Clinton Fearon Interview on KRCL's Smile Jamaica Interviewed by Robert Nelson ----------------------------------------------------------------------- On Jan. 16th, I had the pleasure of hosting Clinton Fearon, of Boogie Brown and Gladiators fame, for an in studio interview on my radio program, Smile Jamaica. We had over an hour to talk and listen to examples of his music and I think he's had some great things to say. Some of the topics of conversation were the controversy on Heartbeat/Studio One's Bongo Red release; record business frustrations; the Kingston recording session lifestyle; Lee "Scratch" Perry; Gladiators inna England; why country boys made such good singers and a whole lot more . This interview is long but hope you can read through and let us know what you think. Robert Nelson - KRCL "Smile Jamaica" Robert Nelson: We've gotta special treat in store for you. Up next we're gonna be chatting with Clinton Fearon, Bassie, of the Boogie Brown Band. We've only got one mike so we're gonna have to kinda swing the mike back and forth like we're passing a spliff around I guess. I want to bid you greetings and welcome to Smile Jamaica Clinton Fearon: Greetings to everyone out there! RN: Tell us what you've been working on since your Mystic Whisper album. CF: We're working on a new album named What a System and (we've got) some wonderful tracks and the idea is to have, like a double album; one side dub and the other side vocal. And we had Scientist mix it. I think we're gonna do a little more work on the vocal tracks. We're excited about it and it should be fine. RN: When can we expect to see it come out? CF: You know, we expected to get it out in Spring (1999)... Hopefully pretty soon; can't put a date on it as yet. RN: Is it going to come out on Peacemaker again? CF: No I think we'll probably put this out on our own label this time. Unless something better comes along. RN: Well let's track through a track (from Mystic Whisper) so we can give the folks a little bit of some of the stuff you've been working on. We're gonna play probably my favorite tune off of this one called "Uncle Freddy". Care to give us thirty words or less about it? CF: (Laughs) Uncle Freddy, Uncle Freddy. Y'know Uncle Freddy is like Boogie Brown. Boogie Brown is also a caricature. Like a brainchild. Grew up rough, grew up delinquent kinda manner like. Y'know what I mean? Had was to be on his own from he was like 12; thing like that. Didn't decide to go for badness; go for music instead. And the things that he learned through experience, tried to impart that, share that with people. Uncle Freddy is kind of like his uncle (laughter). His uncle's advice is like "Hey son, its done gone bad already". So might as well take each day and enjoy life for what it is and be good. Basically. *** Uncle Freddy from Mystic Whisper (Peacemaker Records) RN: Ok we're back now with Clinton Fearon. That was a piece off the Mystic Whisper album. One of the better releases of the last year was Heartbeat's Studio One compilation with The Gladiators called Bongo Red. Its got 17 tracks in all but there's been kind of some mix up on this. That not all of the song writing credits were recorded exactly? Do you want to set this straight since we're gonna be posting this (interview transcript) on the Internet? CF: I could say something about that. Y'know it's only a pity, I tried to get a hold of Chris from early on... RN: And that's Chris Wilson, (album compiler) of Heartbeat (Records)? CF: Yeah, before they put it (Bongo Red) out. At that time I didn't even know that they were working on something like that. And then few months along, I couldn't get a hold of (Wilson). Joshua Blood (Heartbeat promotions) claimed that he's busy, he don't think he have the time to talk to me "blah blah blah" etc. down the line. And then later on this (CD) came out with all kind of mistakes on it. For example that first song, "Bongo Red," that's Albert Griffiths' song. And they credited me with that one. Also, Albert Griffiths songs written by Albert Griffiths but I sung lead on (them). "Tribulation." It's my song. I wrote and sung that one. RN: I've always known what (Heartbeat) called "Ungrateful Girl," I've known that as "Untrue Girl" which is just a fantastic track. We're gonna hear it up next. But, when I saw this on (Bongo Red) I was kinda confused, because I assumed it was the Lee Perry production. And that's what it is right? CF: That's what it is! That's what it is! But that's what I'm saying though. Is like y'know. I don't know. I would think that it would be better for them if they have the right information down. In my opinion if you're going to deal with the works-man, then at least have a little respect. You just don't dog the artist and then you wanna use their works. Use them, use their works and throw them in the trash can. That's the impression I'm getting. RN: And that's a huge problem in reggae from long time. And now with all the reissue labels that are going back and putting this music out. There's a lot of fans who love the sounds but not everyone seems to be getting the correct due. Especially for the artists. And how does that frustrate you as an artist? CF: Y'know very much indeed, but I know where it stem from too. Earlier on when those record companies, sussers, came to Jamaica and signed artists up. Obviously artists and even promoters from out there, producers I should say, didn't know much about the (music) business. Which was like a feather in these guys' (record companies) cap who came down. Becaw they get away with all kind of murder. Now as time goes on, producers out of Jamaica learn a little more about the business. Most likely kept it to themself anyway. Then the artists start to travel a little bit, learn more about the business and so forth. And them guys (producers) used to making the money and putting it all in their pocket. Now it come a time when we (artists) learn a little more about the business and they (producers) want to keep it same way. Obviously, (rueful chuckle) it create a problem there. RN: Was Coxsone Dodd (Studio one licensor of Bongo Red songs) involved in any of this sort of mixup (on Bongo Red)? Or was this more a fact that Heartbeat wanted to keep in good graces with Albert? Or was it just an oversight on their part? CF: Y'know like I say, I think it was an oversight on their part. I think they just go along with some assumptions there. Coxsone, I think, deal with a lot, a lot of music and all of that. I don't think him keep track of that either. RN: With hundreds and hundreds of releases, yeah, how could he? You'd have to have a brain that acts as a computer. CF: That's what I mean. Or you keep good records, y'know man?, from up front, and follow the records too as well. Which I don't think he was good at. Or bothered to pay that much attention. But I'm saying these guys now that gonna do reissues and things like that, instead of assuming so much... the part that bothers me is to know that ok, they're going to put something out with me. And they're not certain of certain things. And I called them (Heartbeat), they didn't have to pay for the call! (Chuckle). And then (they) don't even say, "Oh yeah, by the way. Umm blah blah blah blah, do we have it right?" Y'know what I mean? They probably afraid that I was gonna ask them for some money that I think I'm due anyway. RN: So there wasn't a whole lot of fact checking going on (with) the "other" Gladiators (members)? Meaning, Albert Griffiths and the Gladiators. Even though there's been a couple of (lineups) even before you and Gallimore Sutherland came on board. But is that an idea of trying to keep one focus with this (release)? Being Albert's voice at the expense of maybe having you coming in and taking it off to another direction or contradicting, maybe, some of the things that are in (the liner notes to Bongo Red)? CF: Aww no, my suspicion with that is that it's less trouble for them. Earlier on it used to be straight across the board: The Gladiators. Then things change, I remember, when it used to be The Wailers. And then it was Bob Marley & The Wailers. And I think a lot of producers and artists too as well. I think Albert was ripe for that idea too (i.e. Albert Griffiths & The Gladiators) from Nighthawk. That guy Nighthawk (Robert Schoenfeld, owner of Nighthawk Records) is like he say "Let's deal with the leader, and let the leader deal with (the group's other members)." Straight across the board. Not just that. That also boosts Albert's ego and so it's easier to rip Albert off too. In the same process ripping the rest of us off too (Fearon and Sutherland). Usually in a group, if one person don't catch something, the other person will. Y'Understand what I mean? And they don't want to deal with the whole group. Becaw we come in and, whether its five or six of them or two of them (label executives), but we have our group here and we back one another up. If Albert and the rest of us go in they can easily well say, "Well, Albert, we only wanna deal with you. You are the one we're dealing with. You're Albert Griffiths right? Oh, so we're dealing with you. Blah, blah blah." Y'know what I mean? And that's kind of a part of what I think messed the group up too. RN: Have you talked to Albert or Gallimore about (Bongo Red)? Have you maybe said, "What's up this? Let's get it straightened out?" CF: No I have not. I talked to Albert earlier on when they were trying to get The Gladiators to tour together again as a group. RN: Heartbeat was gonna pay for that? CF: No. RN: Oh, Nighthawk? You'd do another national tour like you did before? CF: Well none of dem was gonna pay for it. We were gonna pay for everything. Like starting all over again. I told Robert (Schoenfeld), "Heartbeat, Virgins, Nighthawk and all those record companies that have records with The Gladiators should put some money up and make the tour be a good tour so we can get something out of it. And you guys gonna make a bag of money by selling a bag of records." All the records that already sold I haven't seen a cent from that. So my ticket is to get what I can now. And if you do it that way, you won't have to put much out of your pocket either when you guys collaborate and do something and it would be beneficial (to the group). (Quoting Schoenfeld), "Oh they're not gonna do it. Oh no, no." You assume if he's not going to do it the other one is not gonna do it as well. I was willing to do it (the tour). I called Albert up and I told him, "First Nighthawk make it seem like I'm the only one that's holding up progress (on the tour) right now." So I call Albert up, I say, "Albert, y'know blah blah blah, whey you think?" Him say, "Man, that's the same thing I told Robert. You're thinking the same way I'm thinking." I say, "Good becaw Robert make it seem as if *I'm* holding up progress." (Ironic laughter) RN: So what sort of money do you get paid on a release like Heartbeat's Bongo Red? You say you haven't seen a cent. Will you see any money from this? CF: I actually have no idea what kind of money. The most I can say right now is totally none. Becaw I haven't seen a cent. I don't know what's up. The funny thing about it is I tried to contact a lawyer and say, "Hey this is the situation. Whatya think?" blah blah blah etc. The person looked into it and said, "Well y'know.....". And she no want to approach it on a commission basis. Becaw based on how dem have dem law setup, I could easily go in and spend a bunch of money and still come out with nothing. I end up losing double. RN: Is part of the reason (for copyright confusion on song writing) that Dodd is credited as songwriter on all of these songs? That Jamrec music (Coxsone Dodd's publishing company) probably holds the publishing rights? CF: That's another thing again. Becaw he did that early on. He just did that fe make the thing look alright (legal on the surface). A lot of them really don't record it (legally) like that. Register (song writing credits) fe real. He just put that on the label and thing like that fe make the thing look important. RN: Because he says it (Dodd's song writing credits on Bongo Red) it becomes true? Do you think that's a part of it? CF: Ummm, kind of, kind of. It becomes true for those who don't know. It's just since of late I learn that too (Dodd's claims). Hmm? (Chuckle) I realize after I try fe check in with BMI and ASCAP and say (to them), "Hey this song is mine and blah blah blah. Send me the information and that (to register them correctly)." We learn that some of the songs he said that him have rights to, is not there. Someone just put that there (on the disk). Which I would advise other artists to check out dere thing too. To see where their rights really are. Becaw it could be just out there floating in the wind. RN: Let's switch gears and go back to talking about "Untrue Girl." I think it's one of the better sort of broken hearted/betrayal sort of love songs. Based on personal experience? CF: Yes, based on personal experience! (Laughs) RN: You can tell. Because it kind of rips your guts apart hearing it. Anyone who has ever had somebody backdoor them and cheat on them like that. It's like we've all been there. Tell us a little more about it before we give it a spin. CF: The first girl I lived together with, my whole idea from way back when. I came from a family where mom lived over dere and pop lived over dere. And I'm with Dad and spend a little time with Mom and blah blah, with Mother in Law and all a dat. So observing all of that, subconsciously, and unconsciously too, I say well, "Boy, I hope any woman I'm with, this is it. Forever." (Laughs) RN: The one true love! CF: So I got started and hey man, the woman got pregnant and after she abort the baby, she told me about it later on. I wasn't even a part of the decision. Plus, y'know it's against my being too. It really hurt me. Then later on, she got on my case too, caw I'm "bing binging" on guitar and t'ing like that and making noise. I'll never live to hear my voice on a record. Blah blah blah. Really kind a downtrodden kind of vibe. So I was hurt all over. So that's where that song comes from. RN: Phew, tough stuff. Let's give it a listen. If you pick up the Bongo Red CD it's going to be called "Ungrateful Girl" but it's really called "Untrue Girl," right? CF: "Untrue Girl." *** "Untrue Girl" from The Gladiators - Bongo Red (Heartbeat/Studio One) RN: We're here with Clinton Fearon having a little nostalgia session. I pulled out all of my Gladiators stuff that Clinton was heavily involved in. You guys are pretty much affiliated with the rockers sound. You guys worked with some of the great rockers producers like Tony Robinson, the HooKim brothers and Yabby You who worked so heavy with King Tubby's and so a lot of that stuff is assumed to be rockers as well. Tell us from a bassie's point of view, what was that sort of sound? I look at it as rock steady ten years later. What do you think about that statement? CF: You know in a sense you're right there. Reggae is a newfound name for same rock steady. Y'know what I mean. Bob Marley and a few more other artists kinda slow it down a little bit. Like Scratch himself did too. And I think later on I don't know who actually named it reggae. It's rock steady, slowed down a little bit. It was an interesting time. Interesting time. Late 60s, early to late 70s, even part 80s. The sound. The involvement with musicians and singers with the music. It was a time of relief. Spiritual guidance and whole nother avenue from how it's been going now adays. RN: While you look for that thought, I like to think at reggae music at its height as being Rastafari gospel music. What do you think of that statement? CF: Y'know I think you're right. To put it in a spiritual base. Is not even just Rastafari either. You have Heptones, Delroy Wilson, Paragons. We tend to bypass love, "Hey this song is saying love, so then it's not saying good. Basically love is the wrong thing." All kind of vibes are in it. I think one should enjoy love, should not take love for fun. But there's lots of fun in love. We could get crazy with it. Loving a woman, it's there. But loving people is here (points to heart). It's one big ball. RN: A circle coming round... CF: A circle. Each one of those artists play a part of the overall spiritual wellness of that experience. You have people saying that Selassie I is God, Rastafari. But their livity or behavior is a search. They might not carry it here on their dreads and so forth. But how they live. It's the same thing. You find somebody from the Church of God church, they're saying the same thing but coming from a different street. RN: That's a terrific way of putting it. (When) you think of the 70s Harmony Trios, Mighty Diamonds, Heptones, you've mentioned some of them, The Itals, but the Gladiators were about the only ones who played their own music. How did all that kind of work? Did you lay down the tracks first and then come back to do your harmonies? CF: That's how we did it, that's how we did it. One, somebody, most time Albert, would hum the song while we played and sometimes we'd get a riddim guitar. Sometime Albert himself even play a riddim. Put down a rough track so we'd follow that and then we'd go back and voice it. RN: Up next we're gonna hear one of those mid 70s classics when the rockers sound was in full bloom. This was an album you guys worked on with Eddy Grant. We're gonna pull a piece off of here of a track you sing lead on. Tell us a little bit about "Oh What a Joy." CF: "Oh What a Joy" is like a part of the circle again. That circle of love. RN: Which shows really heavily on the (album) cover. (A photo of a giant circular, flaming G surrounding the band members) CF: (Laughs) You got it. The song itself there's not a whole lot I can say about it. Becaw long time ago I don't even remember much about the particular song. I remember about the recording though. It was an interesting recording session. RN: Tell us about that. CF: We were excited about that. I remember when Prince Tony (Robinson) came down and said that he was having a little problem with Virgins (UK record label). And then later on Virgins contacted us and said that they wanna do a recording with us but they wanna do it in England. And have Eddy Grant produce it. RN: Eddy Grant, of course, being the guy from (the pop hit) "Electric Avenue,, but he was also a big name with a group called The Equals in the UK. So he's a big reggae name in the UK. CF: When we got there, I understood that they were gonna have their musicians play the songs. RN: Guys from Aswad? Didn't Angus Gaye play on that album? CF: Angus is a good drummer. Good drummer. And they have an ex bass player who used to play with Eddy Grant. Very good bass player too (Mark James). But it gave The Gladiators sound a whole other sound. Which I was a little leery about. Well, like it's gonna change things up. It could be a hit, but it could very well be a miss. Becaw your fans are used to a certain sound and all you need to do is s develop that sound some more instead of stray from it. RN: The Rockers sound versus the UK roots sounds is very noticeable and very different. So what you're saying is that you could have really alienated (that fanbase) that you were building, right? CF: Yep, yep. And I think in some ways, I think we did. A lot of Gladiators fan, especially in England, wasn't happy with it at all. They think, "Hey that's like gone commercial man. And it doesn't sound like you guys. Vocal awright but I don't like the riddim section." We heard quite a few of that. And I was afraid of that before it even happen! RN: Prophecy fulfilled almost huh? Let's refresh your memory on the track and give it a spin... *** "Oh What a Joy" - The Gladiators, The Gladiators (Virgin Frontline) RN: Having a great conversation with Clinton Fearon of the Boogie Brown Band. And we're talking about some of the works of his as one of the pioneer reggae singers and players in Jamaica known primarily for his work with The Gladiators, but also was one of the preferred bass players in Jamaica. He played with just about everyone. You were a preferred bass player, along with Boris Gardiner, with Lee Perry. Lee Perry, I think, is becoming almost as popular to non-reggae reggae fans, if that makes sense, as Bob Marley. Tell us a little about what that whole vibe was like playing at Black Ark. CF: (Laughs) It was a nice vibe, quite an experience. Scratch was like, in my opinion, was like way ahead of him time. Y'know? In terms of him idea of dub. He'd take one word and use that one word and repeat it every now and then and have it be a song for some reason. And it hit people too like "Alright" and others would say, "Huh? How did him do that?" People claim that Scratch is mad and t'ing like that, but I don't think so. I think Scratch is a genius. He deserved that name. One thing with Scratch. Scratch knew what he wanted. I told people this and I don't know if they'll believe it, but the sound that Bob used to make it, is actually Scratch sound. In terms of how he used his vocal. And certain chants. He actually got a lot of that ideas from Scratch. And Scratch, like I say, you go in Scratch studio and if you used to playing for Channel One, which is a total different sound from Scratch sound. You go in dere and Scratch gwan break you right down to his sound. Y'know what I mean? He'd always take a clever musician and the musician who is flexible to leave from this and come here. You've got Channel One this speed. Then you go to Scratch and Scratch'll slow you way down. RN: It's like stepping in molasses. CF: Hah, hah. You got it. But him manage to make it sound good. I've witnessed a few good musician who went dere and had problems. Becaw it different. It really different. But I think that playing for other artists, other musicians, other producers, I give thanks for that every time. Becaw that mean that you exclude your idea. Put your idea aside, you hear a song, personally I would play it this way. But they wanna listen to the artists, they wanna listen to the producer. And that widen your cranium of all the different ways that one song can play. It was a great experience. Great experience. When I just started there (Black Ark) Chinna Smith used to play quite a bit too. I remember Chinna said to me one time, "Bassie, you a promising bass player. You know what you need to do now? Just go now and take off some foreign songs man. All kind a different songs. Play along with them." And I did that. And I say. Hmm? That helps. RN: Pick up ideas eh? CF: Fresh ideas. Oh Ok that's how they do that. Okay. The more you do that, like I say, one important thing is to exclude your ideas playing somebody else's song. Hear what they have to say first. Then take it from there. Then if their idea is really off the wall, then say "Hey let's try this." When you humble with it you grab so much from it. RN: So you got to play with pretty much everyone. I kind of envision what recording in Kingston must be like: is if you needed some work or had some free time, a bass player of your stature, you could take your bass down and kind of go from studio to studio and sit in? Is that how it worked or is it not that free flowing? CF: Actually that's how it worked. But how I always do it, I have a little corner that I used to hang out of on Waltham Park. I hate going to the studio and hang out. Because then it lose that soul. The competition was a little bit too much. In terms of five bass players hang out there. You'd be in the studio playing and the next bass player come in and say, "Hey that's my session." That self that supposed to be in it, it's not there. RN: Like you're a mercenary? CF: YEAH! So I say, well I don't wanna be in that kind of fight. Becaw I'm paying more attention to that (competition) then the music itself. And so I used to like hang out on my corner, then if a producer or singer want me, they knew where to find me. So when they find me and bring me to studio then I know if even there ten bass players out there I know I'm in. RN: You're the chosen one for that day. CF: (Chuckles) That's how I did it back then. RN: I wanted to ask you too: you're a country boy right from St. Catherine's parish? CF: Actually, I was born in St. Andrew a place named Essex Hall. I left there was a little toddler about six months. And went to Clarendon. A place named Kellets [?] or Brandon Hill or somewhere there. I spent a few months there again. Then we moved to St. Catherine's. I grew up there. RN: With Joseph Hill (of Culture)? Did you grow up with Joseph Hill? He was in your elementary school? CF: (Look of surprise) Yeah, yeah at one point in school. Even in the same class, too. RN: I've done my homework... CF: I tell you what man, he was a good artist too. RN: Yeah, he could draw very well? CF: Yeah, actually he was the only guy in my class who could draw better than me. We had things hang up in the wall there several years later I went back and they were still there. Wow! RN: What do you think growing up in the country brings to reggae music? So many great artists that came from country, like Burning Spear or Bob Marley, all these guys. Then they go to the city. What does that upbringing bring to your singing? Or some of the great creative works that go on in reggae? You think of Kingston as Concrete Jungle, the most urban of possible urban settings. But so many country kids coming in were great, great singers. Why do you think that is? CF: I think in the country you find to find [we have no idea what Basie meant by 'find to find' or if that's what he said, but can you change it to 'be more inclined'] to appreciate your surroundings. You appreciate your surroundings. You appreciate the animals. I appreciate this dog we got. Forgot the name. Not Lassie. This little black dog was my friend. Keep me company, I'm goin around some little corner, dark corners, "Hey my dog's with me and I'm fine." I'd reach a certain tree. And feel good like that tree acts like a friend. Sit there for five minutes, breeze off. And I'm not afraid. So you learn to appreciate your surrounding: the fruit, the tree, the wind. As far in the woods as I live, when you see somebody you happy, "Awright, how you doing man?" RN: Pace of life is slowed down and you have time to appreciate what's around you. Does that about sum it up? CF: Caw I remember when you go to Kingston. Traveling down the street, dem guy flashing him ratchet and t'ing like that, you looking over your shoulder, going into the shop at 8 o'clock in the night and you feel well, "Is it alright?" You just hear a couple of gun shot go off down the street. So there come the survival thing. In the country you cut banana, or you pick mangos. Sour sop, pineapples, sugar cane blah blah blah. In town you have to buy all of that. So the survival instinct steps in even deeper. Like really deep. Y'know? Then you have guys, people, who get over on one another. And that kind of changed the spiritual vibe. RN: Makes it hard to be a sensitive person. I want to play another tune you sang on with the Gladiators then we're gonna go back to some of your newer sounds. A tune called "I'm Not Crying." I think maybe that's kind of summing up some of what you're saying, eh?. CF: A little bit of what I'm saying too. Like say I always appreciate and love those moments that I spend in the country. Lovely moments. You can feel love from the air. When you live in a society or a clump of vibe of hate, war and crimes. Where the politics is as thick as mud. It bring pain. Remembering that, you say, "Hey I'm not crying. It will be better. It shall be better. You must have faith." RN: Terrific positive mental attitude, let's give that one a listen. *** I'm Not Crying - The Gladiators; Full Time (Nighthawk) *** Rock Your Bones - The Defenders; 12" (Defend) RN: We're a back again with Clinton Fearon. Really glad you've had a chance to relax and put your feet up and tell us your history. One of the things I wanted to ask you about: one of my favorites is Yabby You. Didn't The Gladiators play behind him, on "Conquering Lion," where he got his name, Vivian Jackson, as "yabby yabby you." CF: Yeah, we were playing. Can't remember all the songs we played on. On that album we played quite a few of the tracks. I think they were just The Prophets at that time. With Alric Forbes, DaDa Smith and Yabby. Then I think Yabby change it to Yabby You and The Prophets. RN: We heard a piece of the 12" from your group The Defenders, which also included Alric Forbes, who passed away about a year and a half ago, working out of the Seattle area. How come you wound up in Seattle? Kind of cold and rainy for an island boy like you, huh? CF: Actually when we toured as The Gladiators in 1987 we had quite a bit of time left on our visas. And we knew Charlie Morgan (Outernational Records label owner) out of Seattle and we asked him, "We have some extra time can we come and do some stuff?" Him say, "Oh yeah sure we can try something." We played from April to about mid November. RN: What year was this? CF: That was in 87. During that period of time we really developed a good fanbase there. Making good money, meeting lots of nice people. We had this idea, seem like we can spend some time back in Jamaica and some time back in the United State. RN: Best of both worlds... CF: (Laughs) Little did we know it wouldn't work that way. The second time around we lost our drummer, Winston Carty. We came back up and Greg Jones was drumming with us. Clinton Rufus went back to Jamaica for a month or two. On the way back up they mark his passport at Miami and sent him back and say, "We think you spending too much time in the United State. More time in the United State than you spend in Jamaica." So they mark his passport, sent him back and told him he could apply within two years by mail. So I said to myself, if it's so drastic and I'm here already, then I'm gonna stay at least to get my papers. I thought it would take maybe a year, year and a half to two years the most. I didn't get it, we're talking down the line about five years. By then I'm a Seattle-ite. RN: So you've put out Disturb the Devil and you put out Mystic Whisper and you're working on the new release, but you're playing guitar now. What's that all about? One of the greatest bass players in the history of reggae who's primarily a guitar player now? CF: Actually, I started out, in my very earlier days, playing guitar. Guitar was my first instrument. How I got start playing bass was when Albert Griffiths, Errol Grandison and myself. Errol Grandison is the one who actually got me onto Albert. We start singing and playing. We had probably two guitars at the time, actually one. I had a little guitar that I took with me from the country to Kingston. So Albert would be strumming. In between vocals I would be humming a bassline and slapping my thigh for a drumbeat and t'ing like that. Albert used to play bass. Albert is a good bass player. But he also learn in a hurry that it's difficult to play bass and sing. RN: So being the lead singer and the bass player providing melody: one half of the brain doesn't know what the other half is doing? CF: You got it! You got it! So here I comes along with this kind of vibe and he figure, "Well hey. Let this guy do it, he got the vibe" RN: So you learned bass on the job but you've always been a guitar player? CF: Yeah, but I loved every minute of it. Bass is a wonderful instrument. I really love it. But when I'm writing a song and thing like that, it's much more easy to strum on the guitar and sing along. It's much easier. RN: There's not a lot of acoustic basses out there you can just sit on your porch and pull out a melody from, huh? CF: That's true. That's true. RN: So you're heading on home after this but you're gonna keep trying to do some gigs... put the next CD out? CF: Put the CD out, or if we can get an investor we'd go along with that, too. We have some great tracks there and I'm actually excited about it. A little disappointed that it's not going to be out when we thought it would. But through the help of the Most High it will come out in time. RN: Good things come to those who wait. I've heard that you have hundreds of songs that you could work on. That you're a very prolific writer. CF: (Chuckles) Well I don't know if I wanna take credit for that. Ideas come so fast, sometimes I don't remember that and it goes away too. So many things to talk about, so many things to sing about. You see it daily. The more the system get out of shape, is the more writers have to write about. To remind us that, "Hey let's not get off track too much or we won't have a world anymore." It's very frustrating, touching on this base too, I've seen a lot of people - musicians, singers, spectators, listeners tend to wanna disrespect the roots. Throw the roots aside. Pass and gone. That's dead. In my opinion doing that the branch can't survive. Is like your parents, treat them bad, hate them, blah blah blah, you're not gonna end up with a good life yourself. RN: Do you think that that's why a lot of consciousness is returning to dancehall (performers) in the mid to late 90s? CF: That's what happened. What's happening too is because a lot of the reissue stuff and so forth. The reissue have a lot of consciousness to it RN: Not a lot of gun lyrics and punanny reissues coming out. CF: You see what I'm saying. They're trying to match that vibe but still in a dancehall fashion. It's all good though. Dancehall is not my first choice. Every music has its people out there. But in the same breath do not kill the root or the branch will die. RN: That's a great phrase to leave out on. I want to thank you very, very much for spending the last hour and some with us here on KRCL. I've been looking forward to this for quite some time. We're gonna hear probably my favorite track off of Disturb the Devil a little tune called "Who Stole the Cookie." Give us 90 seconds about that one. CF: (Laughs). What I say about that one. Is like a kid's song in a sense. But in the same breath can be very serious too. Like who have them hand in the cookie jar. Be political with it. What are those guys doing in the House of Representatives? Are they representing us right? Or are they all just have dem hand in the cookie and have no business with us out here? RN: Leaving us with the crumbs. CF: (Laughs) Or probably even sweep up the crumbs so nothing is there in the first place. You have mother and children, father and kids can also relate. The kids can relate to the cookie scene. RN: Get kids to enjoy reggae. We're all kind of overgrown kids anyway aren't we? CF: Yeah we are man. That's what we are. And that's a big part of our problem. Is the same way like how Bill Clinton and the office and them all up on him dis and dat about him not supposed to. When I was going to school I used to think my teacher doesn't go to the restroom. (Chuckles). Caw looking so proper and want us to behave so. And we all big kids, man, and we taught otherwise, we're taught that from earlier on and we see it and like we'd live in a much more fair world, understanding world. We would care for one another more. A lot of us go through hurt because of that. It's another form of being trampled on. Is like you can't be yourself. You walk outside and the wind blow through your shirt and feels good. But you going on the street so you button up caw Harry on the street gwan see you and not hire you because you're walking on the street with your shirt open. RN: Thanks again for coming out. CF: Thanks again Robert and all out there for listening and keep doing the best you can for as long as you can. *** Who Stole the Cookie - Clinton Fearon & the Boogie Brown Band; Disturb the Devil (Boogie Brown)