Foto's: Teacher (Jo Moenen).		BENELUX REGGAE CONTEST 2012 : THE FINAL. Three strong finalists, three totally different styles, different strokes for different folks. With Sunrockers from Brussels being the appropriate winner, roots & culture to the bone. A small group of 120 people had come all the way to the final of this renewed contest in Maastricht. Last year they were part of the European Reggae Contest (ERC), but now the organisation operates entirely independently. Thus the winner doesn't get the opportunity to perform at the ERC-final stage anymore, but instead gets a whole series of gigs at festivals and venues in the Benelux, studio time and one year professional management. 36 groups and solo artists had registered, and after two preselections three finalists remained in the race, Fullany from Rotterdam, Skarbone 14 from Tournai (Tournai) and the Sunrockers from Brussels. For the jury and the public it was almost impossible to choose a winner, not only because the three groups reached a very good to excellent level but also because it was comparing 'apples with pears', in this case new roots with fusion ska with true contemporary foundation music. SUNROCKERS: 'LYRICAL REGGAE' The way I have chosen my words already expresses my feelings: as far as I am concerned, Sunrockers was the deserved winner. Six musicians with a jazz training who uncover the roots of reggae: the concept is somewhat reminiscent of Groundation but the result is different. Their choice isn't to come up with complex arrangements and compositions but Sunrockers opts for a gradually accumulated trance, relying on the tightest possible guitarchops and drum beats. In the beginning you're thinking of Wackies, sober and subdued. Then comes the harmony singing, unique in the Belgian (European) reggae, albeit not to the old Jamaican tradition. There were three different voices, a falsetto most trios, a bass and a baritone for example. Sunrockers really sing together, on the same pitch, with almost the same voice. Lead singer and master-chopper Matthias Hélin went a few times into a delicious falsetto and sounded in Mr. Farmer (herbs tune!) equally beautiful and lofty as Cedric Myton. Also Alex Gilain sang a few solo passages, but had trouble to keep the right tone, a well known problem for most bassists. It was the only (small) minus of a set that just grew and got better. The sung passages alternated with raw instrumental pieces, which were blended with jazz, reggae and even rock and new wave afrofunk. Solos on keys (Pascal Paulus, also the third voice), guitar, trumpet and saxophone testified of the musical virtuosity of the Sunrockers. And there is also a fascinating dub on top, as befits the good roots reggae. It must be said that this band the number performed the obligatory tune Slavery Days (Burning Spear) with a force and an intensity that Burning Spear no longer can muster. This with a shiny lead role of saxophonist Fred Becker. Other highlights: Holy Land (could have been from The Abyssinians) and Go Slow (but steady.) "This show is for the people in Mali," said Hélin at the beginning of their performance. Three times he named the Sunrockers music 'lyrical reggae' (read: with contemporary but universal conscious lyrics) and stated that they make music in the first place 'to help another man to think for himself.' This he singled out of Misty In Roots (Live in Brussels, 1979) but he shows himself worthy of that statement. Sunrockers don't have to make way for such big names from the past, and also has a very unique sound and appearance. SKARBONE 14: WORLDBAND The latter naturally applies equally well for Skarbone 14, and that group is also already far beyond Sunrockers. You may even wonder why such a professional band (more than 400 shows across Europe, three albums) still has to participate in a talent contest. Without a doubt a non-reggae jury would declare Skarbone 14 the winner, with their catchy fusion music, a melting pot of punky ska, soukous, rock and chanson. In addition, funny, but that was something most spectators failed to notice. The four blazers were responsible for spectacle and entertainment with sudden breaks and solos, and proceeded merrily honking between the crowd. Also the barefoot singer, clearly accustomed to do his thing for a much larger crowd than the 120 people in Maastricht, knows how to create excitement. Skarbones version of Slavery Days was downright phenomenal, almost unrecognizable and thus a whole new number, gorgeous arranged and with musical influences from all over the world. A deep bow for this great party band but they simply didn't belong in this contest (and context). "I didn't know," said the singer afterwards. "It was the bassist who has registered. For me there was no need to win, because I've just become a father. In the summer I won't have time to do all those festivals anyway." That's settled then. FULLANY: ROOTS CONTROLLER Fullany didn't appeal that much to me. At times the proud rastaman from Surinam sang out of key (yes, that's what Sizzla also does) and his tunes rarely developed into real songs. His best song, Haffi be a winner, was devalued due to its mediocre performance. In Slavery Days the blazers were replaced by thin synths, and that doesn't deserve such a classic tune. Roots Controllahz band showed enough energy and inspiration, but it could be somewhat fuller and tighter. Other jurors named Fullany a typical Surinamese reggae singer, with his typical Surinamese style, but then I'd rather prefer Ziggi Recado anyway. Beautiful backing vocals, though, and a pity the percussion did not come through. There will undoubtedly be an audience for this man, but in the Muziekgieterij he couldn't convince me. Yet another beautiful, high-quality music evening experienced, with in between tasty sounds of our own Irie Nation. This Benelux Reggae Contest deserves a larger audience, so another location. Next year in Antwerp? Or Amsterdam? Nothing against Maastricht, a cool place with cool people, but you'll never get the people from the big cities to go there. Bron: www.reggae.be | Jah Shakespear

Foto's: Teacher (Jo Moenen).		EUROPEAN REGGAE CONTEST 2011 : BENELUX FINAL. Wahwahsda has won the Benelux finals of the European Reggae Contest in Maastricht. With a sparkling set and the support of a touringcar full of enthusiastic supporters. And now Bracelona! Admittedly, I was a little offended that none of the bands that had been pushed by the jury had reached the final. So no Sunrockers, no Collieman, no Joshua Alo, no Jupiter & Ma Shi Fai. But reggae is unity, as Sput of Wahwahsda correctly rapped, and that the voice of the people always resound louder than that of the "experts" is fine by me. So I started the final with an open mind, and yet again a wonderful evening experienced in an almost sold out Muziekgieterij . Without doubt the most surprising finalist was Dr. Blue Beat, a ska band that has gained some recognition in (Belgian) Limburg. 11 musicians on the small stage: it was a bit cramped but the atmosphere was immediately assured. The visual image was right too: five players (three saxophones, trumpet and trombone), a colorful singer, sexy female singer, the typical porkpie hats. The musical diversity of the tunes was a nice tribute to the eclectic music of the Skatalites, the Soul Vendors and other Jamaican orchestras of the sixties who were inspired by Latin, soundtracks and anything that came to their ears. Dr. Blue Beat flirted with tango (Skango - even the titles sound good old-fashioned), flamenco, the theme of the TV series The Saint and Arabic tunes (in "Ramses", a distant variation of Madness' "Night Boat to Cairo"). And all in richly arranged own compositions (at least I think), except the final "Monkey Man" (Toots). Enough ingredients for a great concert, you might think, and yet Dr. Blue Beat did not convince. Therefore the ska sounded just a little bit too hoempapa, and only the two accompanying saxophones perfectly managed to keep the rhythm going. Not coincidentally the most sweat flowed in that corner of the stage, especially since -- in addition to horns -- there also was a passionate percussionist jamming. The weakest (and unfortunately most visible link) of the group was situated on the vocal level. A fair singer and a girl that barely manages to be heard on top of the music, let alone that you could catch what she sung about: in this way you can't capture audiences. Except maybe the many fans from Dr. Blue Beat that were present, a ska massive that I honestly have never seen anywhere, but apparently their taste is served well by this band. Dr. Blue Beat ended with both the jury (representing 80% of the votes) and the public in third place. BURUNDI NYAHBINGHI. Jampara & The Batalion (pronounce: Batta Lion) had to defend the Dutch colors in Maastricht, and they did it with a very colorful show-piece. Three Burundi drummers, dressed in bright green and orange robes, accompany the band on their huge earthen and wooden drums. An original idea that brought the nyahbinghi of Rastafarians even closer to Africa. The riddims of Jampara float somewhere between Ras Michael and Stalag, the ideal foundation for nyahbinghi drumming, but unfortunately much more than that the three Burundians didn't add. Nice indeed, that they can carry the drums on their heads and still keep playing. Just a pity that the musical cross-pollination was not explored, that the drums not really let the rumble of the African jungle be heard. Jampara himself was singing a bit nervous, rather chant, in messy English and without really finishing his songs. Occasionally there was a bizarre relay in his voice and at times he himself seemed not really to know where it should go with the music. Strangely, for a man who's been doing his thing in music for so long. Fortunately the rhythms were played real tight, there was a a great female backing vocalist and we were treated to some intense, rousing guitar solos. The African rippling guitar gave some additional color to the atypical roots reggae from this band. Jampara & The Batalion got the highest score from a lot of jurors (not mine, but that you may already have understood). However the public voted en masse for Wahwahsda, and thereby overruled the verdict of the "experts". THE SOUND OF NOW (& ANTWERP). Wa was da? Indeed, "what was that" there in distant Maastricht? A small invasion from Antwerp, one would think, especially with a noisy 'spionkop' that had arranged a touringcar, and a rapper on stage who, in General Civilized Antwerp dialect, wished 'love, humor and awareness' for his people. To me, those Sput dialect raps, actually some brilliant passages of street poetry, were going to be the Achilles heel of Wahwahsda, especially in Holland's lion's den. But: that's what some Dutch judges thought was so witty and creative. They did not need to understand all of Sputs texts, they saw that the boy was serious and propagated a positive, intelligent message. And he could freestyle effortlessly, smoothly responding to what he saw in the venue, a quality that distinguishes good rappers from the mediocre ones. And the Dutch jurors were, as much as I, quite impressed by the sound and the songs Wahwahshda served. Strong, emphatic "white" reggae (think SOJA, The Slackers, 10 Feet Ganja Plant), occasional hip-hop, rude boy rocksteady and even an instrumental that could have been from the Russian Shadows. The group has succeeded to forge the somewhat meagre backing from the beginnings to a glittering own sound, both roots and contemporary, both unique and recognizable. In addition to Sput there's the seemingly reborn singer Spiritually Wally, without dreadlocks but with a passion that we have never seen before from him as if he only now fully believes in what he's doing. He now stands for the rock singer who he is, with his rock guitar and gravelly rock voice, but addicted to the rhythm of reggae. It is an equally new and equally original combination as the combination of English and "Dutch". Would Wahwahsda have won without its own supporters? I think so. When it comes to the jury, Jampara had won with minimal difference, and in the census the difference was just very big and thus for them so good. Above all, this band deserves a break, a place at some of the many festivals and in the European final in Barcelona, professional guidance for finishing and promoting the live album that will soon be published and then hopefully the second studio album. Respect & guidance, boys. Bron: www.reggae.be | Jah Shakespear

Foto's: Teacher (Jo Moenen).		EUROPEAN REGGAE CONTEST 2010 : BENELUX FINAL. A superior final on Friday in the Muziekgieterij Maastricht, with three bands that undoubtedly deserve a place in the European final. But that honor (along with a series of performances) is only reserved for the winner, the Ghanaian singer Black Prophet with the Dutch band Thunder Strike. Pleasant surprise upon entering: Dub Front Association was the sound in charge. That meant new and alternative dub as you rarely hear elsewhere. Dubmatix, On U Sound, postmodern rock steady. With plenty of familiar hooks, riddims and samples to keep the audience awake. In short... dub and reggae after my own heart, what made me feel very cheerful. Maybe that's why I was so generous with my points? Immediately an eight for Youth of Spirit from Charleroi. Strong songs and arrangements, flawless transitions, was well put together. The group delivered warm roots reggae, somewhere between Steel Pulse and SOJA, and had been reinforced for the occasion with two new horn players. They played the music properly from paper, but it gave the sound of Spirit of Youth color and depth. The percussionist worked his way to the forefront, even too emphatic, with his electronic drum box. The two singers didn't convince. Texts full of worn-out phrases in a slightly forced English. A lead vocalist who just wasn't strong enough to do the lead vocal, and a second voice who forgot his second voice. After the contest Ras Fire, the foreman of the jury, would rightly say that all singers in the final urgently need to work on their vocal delivery. Also Rootman J, the charismatic rastaman and frontman of Zionyouth from Ghent. With the airs of Bob Marley, sure, even with his typical facial expressions, but no depth in his voice, not raw and not authentic enough. I honestly hardly knew what Rootman J sang, even though he mostly sang in English. But surely ambitious, and (especially on this small stage) a quite overwhelming company. Thirteen people on stage, including three horns and three excellent singers. Zionyouth created a very colorful, almost orchestral sound with an African twist that unfortunately sometimes lacked tightness and simplicity. Also a sharper mix would have made it sound better. Yet they played one of the strongest songs of the evening, "Pure Riddim", and a beautiful, fully matured version of "Take A Ride / Truths And Rights". Nine out of ten. Also nine out of ten for Black Prophet. However after his first two songs that figure wasn't in my mind yet. Slight riddims, boring bridges, reggae without balls. But then Black Prophet caught the sacred fire. He sought and found his Ghanaian roots in "Tribulations", the best song of this final. With a few simple phrases and gestures he got the audience involved and together with his band he ventured on a piece of exciting dancehall rock, punctuated with wailing guitar and juicy backings vocals. It didn't sound perfect, but real, as real as the reality of Black Prophet's lyrics, and as spontaneous as the sound of some Jamaican backing bands. I was reminded of Richie Spice, also black like tar, also playing with the riddims and the public. My tie was reflected in the overall outcome of the jury, a heterogeneous group of Walloon, Flemish and Dutch. Zionyouth and Black Prophet & Thunder Strike got exactly the same amount of points. So it were the votes of the public that became the decisive factor. Almost double the votes of the other bands: the people chose the black prophet and his thunder. Deep Culcha's last minute cancellation was a real pity, and also that not one of those great ska bands from the preliminaries could be picked up to replace them. It had made this wonderful evening even better. Source: www.reggae.be | Jah Shakespear

Photos: Teacher (Jo Moenen).		BENAÏSSA, KALIBWOY, SMILEY & REDEMPTION BAND. Despite the very cold weather, around 100 reggae lovers found their way to the Muziekgieterij on Saturday, December 19 for a new edition of M-Town Reggae called "The Ultimate Reggae Dancehall X-Mas Party". Announced were three Dutch reggae acts, but unfortunately Smiley cancelled his appearance and was duly replaced by the young duo Tega M & Delta. Around half past eleven the Redemption Band came on stage with Tega M & Delta being the first artists to step forward. After a hesitant start of both the band and Tega M & Delta things started to get better. The two youthmen certainly didn't disappoint, but it was obvious that if they are serious about their musical career, they have to hone their skills and take them to a higher level. Then it was KaliBwoy's turn, whom many regard as a very promising artist of the Dutch dancehall reggae scene. He did an energetic set of songs from his mixtape "Mission Tek Ovah Phase One" and the new song "Sensi". He also referred to Buju Banton, who recently was arrested in the US on charges of dealing cocaine. Special guest Cashino Young joined KaliBwoy and both performed a hardcore dancehall tune. Benaïssa singer had singer Benjah doing backup vocals and at times this proved to work well since Benaïssa "live" doesn't have a voice that keeps you involved. Of course he performed songs from his album "Tables Turn", recently nominated for a Grammy Award, including the single "Coconut Water" as well as his latest song "You Nuh Ready". In the end KaliBwoy, Benjah, Benaïssa and Young Cashino once again took the stage to round off on Bob Marley's "Heathen" riddim, which unexpectedly also brought Chipie of Runn Sound on stage.

Photos: Teacher (Jo Moenen).		PANACHE CULTURE, ROGER ROBIN & RAS FIRE. Friday 26 September some 100 people (including family and friends) had come to Muziekcentrum Trix in Antwerp to celebrate Aart Timmermans aka Ras Fire's 50th earthday. After Runn Sound had finished their first set which contained mainly vintage tunes (including a Bob Andy dubplate) it was time for the stage show. About 11 pm Panache Culture kicked off with a version of Bob Marley's "One Drop", which was followed by "Want More". Their set included more Bob Marley covers such as "Zimbabwe" and "Get Up, Stand Up", as well as their own tunes "Pax America", "Policeman", "My Brothers", "I'm Not Bad" en "Lei Lila" to name only five. They rounded off in great style with a brand new song (on the "Heavenless" aka "Entertainment" riddim) with the dancehall beat changing into Ska. Also background vocalist Mounia was given the opportunity to showcase her skill and talent. Despite having caught a cold she convincingly performed The Wailers' "Burnin' & Lootin'", Amy Winehouse's "You Know I'm No Good" and Ayo's "Down On My Knees". Without any doubt a very talented songstress. Next up was Ras Fire, who treated the crowd to his own tune "Forward", then the Luciano cover "Never Give Up My Pride" and Carlton & The Shoes' "Love Me Forever", before he called Roger Robin on stage to perform their combination song "Refugee". Then it was Roger Robin's turn to do his (too) short set, treating the somewhat increased crowd to "Harbouring Love", Take It Slow", "Brand New Crisis" en "My God Is Real", all tracks from his recent cd "Take It Slow".

Photos: Mr. T (Theo Triepels).		OMAR PERRY. The third edition of M-Town Reggae, which took place on Friday 29 May 2009, brought on the Muziekgieterij's stage the son of the legendary Lee "Scratch" Perry. Because the soundcheck took more time than planned, due to a few members of the band arriving late at the venue, it lasted quite some time before RUNN Sound could start to spin their first set of tunes. However it didn't prevent them from getting the present fans in the right mood. Around eleven o'clock Omar Perry and his band took the stage. The enthousiastic reacting audience was treated to an energetic performance in which he brought them "Redder Than Red", "Rasta Meditation", "Ska-Ta-Fright" en "Cocoanut Woman" from his debut album "Man Free". A long encore, which included the introduction of the band members, rounded off a show that unmistakably proved that reggae music and entertaining are in Omar Perry's genes.

Photos: Teacher (Jo Moenen).		LADY K-WIDA & POOR MAN FRIEND. The second edition of M-Town Reggae in the Muziekgieterij took place on Saturday 11 April 2009 with main act Lady K-Wida & Poor Man Friend. Furthermore there was a short performance of Kenny Weed as part of his promotour. Musically speaking it surely was a successful night, but on the other hand it was very disappointing to have so few people attending the event. Kenny Weed treated the people to an energetic performance, presenting six tunes from his forthcoming debut cd "It's About Time". Despite the fact that his backing vocalists sometimes sung out of tune, Kenny Weed made a solid impression. Poor Man Friend kicked off with a solid and appealing medley of classic Jamaican riddims like Rockfort Rock, Shank I Shek en Sattamassagana, before Lady K-Wida took the stage. Backed by a tight playing Poor Man Friend band she treated the people to a fine selection of her own songs including "Bad Boy", "One Man Woman", "Love Can Make You Blind", "Feeling High", "So Much Trouble" and "Last Night". She then rounded off her performance with Tanya Stephens' "It's A Pity" and Lady Saw's "Sycamore Tree".

Photos: Massoud Saidi.		BOB MARLEY TRIBUTE NIGHT. The first event of M-Town Reggae at the Muziekgieterij took place on Friday 13th February 2009. Bob Marley was born at 6th February 1945 and if he hadn't passed away at a very young age he would have been 64 years. It was Bob Marley who brought reggae music to the four corners of the world and thus it's rightly to honour this Jamaican superstar with a Tribute Show. It was a fully satisfying night for about 200 reggae fans who enjoyed an almost 2 hours lasting performance of Panache Culture. The latter gave the people real fine interpretations of Bob Marley songs and rounded off with a couple of songs from their own albums. The enthusiastic reacting audience sang along with songs like "I Shot The Sheriff" and "Get Up, Stand Up" to name two. Before and after Panache Culture's performance guest selector Puppa Chipie spun a nice selection of reggae & dancehall tunes. Below a -- slideshow -- photo impression (thanks to Harry Versluys).