EntertainmentVybz » Jamaican Artiste Biography

Anthony Douglas Williams – HYH VOLUME Biography

Lady Mystery — Wed, 21 Apr 2010 22:24:08 +0000

Anthony Douglas Williams, a.k.a Hyh Volume was born in the parish of St. Elizabeth, Jamaica on December 4, 1983. He was the first of a family of four sisters and five brothers. Although he was born in St. Elizabeth, he grew up with his grandmother in Hayes Newton, Clarendon where he started singing at Hayes All Age School at a tender age. In 1998 Volume C started Garvey Maceo High School and this was where the love for music took over. His natural love for music has evolved in his creative writings and energetic performances of his songs. He drew his influences from artistes such as Beres Hammond and Bob Marley. This cemented his passion even more.

Anthony competed in talent shows such as Tastee Talent Search in 2001. He made it to the Semi-finals with some of his high school friends that were together as a group, which was called “Three Two Crew”. After this Anthony decided to start a solo career in the music industry by expressing himself with no limitations. In 2004 he recorded his first commercial single entitled “Burning Up” in collaboration with “Smokey Hype”.

Hyh Volume then started recording for different producers such as Champagne International Records, Das Vibe Production, Builders Production and Chillz Entertainment in 2007. He realized that as an artiste his true calling/genre of music was culturally lyrical, one drop as reggae and R&B.

Hyh Volume has proven the highest heights that music has to offer. The sky is the limit and this upcoming reggae artist has it all for his destination in the music fraternity. Look out for his latest hit singles such as “Senorita”, “You Make Me Cry” and “Heavenly Garrison” which are produced by Kevin Campbell a.k.a Dyce of Chillz Entertainment.

Hyh Volume’s short term goal is to release New Single and Video songs on an album produced by Builders Music entitled “Living In The Ghetto”, by the end of the year. Recently he performed at Jamaica’s Peace Concert and other Charity events. Hyh Volume had interviews on Nationwide A.M, Rootz F.M., Chat Bad Production.com. He is now aiming towards the future with a mindset constructing positive and conscious reggae music for his fans and the music fraternity.

Current Projects

Volume C Taking His Career To A Next Level

Focusing on releasing, singles and albums with The Uprising Band on the Tru Musik record label featuring other artistes being managed by DP&B Entertainment Company Ltd.

Hyh Volume Myspace

Introducing Nando – Young upcoming artiste!

Lady Mystery — Mon, 12 Apr 2010 22:52:20 +0000

There is an old adage that says, “Like father, like son,” and when the father is an iconic sports figure with whom the son shares some similar physical attributes, there is sometimes great expectation that the son will walk in the footsteps of the father. However, while Hernando “Nando” Griffiths has had a strong affinity for riding from his youth, he has never harbored any dreams of duplicating the success of his father – many-times Jamaican champion jockey and a Guinness World Record holder, Winston “Fanna” Griffiths – at the race track. For while Fanna became a Jamaican legend for his exploits at riding horses, Nando appears odds-on to emulate his father’s success, but at riding riddims.

Nando is a young, up and coming artiste who is already a hit with the ladies with his good looks who has undertaken the firm decision to go main stream hence the sudden surge of promotional activities on the local entertainment scenes. Nando has put three singles in rotation namely; Look At All These Girls, Rude, Say You Wanna and Get Better. On Look at All these Girls — which features production from hot young British-based producer Deewaan (Lockdown and Tiki Wine), NY-based James “JimmyGee” Gately (Nasio Fontaine’s Living in the Positive), and veteran reggae musician-producer Barry O’Hare (Burning Spear’s Grammy-award winning Calling Rastafari ) — Nando stays true to his core reggae roots on tracks such as Say What You Wanna and Get Better, but also branches off into the pop realm on Look at All These Girls and the soca-reggaeton hybrid Rude, giving a glimpse of his vast potential to transcend any limits that one may place on him.

It is precisely Nando’s unbounded potential that has O’Hare, who has been working extensively with Shaggy in recent years, so impressed that he has committed to work on at least seven potential tracks for Nando’s debut album. Currently Nando’s track, Rude seems to ignite much excitement among the ladies of course and is a collaboration with fellow artist and friend Paashot, the song is basically a fun song inspired by Ms. Triniti’s and Kartel, Lock Down track, the lyrics, playfully describes Triniti as rude.

Get To Know This Upcoming Sensation HITMAKER

Lady Mystery — Sun, 04 Apr 2010 17:22:59 +0000

Kedon Whyte, more popularly known as Hitmaker hails from Kingston Jamaica, where he started his dj career at the age of 16. His style, lyrics and flows can be identified with the likes of the new era dj’s such as Aidonia, Busy Signal, Vybz Kartel, Movado and many more artists who are often described as the sons of Bounty Killa, the generation educated with lyrics of the warlord..

When not in the studio or busy with music, Hitmaker is either hustling to get through day by day, or writing more songs. He puts in a lot of work in the music an he is still working hard to do a lot more. He has recently finished his pro tools studio and he is also a qualified studio engineer. He has worked with a lot of well known “top”acts in the reggae/dancehall industry.

He grew up in the Hughenden area of St. Andrew where he attended Clan Clarthy Primary school before moving on to Donald Quarrie High school. He did a one year crash course on the performing arts at the Exced Community College. After leaving college, he recorded ‘Cock Up Is a Ten’ for the UIM/Digital One label for Richard Roache. However, it was not until he did ‘Pray For Dem’ in March on his own Hitmaker Muzik Label that producers and radio disc jocks began to sit up and pay attention.

Rohan Perry from Rohan Perry Publicity and Booking has taken over his PR and Booking, also with the development side of his career and right now and his future is so bright, he’s got to wear
shades.

“My first love is recording and being an artiste. I am a fan of music, so I know what people like, so I try to make music that I like
and people around me can relate to, so I focus on getting the right
melody and mix of lyrics out there to please them,” he said.

Hitmaker is also a talented engineer and has a song with Konshens on
one of his rhythms which appears on his Hitmaker Muzik Label. He is working with the his own label right now to get his voice out there.

In 2004, he also had a video in rotation on RETV, Hype TV, and Music called ‘Cock up is a ten’. Recently he is working on his own Mix CD and voicing for various producers, which is creating a buzz a yard and abroad. Also he is making his appearance on various underground Mix Cd’s and his tunes are getting exposure on local radio and television stations..

He has his two singles ‘Pray For Me’ & ‘Nuh Fren”,that have seem to pushed his career in 2009 and is back again with his latest single “Tell Yuh Bout Life” which is getting heavy rotation on some of the top radio stations in the island….2010 seems to be his year to shine….

..so through his self-resilience and determination he is working on making himself a success….so…

‘Gimmi Space’ said Hitmaker.

Follow Him on Twitter and Facebook

Bookings and PR: Rohan Perry (1-876-464-4546)
For Dubs, Ads and Drops: rohanperrypb@gmail.com

Reggae Legend Sylford Walker is Offically Back

Lady Mystery — Wed, 10 Mar 2010 16:04:11 +0000

Sylford walker, one of Jamaica’s hidden treasures of the 70′s was born in the parish of St. Thomas in a district called Pen Line Castle. He was the first of four siblings.

He grew up in Wakes Field Trinity Vill, St. Thomas, where he attended the Trinity Vill Primary School. Growing up in the country was not by any means easy, Sylford faced rough times but he always found ways to get by. While attending school Sylford had discovered his passion for music. He would perform at concerts where the crowds would go wild. It was at that moment he was convinced that he was born to sing. Wanting more out of life, at the age of 11 Sylford ran away from home to Kingston where he thought that life would be better. That was not the case .

Sylford had no family to turn to, he had no where to sleep and resulted into sleeping on card board boxes in coronation market with rats and roaches running all over him. He could hardly find food at times. After growing up and learning the ways of the streets, Sylford got his first job working as an assistant plumber fixing sewage pipes without receiving any pay for his labor.

It came to a point where Sylford could not take the pressure of working and without getting any pay so, he went on to pushing hand carts just to get some money to survive. However that still did not help much and he then went on to selling newspaper and that too didn’t keep much food in his stomach or a roof over his head. Never giving up Sylford went on to selling ganja on Law Street and Ioban Street. Sylford eventually started smoking herb and indulging in the street life. One night while hanging out on the unforgiving streets of Kingston, Jamaica smoking his herb, life in general and the police caught up with Sylford and he was incarcerated. It wasn’t till then when he was inspired to write is first song and also came to accept the Rastafarian teachings.

Right as Sylford was about to be release the police punished him by cutting one side of his dreadlocks, for years Sylford felt like a baldhead until Jah show him the light again. Through all of his life struggles, Sylford didn’t wait around for things to happen for him. He walked the street for days upon days trying to get a producer to produce is single “Burn Babylon”. Everywhere he went they would run him away. Still, he never gave up because of his greatest inspiration burning spear.

Finally all of his hard work had blessed him as Sylford met Joe Gibbs who was one of Jamaica’s biggest producers. Joe Gibbs saw something in Sylford Walker and decided to give him chance to record his song, which is to date one of the greatest songs to ever come out of his studio. Sylford didn’t not stop he wanted to reach the world with his music.

A year later he was inspire to write his second single “Jah Golden Pen”, also produce by Joe Gibbs, which became the world wide hit he had wanted. Sylford was then approached by another producer, Paul Cluff, to produce two more hit songs “Book of The Old Testament” and “I Just Can’t Understand”.

A few years later Sylford’s long time friend Glen Brown produce his first album “Lambs Bread” in 1977 under Green Sleeves Records, which produced many hits. In 2000 the album was reissued as a compilation with Welton Ire – Ghetto Man Corner by Blood and Fire in England. Many years later Sylford was once again approach by Joe Gibbs to produce and record a second album he world name Nutin Nah Gwan, released in France, 2006. This album saw Sylford Walker becoming a prominent reggae stalwart on the international stage.

After the hype of his second album died down Sylford decided to give up on music and almost on life its self. Sylford felt he wasn’t getting the monetary reward that he richly deserve. After nearly loosing his life in terrible accident, Sylford felt he was speared by the mercy of Jah. As he recovered he went back into the studio where he recorded several songs which have yet to be released. Sylford was then given a chance by Asher Selector from Switzerland to tour and perform for his fans .

Since then Sylford has been touring internationally in places such as Jerusalem, France, Serbia Switzerland and Rototum where he has performed at some of the world’s largest Reggae Festival (Rototum Splash, Paleo Festival, Serbia Festival and Montreux Festival). Sylford has come to recognize how great his music is on the world stage and the positive impact his music has on people all over the globe . Sylford has now put on his covenant and is living the Rasta Farian way. Currently Sylford Walker is signed to his co-own label Walkyahwalk Records (Kingston, Jamaica).

Sylford’s only desires now to perform in places such as Japan, Africa, Brazil, England, USA, Netherlands, Australia, Germany to spread the love of Jah and his positive music for his fans in whom he loves so much .

Singer Pierrepressure is a star from birth

Lady Mystery — Wed, 10 Mar 2010 14:52:45 +0000

“Star from mi bawn”…loosely translated, means he believes he was a star from birth, is how this handsome Leo better known as Pierrepressure describes his foray into the music business.

Raised in the cool hills of Mandeville Manchester on the Island of Jamaica; ‘pressure, as called by friends, discovered at an early age that he had a gift for constructing melodies. Though he enjoyed Reggae and Dancehall, as a child he gravitated towards the sounds of R&B and Soul music coming out of America.

He readily tells of how special Sunday nights were for him because of a radio program that played songs from artists he now lists as having influenced how he puts together his own music. The likes of El debarge, Stevie Wonder, Earth Wind and Fire, and Babyface to name a few, along with such current acts as Jill Scott, Nas and Kanye West has heavily influenced how he constructs his melodies and lyrics from an R&B/hip hop stand point.

On the Reggae/ Dancehall side of things, he lists Sizzla, Beenie Man, Buju Banton, Vybz Kartel along with lesser known acts as Hawkeye, Frisco Kid and Mad Anju as artists that have shaped how he builds his rhyme schemes. Now with a new focus, the multi talented only child confesses he didn’t always put all his energy into music; he has dabbled in modeling and acting…staring in a few commercials.

He identifies a re-link, of sort, with long time brethren and fellow recording artiste/producer Dami Knight, of D1 Productions, as a turning point in him picking up and moving full force in releasing his writings and recordings for the world to see. At D1 recording Studio, ‘pressure is not only a recording artiste, he along with Dami Knight are the primary writers, in addition to that ‘Pressure is considered the chief creative consultant within the camp. When pressed about exactly what his goals are within the music industry, the sometimes shy, 6’1”, brown eyed “singjay” refuses to get in depth and simply says he hopes his recordings and/or writings can bring solace to at least one troubled soul somewhere in the world, he then followed that by saying he does have personal goals but he does not wish to make them public..

WATCH MUSIC VIDEO for “TEXT YELE” by Pierrepressure

Pierrepressure can be contacted at cantpressurepierre@gmail.com

DIA aka Music Addict Biography

Lady Mystery — Fri, 26 Feb 2010 13:46:18 +0000

The music fraternity in Jamaica has always been turning out artistes year after year but only few have been able to stand the test of what the music industry demands of them, and too, very few have been able to actually deliver what they said they would. This, however, cannot be said of DIA, who is a devoted musician and always promises to deliver and does just that. he has emerged within a time when the older generation of musicians have become disappointed with the calibre of music that is being produced by young artistes and is about to lift the level of consciousness within the music. Fresh, new and creative ideas combined with positive light bearing messages of Rastafari-peace, love and unity, are just what the doctor ordered and he is filling that prescription.

Describing himself as a “Musical Warrior”, DIA aka Music Addict works assiduously, carefully putting his attention in creating new songs, sounds and vibration for the upliftment and entertainment of the ears and eyes of the many fans he has and wishes to capture. What makes Music Addict so striking is his undaunting expression of his love for music and the way he gives of himself musically. His voice for one, gives him an unmatched advantage, that is, unlike many artist who find it ever so difficult to sing and deejay at the same time, he is the kind of artist who has honed his own talent and is therefore quite able to manipulate his voice. This unmistakable sound of his voice allows him to do just about anything, creating his own unique style of music that is accompanied by his new burst of energy within the music fraternity.

DIA born Diavallan E. Fearon on October 19, 1975, to Rastafarian parents, have been actively involved in music since inception and has realized his full potential upon arrival into this world. For many artistes, music is second nature but for him it is first and last, hence the name Music Addict. Being the first of six children to one of Jamaica’s finest piano players and tuner, Dennis ‘Jah D’ Fearon, and one of the humblest and hard working women, Paulette Fearon, he knew nothing more than the love of music and Jah. Growing up in the ghettos of Kingston, Jamaica is never easy for anyone, especially children, it either makes or breaks you; but being exposed to both the negative elements of the ghetto and the positive vibrations of Rastafari has proven to be a balance in this talented musicians/artistes life. DIA is a Reggae artist as well as a Dancehall fanatic that has him turning up the heat ‘Pon Babylon’ without pity to elevating the beauty of the ‘Ghetto Girls’; not your typical 21st century Jamaican artist, either they are Dancehall or Reggae.

A past student of Kingston Technical, who grew up between Kingston and St. Ann, has already created a name for himself when he produced “Where is the Love” by Damian Marley featuring Eve on the Damian “Jr. Gong” Marley’s Grammy winning album- Half Way Tree (released 9/11/2001). That very year he released his debut album, appropriately entitled “Dia- The Warrior”, a double disc album, featuring Louis Culture. Making a name for himself started at a tender age, where at age seventeen (17) he was keyboard player for groups like Chakula, Earth Ruler, Fire House and even The Abyssinians. In 2003 DIA raced his way to the top of the charts with his enigmatic rhythm, Gallop. The rhythm featured artistes such as Bounti Killa, Elephant Man, Spragga Benz, Wyclef Jean, Mad Cobra, Predator and Kip Rich. With its unique combination of helicopter and horses galloping through out, the rhythm climbed fast to the top of the charts in Jamaica, New York and Miami. He also produced “Fan dem off” on Elephant Man’s “Good 2 Go” album. Music Addict has also added his golden touch to myriads of chart topping albums, including Anthony B’s “That’s Life”, Sizzla Kolunji, Perfect, Norris Man, Determine, Cobra, Spragga Benz, Cocoa Tea, and Zena(UK based). This list of work does not stop as he is currently working on a new album, soon to hit the streets.

Enthralled with a passion for music, he does not know a day without humility and empathy, many say those traits are what distinguish him from the rest of producers, since he has worked with many big named artistes and this has not gotten to his head. “I see myself as one of the patriots, to bring more love, joy and songs, promoting peace and unity within the music”. Zealous, passionate, sympathetic and blessed are words that are conjured up in the mind when one encounters with the rare and precious talent, which is embodied in the essence of this artist. Owning his own studio and production house- Builders Music Company (independent entity) is not a dream for DIA “Music Addict”, since that dream has long been realized and has given him immense flexibility in producing countless number of tracks for young and up coming artistes as well as established ones. This musical engineer is also blessed with the gift of song writing and has written and co-written songs for Spragga Benz, Ghost, Sugar Slick, Bounti Killa and Mad Cobra just to name a few. Remember “Kaushan Band”, backing band for artistes like Bounti Killa, Shabba Ranks, Cutty Ranks, Lady Saw, Spragga Benz, Vegas and Frisco Kid. Remember the clashes at Sting, Ninja Man, Cobra, Merciless, Bounti-Beenie Sagas, yup, the keyboard player was Diavallan “Music Addict” Fearon.

Picking up on the spiritual energies of Bob Marley and Peter Tosh (sharing same earth day-October 19 as Peter) and loving what he hears from producers such as Lil’ Jon, Dr. Dre, R. Kelly and Neptunes, admiring their fresh and creative flow, Music Addict is one to create his kind of music, what he terms as “visionary music”. This he says is his “fusion of the different genres to create a music that I’m addicted to”, allowing it to become interactive and even rhapsodizing the listener by taking them on visual and spiritual treks to different lands facilitated by the different cultural sounds within his music. With this kind of music, he hopes to establish a new force of change within the minds of listeners of any age group ultimately enhancing a new creative space for others to develop. When he started out singing “people told me that I sounded like one of the Marleys” and he could not deny that fact since he admired Bob Marley so much. Though Bob Marley has influenced him, he never wanted to be another sound alike, so this experience pushed him to learn more about his “sound and develop on it,” and growing up in his father’s studio made this redefinition of self and sound quite quick and easy.

Looking up to heroes in his life like his father- Jah D, His Imperial Majesty Haile Selassie the First, Marcus Garvey and Bob Marley, he has learnt how to balance his mind, this has given him the capacity to stay focus and see clearly that which he wishes to accomplish. “If you can’t control your mind, your meditation will run and you won’t be steady. You just have to know yourself.” And in knowing himself, his image has changed, changed to more fittingly represent a “Musical Warrior”. He can always be seen donned in gloves, symbolizing the mysticism of Rastafari and preventing Babylon from “getting a trace of Jah warrior, cause wi move mystic.” If not for music what would he be doing? Music. What can the world expect from Music Addict? ”just music and more music. I’m addicted to music!”A Builders Production.

DIA’s Myspace

Boom Steppa – ‘Naaw Stay Poor’

Lady Mystery — Thu, 25 Feb 2010 23:46:33 +0000

Kingston Jamaica: Its easy for an up and coming Deejay to get overshadowed with the abundance of talents in what has become a highly competitive Dancehall industry but 26 year-old Fabian Wilson more popularly known as Boom Steppa has no plans of getting caught in that trap. A most peculiar name Steppa was given to him by a friend because of how he walks with a rhythm to which he later added the Boom to describe the type of explosive tracks he planned on bring to the mainstream market.

At six (6) feet Boom Steppa towers over not only the average man but also his lyrical contenders with sharp well written songs not to mention flows full of melody and clarity. Born and raised in the St. Catherine community of Central Village, Steppa grew up like any normal youth enjoying his childhood days but when he turned 15 his focus began to change and music soon became his calling. Starting out writing simple hooks Steppa spent his days teaching himself the techniques of song-writing and later began to share his creative lyrics with his brother who at the time was a trying artiste. As his content grew and his mind adapted to that of a recording artist Steppa had developed a style of his own and before he would finish high school was a budding deejay.

Former student of the Jonathan Grant High Steppa though he understood the importance of school some how couldn’t avoid getting into trouble and was subsequently expelled. The continued education came in the form of Tivoli Garden High were he did his final two years in school often times taking to the streets in search of recording studios to jump start his career. In 1998 his chance came as a link brought him to the Black Roots studio’s of veteran rock steady music icon Sugar Minnott where he recorded his very first single “Ghetto Life” a year later. The opportunity gave the still young Steppa even more confidence in his music and off he went recording for other producers.

As the years passed Steppa took on the added responsibility of ghost writing for not just any deejay but some of the best in the business. Between 2005 – 2006 he penned “Foreign”, “A suh wi do it” on the Gigi riddim, “Love is the only way” and ”Smile” for deejay New Kidz as well as “Thug Love” for Mr. Lexx, but it wasn’t until Steppa joined forces with the Alliance general Bounty Killer that his name began to resonate in a few circles. Bounty recorded two tracks for the young writer – “Firm & Strong” in 2006 and 2007 “Four Season” hit.

That same year he was feature in the Holiday Medley video with Bounty Killer, Vybz Kartel and Bling Dawg on a track called “That’s Who We Are” with Mr Lexx but soon after had to take a break from recording because he was shot and hospitalize for three months. Steppa however recovered and realized that his own career was essential recording the song “So Much To Me” on the ‘Not Out Riddim’ in 2007 with a video directed by Robin Chin soon following For PayDay Music he has done “Nuh Bwoy” on the ‘Gangsta Beat Riddim’ and “Protect Me Please” on the ‘Grung Ghad Riddim’, ”protect the children” on the ‘Merge Riddim’.

Now riding high on the growing success of the single “Naaw Stay Poor” it’s obvious boom steppa is destined for great things. A definite one for the future Boom Steppa believe his time to break mainstream is not far away and as such will continue paying his dues. “The future is unpredictable you know but at the same time I’m gonna always work the hardest I can because I wanna take my music to an international level and the ground work is necessary so this is just me looking for the hits to make it happen but I’m not going to rush it I’m just going to do Boom Steppa”.

“Naaw Stay Poor” Music Video

DOWNLOAD “Naaw Stay Poor”

Boom Steppa MYSPACE

The Abyssinians Biography

Lady Mystery — Sun, 14 Feb 2010 20:34:48 +0000

The roots harmony vocals trio the Abyssinians was formed in 1968 by founding members Donald Manning, Bernard Collins and Linford Manning. It was in 1969 with their release “Satta Massagana” recorded on Coxson Dodd’s Studio One label—a Rastafarian hymn based on the Ethiopian Amharic language, that launched them into the ranks of Reggae music greats. “Satta Massagana” became one of reggae’s most popular songs; becoming an anthem that was heard on the radios, in the dancehalls and in the churches of Jamaica. It was also covered by many other International artists’ including Third World. What followed were a string of hits of which included “Declaration of Rights,” “Yi Mas Gan.” and “Let My Days Be Long”. Early albums were a collection of singles recorded throughout the 1970’s on their own label—Clinch, of which included “Forward On To Zion” (1976) and “ARISE” (1978).

The group separated in 1980, during the separation group co-founder Donald Manning performed internationally under the name The Abyssinians with his brother Carlton Manning (of Carlton & The Shoes) and singer David Morrison. In Jamaica, Bernard Collins performed on stage with longtime associate George Henry.. In 1989, Donald, Bernard and Linford joined together again to record over the next three years. These sessions resulted as the originally released album, “$19.95 + TAX” in 1995 with a very limited number of CD’s printed. Artists Only! Records realized the importance of this album and in 1998 re-titled and re-released this album as “REUNION”. “REUNION” now stands strong as one of The Abyssinians greatest albums.

In 2004, Donald Manning & Bernard Collins reunited on stage for the first time in over ten years along with singer David Morrison, performing on tour across Europe in the winter, at Colorado’s Reggae on the Rocks in the summer, and in December on a two week tour along the California coast . In February and March of 2005 they returned for an extended tour of Europe, and during the Summer of 2005 they toured the West Coast throughout California, Oregon and the Rocky Mountains in Montana, Utah, and Colorado. During the Summer they also performed at The 12th Annual Sierra Nevada World Music Festival, The 10th Annual Monterey Bay Reggae Festival and The 4th Annual Soul Rebel Festival.

Until Heartbeat Records reissued Satta Massagana (a.k.a. Forward Onto Zion) in 1993, few groups in reggae were more of an enigma than the Abyssinians. “Satta Massagana,” has been referred to as “reggae’s national anthem.” The recording session that yielded “Satta” was arranged and financed independently and clearly marked a turning point for reggae — lyrically, rhythmically, and spiritually.

Donald Manning explains how the song was born. “Carlton [Manning] wrote ‘Happy Land’ [b-side to ‘Love Me Forever’] with lyrics, ‘There is a land far, far away, where there’s no night, there’s only day. Look into the book of life, and you will see that there’s a land far, far away.’”

“Satta Massagana” (meaning ‘give thanks’) is obviously notable for its use of Amharic, the language of Ethiopia (Abyssinia). The Amharic is a result of Donald Manning’s Rastafarian influence on the group. The study of Amharic in Kingston in the 60s was a function of the post-colonial, Pan-African identity and Rastafarian awareness sweeping the ghetto after Haile Selassie’s 1966 visit to the island. Collins recalls how Donald’s brother Neville used to teach Amharic in the Jonestown area of Kingston. “[He] was a man who used to . . . have classes around there, where we could all go and learn the language, cause he used to get books from Ethiopia through England — Ethiopian opinions. And those books contain all literatures that we need . . . That’s how come we get acquainted with the Amharic . . . Bredren from all about used to come there and learn.”

Donald Manning explains the Amharic in some of the group’s well-known compositions. “Tena Yi Stillin. Dina Igzhabhier Y Mas Gan. Satta Massagana.’ When I say ‘Dina’ means ‘good,’ ‘Igzhabier’ means ‘God,’ ‘Y Mas Gan,’ [means] ‘he may be praised,’ so I correct the mistake that I made by singing ‘Satta Massagana’ [to God]. ‘Tena Yi Stillin’ means ‘greetings.’ It means ‘good morning.’ It means ‘good bye.’ It means ‘good afternoon.’ It means ‘health, may He give for thee.’”

The legendary “Satta” recording session included Leroy Sibbles on bass, Fil Callendar on drums, Eric Frater on guitar, Robbie Lyn on keyboards, Vin Gordon on trombone and Felix “Deadley Headley” Bennett on saxophone. “That tune really, no one specially [gave] a specific arrangement to that song,” recalls Bernard Collins. “We went there singing the song on our guitars. Cause we had like the melody progression. So we went there playing the chords and everything on the guitar, and while we play, everybody just came in. Cause these men were professional musicians . . . You haffe say they did all the arrangement really, Leroy Sibbles feel out his own bass line, Deadley Headley . . . cause we didn’t go in there with no special arrangement — just the basic chords and the progression of the song and the melody. Is just a vibes tune.

“[We] released it first on Clinch, it was released as ‘Far Away Land.’ It wasn’t till after a time, Donald Manning say we should call it ‘Satta Massagana,’ and then we actually register the song as ‘Satta Massagana,’ [with] all three members owning the copyright. All three of us rallied around to help get it pressed, get to the record shops, and everything.

“We record that song [‘Satta’] in March 1969, and it wasn’t till about 1970 that [producer] Joe Gibbs actually [remade] a recording of it. He was the first one who did a rerecording version, [which] he called ‘A So,’ an instrumental with the Destroyers. That him do [with] Tommy McCook, Bobby Ellis, and him come by some other hornsmen. And it playin on the radio. It [was] just an instrumental. But . . . instrumental versions just bring back the record right back to the people, because when it [was] released first, it used to just play in the dancehall. Because ‘Satta’ is really a dancehall tune in those days. Home buyers never have it. It was just sound system people, but it wasn’t until Joe Gibbs bring out this version that everybody start going at this song.”

The original “Satta” recording was ‘versioned’ (remixed and/or re-voiced) more than a dozen times, including the Abyssinians’ own remake “Mabrak,” a direct response to Joe Gibbs’ “A So.” Instrumentals included “Thunderstorm” featuring Bongo Herman, and several Tommy McCook/Vivien Hall horn overdubs including “Mandela.” Collins later re-voiced the song as “Satta Me No Born Yah.” Prince Far I, Big Youth, Dillinger and others also took shots at the rhythm. Since its debut in 1969, nearly every producer in reggae has remade “Satta,” and literally hundreds of remakes of the song exist.

Collins says that “Satta” is at the root of modern dancehall and dub. “[‘Satta’] was like the first dancehall song. And the first dub, ‘Satta Massagana.’ . . . if you listen to the flip side of ‘Mabrak,’ same ‘Satta’ version . . . is drum and bass. Because we record that tune on two-track [two-channel tape recorder]. When I was at the studio one day, cutting a pure stamper, one of my bredren just put it on single track [one channel], and we just get the drum and bass. And him say, ‘but wait, this sound good mon!’ And we just release the flipside of ‘Mabrak,’ which is ‘Issat’ — pure drum and bass. And that used to play in the dancehall, regular. Cause we used to sell a lot of dub plates, like a special to sound systems — Sir George, Tubby’s, and all them ready soun (soundsystems). Cause we get the dub wax of it right in the dancehall, and from there on you find the dub and version start springing up. From 1970 come down . . . Version business!” The Abyssinians were featured performing “Satta” in a capella style in the film Roots, Rock, Reggae in 1976 and again in Rockers in 1978. These are the only known film appearances of the original trio.

Carlton Manning’s key role in mentoring the Abyssinians is comparable to the role Joe Higgs played with the Wailers years earlier. Not only did Carlton Manning coach the trio in the minor chord harmony singing that would define its style, but he taught Donald to play the guitar. Donald Manning recalls his brother’s efforts. “Most of the harmony that we sing, Carlton teach us, because me and Bernard was singing together and Carlton told me that because I was playing the guitar, Bernard will sing [more] leads than I do . . . so I must sing the harmony.”

Carlton Manning explains how the minor chord harmony style that he developed with The Shoes characterized The Abyssinians. “[My] harmonies are mainly minor chords on a 7th, 9th, 13th [tertian (3rds)] harmony. If you know the [guitar], you deal with the chords and formulate the harmonies from there if the artists can take it. Minor chords are intricate. The scales are not the regular scales. You have to know what you’re doing musically. [That’s how] you get the Far East sound.”

From the early to mid-70s, the Abyssinians recorded sparingly, but the quality of the group’s work was remarkable. Bernard Collins returned to Studio One in 1970 (without the Manning brothers) to record “Declaration of Rights” with George Henry and Leroy Sibbles singing backing vocals. The recording featured an essential arrangement and organ melody by Jackie Mittoo and rhythm by Leroy Sibbles on bass and Leroy “Horsemouth” Wallace on drums. Notably, the song was one of Bob Marley’s favorites, and a lyrical influence can be heard on The Wailers’ well-known “Get Up, Stand Up” recorded in 1973.

The next Abyssinians recording sessions yielded “Let My Days Be Long” and “Poor Jason Whyte,” both released as 45s on the group’s Clinch label. Another of the group’s most enduring tracks was “Y Mas Gan,” recorded for Lloyd “Matador” Daley in 1972. Other singles, including “Reason Time,” “Leggo Beast,” and “Love Comes and Goes” followed by the mid-70s.

The Abyssinians’ first full album was recorded in 1976 and is regarded as one of the greatest in the history of Jamaican music. The sessions were supervised by Clive Hunt and resulted in the album known both as Forward Onto Zion and Satta Massagana. Every track exudes the spiritual essence of the Abyssinians. Regrettably, the tapes were pirated, and the album didn’t see legitimate release until Heartbeat (US) and Blue Moon (France) released it in the mid-90s.

Collins recalls the sessions for the album. “It’s a really original album. Everybody put themself in it. I know I put myself deep in that album. And I figure the other bredren also.

“The story is . . . you have a company at that time here name Sound Tracs [run by] Pat Cooper. You had guys like Clive Hunt, Geoffrey Chung, Mikey Chung — all of the top notch [musicians] working with the company. Donald told me these people would like to record the album, so we went there and lay down ten tracks. . . but before the album finish is like . . . something went wrong within the company. I don’t know what go wrong, but the director of the company actually went away to the States. Clive Hunt had the tapes, and when we check Clive Hunt fe find out what going on with the album, he told us that everybody gone, and the most him can do is take the tape and try and make some money for himself. So him start printing the records here [in Jamaica].”

The group’s deeply spiritual, africentric lyrics were crystallized on virtually every cut on the album, and it featured remakes of “Satta,” “Declaration of Rights,” and “Y Mas Gan.” Donald Manning’s masterpiece “African Race” is one of defining compositions of the album and of the group’s career. After a seductively beautiful acoustic guitar solo by Mikey Chung, the song erupts into a chilling roots anthem. The lyrics speak with pride of African heritage and survival of slavery. Donald Manning explains the inspiration. “I went to the movie theater in Jamaica name Tropical. And them was showing a movie . . . them was bringing slave from Africa, and the movie make I cry . . . when I see what them do to the slave them. When them was rowing the boat, the man beat the drum for them to pull the oar . . . and when them could not row the boat anymore, them throw them overboard and some of them die. Some of them jump overboard and a lot of different, wicked, evil things happen. That’s why I make that song, ‘we are the slave descendent from the African race. We are proud, it’s no disgrace.’”

Despite the illegitimate release of the Clive Hunt sessions, the success of the “Tenayistillin” single in England gained the Abyssinians enough credibility with Virgin that the group became one of the crop signed to the UK giant in 1978. The fruit of the Virgin deal was the Arise album, a good effort but certainly not the cornerstone that the group needed for international commercial success. The underexposure of the Clive Hunt sessions was one of the major tragedies of the Abyssinians’ career.
The group gained some exposure through its performance at Sunsplash II in 1979, although the performance was not included on the documentary film of the event.

Forward, released in 1982 by Alligator in the US, collected some early tracks like “Jerusalem” (b-side to the original “Satta” 45), “Mabrak,” “Peculiar Number,” several superb Bernard Collins solo cuts, plus “Forward Onto Zion” and the remake of “Satta,” both from the Clive Hunt sessions.

The Abyssinians were inactive during the mid-80s, because Linford Manning left Jamaica in 1980, and Donald left in 1984. Bernard Collins went to New York in 1986 to work on an album at Phillip Smart’s HC&F studio on Long Island. Many of those tracks would be used for the Last Days album. The Abyssinians would play Sunsplash in Jamaica in 1989 and in Europe in 1990, and then Linford Manning left the group for good. The group performed again on Sunsplash 92 in Montego Bay.

During the 90s, the Forward album was released on CD (Musidisc), as well as set called Best Of (Musidisc), which features many hard to find singles from the early years of the group. Satta Dub (TABOU.1) and Declaration of Dub (Heartbeat) feature Karl Pitterson dub mixes of many tracks from the Clive Hunt sessions alongside other selected dubs. Virgin reissued Arise on CD in the early 90s.

Collins understands the struggle the Abyssinians still must endure to ensure the name is known and remembered. “In Jamaica here now, the Abyssinians do have a name, yes, in a certain area. If you call upon ‘Satta Massagana,’ ‘Declaration of Rights,’ everybody knows those songs, but if you say ‘Abyssinians’ to most of the young youths, they don’t know. Sometime them don’t even know what the word ‘Abyssinian’ mean. They never hear that word before. But if you say ‘Satta Massagana’ or ‘Declaration of Rights,’ they know the song.”

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