in
the full-length CD/LP market. I chose the checkerboard patterns
because they remind me of a number of old imprints that were used
back in the day, and I love the way it looks! Sort of a vintage
(but not so) look....Yes they will be available in Jamaica. Also,
we do plan to release a compilation CD before to long containing
a lot of the 7" singles released so far with the addition
of some unreleased material.
JG - The 7" vinyl is also for the selector, the club DJs
and sound system operators. I believe that the single is the root,
and the bigger better faster thing will always seem more profitable
to the big record companies. I'm a true lover of vinyl and making
good roots music available on vinyl is one of our passions. I
feel like there has been a large growth of sound systems and reggae
clubs in the last few years here in the US making it a good time
for the 7" single. My feeling is that roots music has a purpose
greater than any of the record companies could ever understand.
I don't think big business is aware of what this music can really
do, so they will leave out the important parts like the vinyl
format. That goes for the whole music industry, as well as the
consumer and how they deserted the vinyl format.
5. A lot of the music that's sent to
me for promotion is reggae lite. Non Jamaicans seem to find the
music difficult to handle. You've gone for the real thing. Who
do you see as being your audience & how will you market your
music?
AY - I'm someone who belives you dont have anything unless there
are live musicians involved. When we record we use the old analog
24 track tapes and try to keep everything analog. While there
are many amazing advancements in digital technology I really prefer
that when possible everything is kept analog as it really has
a true to life sound. With technology the way it is people spend
too much time trying to "perfect" things, when in reality
more often than not they should have left it the way it was, with
the original vibes still intact! People forget that music is made
up of peoples heart and soul and carries with it a vibe all its
own, sometimes by trying to "perfect" everything (analog
or digitally) you can destroy that original vibe! Don't get me
wrong, we're by no means anti-digital, there are some truly amazing
things that can be done in this realm.....the restoration of that
"Ital Living" dub plate for example!
Basically we try to create music that we like to hear, and base
it only upon what sounds good to us personally - not what will
sell the best. So many songs nowadays are "here today and
gone tomorrow" but you notice that roots
music which everything is based upon NEVER DIES! That is the true
test of quality - the test of time. Time will telleverytime because
time is the master, you know!?! In terms of our audience I think
that its made up of a lot of people who are like us in that they
know what they like and won't compromise!
JG - I see our audience as anyone who enjoys true roots music
that has heavy ridims, conscious lyrics, and quality vinyl. Word
of mouth, the Internet, radio and the fact that the material we
are putting out is solid, speaking for itself. All of these ways
will help us as far as marketing goes.
6. The history of marketing reggae outside
JA has not always been happy, to say the least. How aware are
you of this history and how have you learned from previous mistakes?
AY - Obviously there are many contributing factors here. To say
the least I'm aware of this and honestly I'm constantly learning
from my mistakes! Without going into excessive detail though,
its hard to really comment on this.
7. The Linval Thompson produced rhythms
all date back to the end of the 70s and got their mix from Tubbys.
Did you deal with Tubbys estate or with Linval Thompson to use
the rhythms? I know how tortuous and difficult the question of
ownership can be in reggae music.
AY - Actually the riddim tracks used here (on the Yami Bolo album)
were re-mixed by Pete (Dayan Foster) at Black Scorpio this past
year. The whole Yami Bolo album was produced by Linval and we
have released it through him.
8. What can you tell us about Roots Foundation? What's your history
and how did you get into the music?
AY - Well we have been operating as a record label from early
in the year 2000. The label is owned and operated by myself (Aaron
Yarbrough) and my partner James Griffith. We formed the label
in an attempt to re-release music that we loved and felt to be
neglected. This led to our first album release - Sylvan White's
"African Unite". Sylvan has been a long-time
favorite of James and I, truly a great singer who never recieved
his due recognition!
This in turn gave way to the concept that we needed to be releasing
"newly voiced" material from some of today's hot artists
upon classic & timeless vintage riddim tracks. When Linval
came to me with Yami Bolo "Healing Of All Nations" we
knew this was THE album and it was time to take this concept further.
As things always change and evolve I became interested in producing
some "new" roots material, both with new riddim tracks
and voicings. With Donovan Joseph by my side we then organized
a group of foundation singers and players and produced the first
of many upcoming Roots Foundation productions!
At this point we are enjoying all three ends of the business and
have plans to continue on in all of these fields.....
In terms of getting into the music I myself discovered reggae
when I was in high school. I can still remember listening to KBOO
radio late-night in Portland, Oregon as a youth and being blown
away! Very vividly I can remember hearing Burning Spear's "Creation
Rebel" on Studio One and then Linval Thompson's "I Love
Marijuana" for the first time and being like
whaaaa!!!
I've been hooked since!
JG - The first reggae album I ever bought was Culture - Two Sevens
Clash and I've never been the same. Reggae music has done more
for me than I could begin to explain. I come from a very loving
close knit family with parents that taught me to love and be open
minded. The area of the states that I am from isn't that way though,
the South is old in it's people and the way they think. Reggae
saved me, keeping Babylon from closing my mind and forwarding
me to spread the roots message.
9. Charley Morgan of Outernational made
some 7" records with JA artists back at the beginning of
the 90s. Are you aware of his experience at all?
AY - Actually Charlie is a good friend of mine! I am aware of
some of the Outernational material, but was not around when he
actually released any of them. Consequentially I wouldn't be the
most educated person to speak about any of these releases.....Charlie
is a good man though, and I have utmost respect for him. Many
times now he has helped us out in more ways than one! BIG RESPECT
CHARLIE!
10. What are your future plans? Are you
going to stay with roots/conscious artists or will you work with
dancehall DJs also?
AY - Our plans are to stay with conscious artists no matter what!
In terms of working with dancehall DJs, who knows? First and foremost
the music must be conscious, beyond that anything can happen!
At the moment we have many future plans. In the "re-issue"
department we will be bringing forth some long overdue material
from Wackies catalog, firstly a Prince Douglas LP/CD entitled
"Dub Roots", and then a "two in one" CD/LP
to contain both of the showcase albums released by the GREAT roots
harmony duo Jezreel. We are also working on another "2 in
1" project to contain both "Radical Dub Session"
by the Roots Radics and a compilation of Gladstone "Gladdy"
Anderson vocal cuts - all of which were produced by Gladdy himself
and feature Channel One recordings from the early 80's. There
are also plans for a various artist album from Freedom Sound (Bertram
Brown) & another various artist compilation containing Linval
Thompson productions - mostly 12" mixes and a lot of "Strong
Like Sampson" material.
In terms of releases containing newly voiced tunes on "vintage"
riddim tracks we have a Linval Thompson produced album from U
Brown, and plans of an album from King Kong to follow....
As far as Roots Foundation productions I currently have unreleased
tracks from Yami Bolo, U Brown , King Kong, & Cornell Campbell
along with "Gladdy" & Congo "Ashanti"
Roy. Some of these should be on the market by late may -
early June. I'm also constantly working on laying more riddim
tracks and voicing additional artists......
Last but definetely not least we are attempting to organize a
sound system tour to promote the label and artist roster,hopefully
for the summer of 2002......
Also, we are trying to build up a mailing list for everyone interested
in Roots Foundation Releases so that we can stay in better contact
and informed. If you haven't already done so and are interested
please contact us at
www.rootsfoundation.com, call us at 802-888-2244, or write to
us via the post at Roots Foundation Records, 120 Pleasant St.,
Suite B, Morrisville VT 05661 USA.
Give Thanks for taking the time to let us expand on the runnings
at Roots Foundation Geoff! Respect to all, One Love, Jah Guide
& Protect.
Aaron Yarbrough
James Griffith
Roots Foundation Records
Aaron & James, many thanks