One Blood: One Wicked Show!
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Many people have only a recent familiarity or at least a nodding acquaintance with one of the most talented living legends of dancehall reggae, one whose talents have been infused into the hip-hop mainstream lately through speaker-poppin’ shots like “One Blood” with the rapper The Game and a much requested remix of “This Is Why I’m Hot” by New York newcomer Mims.
Thing is, Junior Reid has been a musical influence before many of these contemporary artists were even in diapers. Reid’s songs always contained subject matter that illustrated a real portrait of the Jamaican experience, especially of those who left Yard to go ‘a foreign’ for opportunity and instead found hostility and discrimination. He captured such circumstances with such emotional vividness in his songs and gave a voice to any immigrant who knows what it is like to be enticed into danger, hardship and human slavery by hope-inspiring glimpses of the American dream.
One of Junior’s signature songs “Bananaboat Man” is a great musical portrait of the West Indian’s migration to America, into places like Boston, Philadelphia and of course Brooklyn in the 1980s. It is a vivid account of a young Jamaican man stealing away from Jamaica journeying to the United States. The song tells of a young man who could not afford the plane ride out of Norman Manley International Airport, but his intense desire to make a better life for himself and his family led him to stow away on a cargo ship to get to America.
In little time he got his hustle on and was able to declare to the dominant society around him “don’t call me, don’t call me nuh banana boat man, hay!” This song inspired pride and satisfaction in others who faced difficulties in America. In time many folks like the young man in the song were able to achieve success defiantly and could say they persevered “…cah we a ragamuffin and we run tings”.
Dee Dub and I reached Manhattan one evening around 10pm, eager to watch Mr.Reid “run tings” at the downtown hot-spot SOB’s. We had risked being ticketed, not to mention physical harm&Omega we peeled, skidded, swerved and sped from Brooklyn’s Flatbush Avenue to Varick St. off of Houston under the belief that we were missing the show. The doors were just opening as we walked up the busy city block. Ughh, to wait for a line to be let in on a muggy summer night---all that rush just to stew in our own sweaty impatience (My bad Dub!).
It was 11:35pm when the New Kingston Band was introduced on stage. This band of young, talented musicians took the stage and performed some of their own material and spiced up their 35-minute set with favorites from Dennis Brown and other notable reggae legends.
At 12:15am Junior Reid pounced on the stage gliding with the Rastahs’ signature skank. Right away, he sorted things out with the wicked tunes he is known for:
“On the first day of Christmas what did Santa bring for me/ a Glock, an Uzi and a rusty M-3…we nuh want no ram-pam-pam-pammm…”.
With that, SOB’s rocked on from this song to the last note of the final selection. Nuttin’ but niceness. You pickin’ up what I’m puttin’ down!?
“Nuh man nuh ruff, nuh tuff, nuh man nuh badda than nuh man”, burst out Reid with the fury of a Tec-9. The tune is powerful because it reminds the listener that anybody can lose at the game of trying to be the rudest of any rude bwoy. Many folks also prefer to keep to themselves but don’t mistake their calmness for weakness. Still waters do run deep. And as Junior Reid warned the massive at SOB’s “…so if a badness you a deal, beg yuh keep it to yourself ‘cause we a poy, poy-poy-poison !”
In 1992 the Bogle dance and riddim was mashin’ up the place. Buju Banton was the hottest thing since sliced bread and he was on top of things with hit after impressive hit. There was a talk running the cut at that time, “all fruits ripe”, a suggestive reference to the female body. Junior had jumped on the talk of the time and built a dub that ran the dancehall for a minute. For the more than a few fine ladies in attendance at SOB’s when he belted out the opening verse, they were blessed with a clever tribute to their femininity. The damsels in the audience responded with hollas and whistles. More than a decade later and the tune still sell off!
After this spicy ode to women everywhere, we all went to the early 1980’s with “Foreign Mind”, a rhythmic expression about the infiltration of the American way of life in Jamaican society. Many of the less fortunate in Jamaica looked to emigrate to the United States to achieve some of the material wealth they saw on TV, and in films. This song, another illustration of Junior’s timelessness, is as relevant today as when it was written more than twenty years ago. The song states that many are worrying their “Foreign Minds” and forgetting to live the life that they were given, who they are, how they are and where they are. Touching this song provided the perfect surge for rushing into “Banana Boat Man” for another dose of reality regarding the delicate ties that Jamaica and America share.
With 10 minutes let in the performance “One Blood” ripped through the venue. The crowd boiled with approval. Hollering and gyrating they enjoyed the big tune on deck. Junior Reid performed the original before dropping the remix featuring The Game. The Game was not on hand, so Junior Reid performed his portion of the song. I did not know that Mr. Reid could go with that ole’ hip-hop flow, but he laced it. Junior Reid ended his performance with his contribution to the remix of that Mims hit single “This Is Why I’m Hot”.
Oh, what a show! The legend did not disappoint. Junior Reid took us down memory lane in a fashion only a seasoned performer could. His mastery of the stage is still intact, and his voice is as commanding and vibrant as any record he ever recorded. SOB’S patrons enjoyed the show and it was a great time. Until next time my peoples, gwaan large. Likkle more…
Click here to view photos about this event.
For Reactions email me at shotta@nowadayzdancehall.com
Reported by: Dilinjahstrong>
Assisted By: Dee Dub
Photography: Mistah Shakes
Written By: Dilinjah
Layout and Design: B.Diamondz and Mistah Shakes
Edited by: Lazarus
Nowadayzdancehall.com 2007
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