I have mixed feelings about last year. On the one hand I did everything I wanted to, but on the other, I think I could have done more.
One of the highlights on a production level was definitely the Gorilla riddim. I had great fun working on it and was really pleased with the response it received.
The growth of Mr Williamz as both a recording and live artist, as well as getting to work with the legendary Maxi Priest, were both massive achievements for me personally.
As a surprise package, Chantelle Ernandez was superb and I think she has made positive strides to becoming a reggae superstar. We received a massive amount of airplay and generated countless amounts of blog attention, press and other similar bits and pieces.
As well as all of this, I also got to play DJ sets all over the place especially towards the end of the year. Playing at Sub Dub was a particular highlight for me, until then I had never played so much Necessary Mayhem material in one set.
One of the most satisfying things about last year is that I finally feel that we have become a Record Label. There is a huge difference between just putting songs out and actually running a label. Stucture to me is the difference between a good or excellent label, and I think this year we stumbled on how to do things in the correct way. I guess its called growing up.
I'm really looking forward to this year. We have bigger tunes to put out with some superb artists, excellent musicianship, and an overall a better structure to how we are going to do things. We have some new angles away from the music that will be covered differently than in previous years.
I would like to thank my Necessary Mayhem team Jack Ruskin (Artwork), Neo (Everything) and Siobhan Jones (Press).
Much love to all our fans, all promoters, radio DJs and YouTube viewers. We couldn't got as far as we have without you.
To my good friend Joel Chin who is no longer here: I miss you dude, I will do what we spoke about in our last conversation…
Shola & I go wayyyyyyy back. She is like family. Studio sessions with her are the easiest times a producer could wish for. No egos, no bad vibes. If something sounds great we congratulate ourselves, and if it sounds shit we laugh and fix dat shit!
It took as all day to record the vocal for Puppy Love. Shola was very particular about what she wanted from this tune and I just played the role of engineer in this session rather than producer. In the studio there are some people you can trust with your musical life and Shola is one of those people for me. Normally before I get to the finish of a tune I have several different mixes but with this tune I had 19 (and that’s the last count). It took 19 mixes for Miss Ama to be happy... YES AMA I’M BLAMING YOU!!! But what a wonderful tune. When she first sang the song I thought; this woman is never shy with her song writing, always thought provoking with such ease and quality.
She is my female Gregory Isaacs. Cool and deadly vibes.
I got some good news this morning! Mixmag ran a piece announcing the launch our new dance label Necessary Bass.To accompany this, they are giving away a free download of Marcus Visionary's remix of Tippa Irie's Wicked and Wild (originally on Dancehall Style riddim). Seb Wheeler, who ran the piece, mentions that this track is "a great way to get acquainted with Necessary Bass and the up-front moves it'll be bringing in the near future." Go and get your free copy now by clicking this link - http://bit.ly/sMcmEu
I made this beat in the living room of my ex-girlfriend's house.
Headphones on, a cuppa tea, laptop, midi keyboard, samples and cricket on the TV... It turned out to be one of my biggest rhythm series to date...My Great Web page
This Saturday 5th November, myself and Mr Williamz will be playing at Tighten Up's Trash & Ready 80's & 90's Digital Dancehall night at The Silver Bullet, Finsbury Park, London, for the second time. The wealth of Reggae music knowledge in the Tighten Up Crew is huge. From selectors such as Mistah Brown & Tim P, to MCs such as MC Champion, who I regard as one of the best MCs that this country has produced- it is always an honour to be asked to play alongside such experts. What excites me most about playing Trash & Ready is that I get to go to my Dad's house and borrow (take) some of his records to play at this vinyl-only dance. It's fun to buy & steal records from my Paps again and hear that crackle on the vinyl. DJing at Trash & Ready is about playing music in its original form. It's not a night about who can mix the best, it's not even a night focussing the most obvious popular tunes either, it¹s a night of "if it feels good to you, play it". Because your audience is a room full of knowledgeable Reggae enthusiasts, they will skank the same way to the tunes they know and don¹t know. At the last dance there were several highlights. One was playing Hard Times by Pablo Gad right to the end. I hadn't played a record from start to finish at a dance for yearsssssssssssssssss and that tune is about 10 minutes long! The other obvious highlight was playing my Come Down Riddim Instrumental, for what seemed like half an hour, and having a row of MCs chatting lyrics all orchestrated by the great Mr Williamz -who was heavy as usual. What a night! Make sure you reach, and reach early, that venue gets full fast! My Great Web page
In a later blog I will talk about the effect that the reggae cult classic movie, Rockers, has had on my life. However, for now, I just wanted to quickly mention the sound effects.
The effects on Dirty Harry's (the MC) voice are.... incredible??. Not only is there a slapback delay with a short bright reverb, but there are three different echoes used on his voice at the end of each of his end words. The most important and significant being the word “Yeah” at 2.31 during this short clip… Engineer geek day! Enjoy!
Deep Roots Music". Mikey Dread narrates us through the mixing and recording of the reggae scene in Jamaica. First discussing the original "King Tubby" Who is the originator of Dub & is responsible for so many genres of music today. Mikey Dread then leads us to two Living Legends in the business , Record Producer, Record Label Owner, Recording & Mixing Engineer & Sound System Ruler "King Jammys" who is mixing a dub track of "Jailhouse Rock" By Junior Reid. The second track that Jammys mixes is by Johnny Clarke - "Enter his gates with praise" which is produced by Super Producer Bunny Lee who also shows his moves with the "Number 1 Skank.. An iconic piece of footage for every reggae lover and studio geek!!
Working with Big Fris ( http://www.facebook.com/pages/FRISCO-aka-BIG-FRIS-Boy-Better-Know-Camp/93502829862) from Boy Better Know (http://www.boybetterknow.com/) was an idea that was given to me by music mogul and longtime friend Carla Marie. I knew Fris was part of one of the biggest grime groups in the UK, you only had to check out their YouTube videos (http://www.youtube.com/watch?v=puTWPpv29_I) to confirm that, but it was a surprise to me to hear that he loved reggae. It was an even bigger surprise to find out that he was interested to do something on one of my beats - a surprise that I welcomed. So, I sent him the Dancehall Style Riddim. I will never forget the text I received from him: “Yo fam got da riddim im gonna pepper up dis riddim trust me”. Just by him saying 'pepper' I knew his ideas were going to be good.
On the day- at Sensible Studios, London (http://www.sensible-music.co.uk/) - I was greeted by a young professional Artist, with camera man in tow. He had his lyrics already written out and flow decided. The session was short, to the point, and only needed a few tweaks here and there.After the studio we discussed the future of the industry. I see Big Fris as part of the next generation of music so it was good to hear that we shared the same views. There is a lot more to music at the moment than just the tunes you produce - it's about PR amongst many other things. That's why Fris turned up with a camera man - a true professional!
Sound System culture has always been important to me. From my days in the playground as a kid in school where myself & friends would share the headphones of a walkman to listen to a bad quality TDK cassette of the latest Bodyguard vs Silver Hawk tapes, until now when I watch a clip of Rodigan telling thousands of people on stage that a tune I produced "Young Gunz" by Million Stylez & Joey Fever is his new European anthem. I would certainly say I make tunes for the huge bass bins, the arena's, the festivals, which all are part of the sound system culture. David sums up perfectly with this clip the origin of the sound system, what a sound system is, how its set up, infact let me stop! Enjoy the video its all in there...
The first time I heard about Franz Job was when Mr Williamz played me his debut album, "Babylon is Dead." We had just played a show in Germany and as always we were speaking about music. Mr Williamz said to me, “Yo Lynch, mi ‘ave a artist mi waa yuh listen to”.
As soon as I landed back in London, I tried calling Franz, who I found out afterwards was in Trinidad.I was working on the “Pass The Kutchie Riddim” at the time, so that was the first riddim I sent him. He came back with “Special Lover” which is one of my favourite tunes ever to come out on NM. From then until now we work very well together. As every good songwriter will do for producers, he makes my job easy and reminds me why I got into producing in the first place.
What I like about Franz is his writing, his abilty to express himself openly. No macho self proclaiming slackness but just an honesty and style beyond his years. I'm excited about the future for Franz we have just put out his first ep on Necessary Mayhem called "Rebel Lover Boy" & this EP is just a taste of what's to come...
Im a huge fan of "Leroy Horse Mouth" a Top rankin' Drummer from Jamaica & main character in the cult reggae movie classic "Rockers." In this Video he discusses one of his main influences as a drummer, Mr Lloyd Knibb Legendary Drummer for the Skatalites. The Skatalites formed in 1964 & are a huge reason for music coming out of Jamaica to the rest of the world. Whether it be Ska, Reggae, Dancehall these pioneers set the trend. Check out "Guns Of Navarone" a Skatalites classic.
When you see Fatman Sound, David Rodigan & Saxon Sound System all on the same line up it could be considered a criminal offense if you don’t attend ! I was told about this invite only event & thought it was cool as Reggae Sound Systems and Selector dances with this type of veteran status are unique in London now a days plus it was also going to be streaming live around the world so it was a pretty historical event. Tippa Irie ever the crowd pleaser and show man hosted and toasted for Saxon Sound & So many tunes were dropped by all of the selectors Dubplates, 45’s etc. Countless heartfelt speeches from all of the selectors were also a highlight of the night, to many to quote but one that stuck out in my mind was “This is not a Sound clash, This is a Sound System exhibition”. – David Rodigan. That’s exactly what this event was…
Million Stylez & Mr Williamz met for the first time at the Oland Festival in Sweden... Both have big tunes on the Police In Helicopter riddim and I was really proud to see both of them perform the tune together infront of such an adoring crowd.
The festival on the whole for me was a fantastic experience. From a producers point of view i was very impressed with the sound and lighting and the artists who were chosen to perform From Etana to Junior Kelly to a host of wonderfully talented home grown talent including Joey Fever and of course Million Stylez.
This was a great day!!! To work with Tippa & Maxi separately is an achievement but to have them in a combination on the same tune was mad fun, as well as the stories from the early Saxon days. Like This Like That - Maxi Priest & Tippa available from: www.reggaesoundnetwork.com & Itunes.
Pass the Kutchie - Mighty Diamonds, Mr Williamz, Yellowman
I must say I had lots of fun making this riddim but not so much during adding the vocals to it from the Mighty Diamonds & Yellowman which came from a very warped half inch tape. I sat for hours stretching the vocals and got them to sit where i wanted them, you have to remember when the original pass the kutchie came out it was made with a live band and of course im now working to a rigid tempo which doesnt sway like the original did so it was almost like moving each line into time. My first idea was to do a complete Diamonds cut on its on but I didnt like the sound of the verses and then thought wouldnt it be heavy to do a combination using the Yellowman vocals. These vocals were in even worst condition but once i start a project I always see it through so after 2 more days of stretching, moving, slicing, eqing etc I was happy but already knew that I was going to get Mr Williamz to bless the tune and have a 3 the maaaaadest way combo. Old to the brand new vybes and for me Mr Williamz sits in neatly and blends like he dj the tune with diamonds and yellowman back in the day. I have a lot of favourite parts in that tune but when Yellowman come in with "Catch it" that makes me turn up the level til it BUCK...
Soon As I Get Home - Kasi & Tippa Irie
The Great Tippa was in LA on tour I think when i sent him the Kasi "Soon as i get home" tune. Kasi & I had a really good session recording her vocals. I think she is a wonderful talent and so did Tippa. This tune was much easier to piece together and i took ages to mix it because i kept listening to Kasi's voice instead of concentrating on the mix balance...
Tommy Ranks - Mr Williamz
Tommy Ranks is a tune that makes me laugh. Soon as i heard it I thought Mr Williamz has done it again. I was slightly concerned about the subject matter but I always allow my artist to express themselves and the lyrics I thought were so cleaver. To be honest and this is no bias I think this is one of the best dj tunes to come out in this country for years. His writing in this tune is the birth of one of the great story tellers in music ,you wanna hear what he is going to say next and his style fits the riddim perfect. I wanted to break the tune up in some areas with a girl singing some parts in the tune and as far as effects on his voice i hardly used any. Engineers sometimes have to remember its not about how much wonderful plug inns you can put on a vocal, sometimes its just about the song and less can be a lot more.
Special Lover - Franz Job
Mr Williamz introduced me to Franz Job via a cd when we did a show in Germany last year. As soon as i got back i contacted him. For me Franz is a star for the future, no doubt in my mind. I didnt record this track with him but when i heard the song he delivered on it i was blown away. He has writing skill, melody, timing and microphone technique, a real all rounder and "Special Lover" is creeping into djs playlist by the day because it is a tuff tune...
I did the Jam 1 riddim last year in Jamaica. I left London with plenty ideas in my head beats, basslines etc Infact I sat in the airport lounge on my ipod for hours as the flight was delayed (4 hours to be exact) and listened to all sorts of tunes to do when I landed. I think out of all of those ideas I have done one of them in nearly a year!
The main reason for this is that any one in the business that goes to Jamaica to record can vouch for me when I say Jamaica is such a magical island that never runs according to YOUR plans but somehow seems to have a better plan for you set in place. I got off the plane and had completely different ideas from the ones in London. The sight the smell the air of the island feels spiritual to me, which immediately changed my creative vibes to what they really should be.
In the taxi to the studio the bassline came to me and by the time I got to the studio I had the beats in mind, opened up the laptop in room “the cube” of Anchor studio and jam 1 got smashed out within 30 minutes and sent to “Mr. Williamz” on the same night. I had a meeting with Tony Curtis the following morning and he loved the beat. I asked him for a herb man tune and he came up with the killer melody and hook and left sp for a dj. At first I thought it would be wicked to get Jigsy king but I thought that Jigsy & Tony had worked well together in the past but I wanted to take the whole thing forward and I called Mr. Williamz and told him I was sending the Tony Curtis tune and that he should do a part on it and of course Mr. Williamz hearing the tune and subject matter jumped on the tune and smashed it as always. Infact I think Williamz voiced three different tunes on the jam 1 but “London” and “Better Medz” were the stand out tunes. Busy Signal came to the studio on a completely different project. However he and Shane Brown wanted to hear what else I was up to so in true lynch fashion I turned up the levels in the studio and played my darkest set of tunes. Before I knew it I was setting mic levels and reverbs for Busy. He was in the booth, I was like who am I to stop busy from voicing. I must say his flow and way he constructed his lyrics without a pen or pad in sight made me see this mans genius directly. People don’t seem to give djs credit, they rhyme topically for over 3 minutes on tunes and come up with cleaver metaphors and skills that make people go wild and busy has this skill in an embarrassing amount. Again we left a space for Million. I knew straight away that combination was gonna be hot, I went on record on Robo Ranx show and told people this year was gonna be the year of combinations like stone love dubplates and I wasn’t joking. What a tune. What I liked about Millions part is when I played it in Jamaica the people in the studio all rated him and his flow.
For the remix I thought that I wanted it again to be different with an artist who can dj in a different accent, enter Netna. I came across Netna a while back but wanted the right project for her and this was it. She is fire! I had fun mixing this tune especially when her part came in, you can hear from the drops and different bits of production that I needed to adjust my music to her heat.
Etana was over here in the UK recording her lp, which I did several tunes for and I played the mix to her. In no time she had lyrics and was in the booth delivering the heat as always. YT one of the longest standing members of the NM crew blessed the riddim as well typically with lyrics to make you think. This was the easiest tune out of the whole series to mix, as I just wanted to capture his vocal. When an artist has such in depth lyrics its important that there isn’t a lot going on musically in terms of effects etc which allows you to the lyrics easier.
You can always tell how your tune is received in a studio in Jamaica as all of a sudden the studio inside and out will be packed which I love when im building riddim tracks and the music lovers in the studio liked it and liked the fact that the beat was heavy and loud, louder, and extreme (well I cant build them tunes quietly can I)?
I wanted to do something different, up until then every riddim was a do over and even though they were well done they weren’t necessarily mine and the worry was always that as soon as we made the transition we may get less love however not in that case with this one which to be honest is among the biggest sellers on the label to date. Star performances from Busy signal, Million Stylez, Mr. Williamz and Tony Curtis obviously help but im a firm believer of the great shabba lyrics in “Ting a Ling” when he says “Dj ears cock up when dem hear boom riddim!
Kingston, Jamaica -- March 12, 2010 -- London based producer Curtis Lynch, of Necessary Mayhem Records, is riding high from the buzz of "August Town" -- a song that he produced for the soulful Reggae crooner Etana. Although Etana has a wealth of red-hot Reggae music on the rise, "August Town" has exploded in Europe.
"August Town," the lead single on Lynch's "Inner City Lady" riddim, propels Etana outside of her soul-infused rootsy style of music -- introducing her to dubwise -- a sub-genre of Reggae that is heavy on drum, bass and dub effects with very sparse rhythm. Based on the overwhelming response to "August Town" in Europe, it's clear that the Curtis Lynch/Etana combination could possibly result in a number one song.
To further display the success of "August Town" in Europe, the single has touched down on numerous charts including dubvendor (England's Choice FM), soundquake (Germany) and Riddim (Germany). Additionally, many Radio and club DJs through out Europe find "August Town" to be a powerful record, one that speaks to their listeners. In the Fall, Etana went to England to promote "August Town" and other new music, which sparked the interest in the single.
Scores of Reggae music fans have embraced "August Town" for it's piercing social commentary and Etana's silky smooth vocals. And of course, the massive have taken to the raw and edgy dubwise riddim that "August Town" is built over. Although "August Town" is an isolated incident in Etana's community, it speaks to people all over.
"The thing about 'August Town' is that its real and heartfelt," says the song's producer Curtis Lynch. "Real Reggae fans can relate to this tune because it reminds us of what's going on in and around Jamaica and worldwide." "The day the events in August Town took place Etana came to the studio with them fresh in her mind and I wanted to capture these feelings.....this tune just has all of the ingredients for it to continue rocking Europe for years to come and it stays true to Etana and what she stands for," adds Lynch.
In addition to "August Town," Lynch produced the lover's rock tune "Heart Broken" for Etana. This new single, which is a riveting love song over a slower paced dubwise track, is also making an impression in Europe. Notably, "Heart Broken" recently made it's debut on the dubvendor chart.
Curtis Lynch is one of Europe's most visible Reggae music producers. Over the years, he has produced for many great artists. Describing himself as someone blessed with a hunger to achieve, Lynch regularly lends his talents to established artists and newcomers. His discography speaks for itself. Proudly, Lynch runs Necessary Mayhem Records, one of Europe's biggest Reggae labels, and the online music portal www.reggaesoundnetwork.com.
-end-
Photo #1: London-based Reggae music producer Curtis Lynch
Photo #2: Reggae songstress Etana on the set of "August Town" video
September already... Well that means playtime is over and the new release on Necessary Mayhem is coming... The "Come Down Riddim" is definatly one of the most highly anticipated releases that we have had on the label to date maybe its the track with Tippa Irie or the return of Papa Levi or the combination with Million Stylez & Joey Fever out of Sweden, perhaps its the BBC Artiste of last year Mr Williamz or Maybe its the legendary Pinchers... I personally think its all of them but i guess i'm biased.
Come Down by Super Cat was released in November 1998 and has remained a dancehall classic to this date for djs and mcs alike and thats why I choose this riddim to cover. At Tippa Irie's "Talk The Truth" launch in late 2007 I witnessed him and the rest of the Saxon family rip into the dub of that tune and it just has an energy about it which djs gravitate to.
I built this the "Come Down" in early December of 2008. "Police In Helicopter" by Million Stylez and "Babylon In Helicopter" by Mr Williamz was still going strong plus the Rumours Riddim was next on the agenda to come out in Jan / Feb and then the Joker Smoker was penciled to come out in April / May so I didn't really need to do another riddim but the music hit me so I contacted Tippa after listening to some Saxon tapes and asked him to find the lyrics to "Tippa on da mic" which he chatted a dance on my tape and tor the place up as always. I never have a problem with the godfather (Tippa) he was cool and I asked him if he could also help me track down "Papa Levi". Again no problems there and we organized to have the session at Tippa's studio in south London where both of them would record and what a session. To be in the same room as both of these great artist was great fun. Tippa has this bundle of lyrics that he has written over the years in no particular order and not in nice a4 folders or anything and when i laughed at the bag that he had these particular lyrics in both he and Papa Levi started a conversation about how many lyrics they have and how many different bags of lyrics they have. I remember a great moment in the studio after Levi laid his vocal for "Speed Rappin'" and Tippa came in and sang Levi's lyrics word for word during playback so you know there is real respect there for you not only to know your own lyrics but someone else in your crew word for word line for line.
It was during this session that I caught wind that Pinchers was in England. I wanted to freshen up the label even though it was going well but have to keep people second guessing and you have a duty to the fans so I went after Pinchers via Mr Williamz who had a direct link. Pinchers was mad cool for an artist of his status a lot of reggae artist don't even reach half the heights he has but you wouldn't no it through their attitude. For this track I thought like a fan and a sound man at the same time. A fan of Pinchers loves the tune Bandelero and a sound man would love to own a different version, put the two together and ask Pinchers to sing Bandelero on the Come Down Riddim and you create worries in da dance as not only is it a classic but it sounds like a dubplate.
While these recordings were going on I sent the tune out to Million Stylez and also to Mr Williamz. Firstly Mr Williamz having that Super Cat style of djing I thought this could go one of two ways, really good or really bad as he might be to close to super cat... No way... I cant tell you how this artist Mr Williamz continues to impress me. While mixing his tune in Jamaica "Sizzla " came in and asked me who that was ? I told him Mr Williamz from London and impressed by the vybes he chilled for a while and said "Dat yout future bright".
Finally what I would say is one of the strangest experiences I have gone through in my career with a tune "Young Gunz" By Million Stylez & Joey Fever. People had posted up things on forums about this tune, some saying they heard it down the phone and its gonna be massive, others saying its the best European combination ever built and the funny thing is I hadn't even mixed the tune yet let alone let people hear it. When Million first sent it to me I could not believe what I was hearing, they both just sounded wicked on the tune verse by verse going at it and steady on the riddim. At a show in Sweden in June I let it lose for the first time and flattened the place but still didn't let it out. Various sound systems and good friends of mine wanted the tune and I feel kinda bad still as the artist got it AFTER I gave it to David Rodigan for a huge festival in sweden. I explained the mass hystria about the tune to David and his response to the tune showed me that he caught the same vybe from various people around the world.
We at NM are really pleased with this project, the records came back from the pressing plant with the right labels on the right records and they sound great courtesy of Metropolis masters in chiswick, London. You can catch the new releases at www.necessarymayhem.com Bless
After much thought and research phone calls and conversations I decided to come to Jamaica to do some recording for the label and also tighten links and make new ones. In the past I have come here and wasted time, spent money on rubbish and been generally disappointed but I really think that when I am asked what tune really put Necessary Mayhem on the map I would have to say it was “ Champion Sound” because this tune brought me to Gussie Clarke one of the most respected Producers, label and studio owners in the business and also to vp and greensleeves records who between them control a huge chunk of the reggae industry worldwide.
This is my last night here and I have to say im sad… Very sad to leave as this has been my best work trip to Jamaica for many a year. Not only did I get to hang out and record with some top artist but I also produced in the legendary Anchor studio, mixed tunes at steven Stanley studio, played overdubs for a track on the new Tarrus Riley Album which is unbelievable and voiced several tunes for Necessary Mayhem which you will be hearing soon.
All of the above is cool but what I really liked was the fact that I learnt plenty about production, both my own and from the greats and theirs. Conversations with Gussie Clarke, Steven Stanley, Dean Frasier and many more all pointed to the same thing and outcome… Get an artist and devolop them and make lps with them. Singles are all good but try and do some lps as the fans like to hear as much of that artist as possible.
Production in this country is on a different scale to what I have witnessed in both UK, and America which are both to great standards in most genres but the set ups and studio space and treatments for the rooms in Jamaica along with the equipment whether its lots or little sounds wonderful, for example I produced a tune in the uk and played the same tune in studio 2 at anchor studio and heard things that I didn’t play such as the low end of the bass or the frequency of the piano etc such was the quality of the sound in there. The engineers here really know their stuff however Fatta resident engineer at Anchor studios was very interested in how I do certain things with my beats or mixes he like me always eager to learn new stuff, but the thing that seemed to reach everyone was my bass sound and how I get it… I cant give that away man…
Lets just say it takes ages to get it the way I want it but I love the love it gets... I didn’t see one tape machine in operation over here which was strange to me as I remember not that long ago trudging through Norman Manley airport with my 2 inch reel tapes, pro tools is king over here. I use logic Audio and I hear Don Corleon is one of very few that use it here so that was another learning curve for both me and the engineers here for setting up and compatabilty purposes.
Necessary Mayhem fans know we love the 80’s and 90’s vibes and the next set of releases have some of the greats from those eras more information about the tracks and artist will follow closer to the time of release… Stay tuned.
Well when we first started this site I had no intention at all of starting a blog until last week when I picked up the new Joker Smoker Ridim from the pressing plant. To my horror the record labels were the wrong way around on both 7” records, so let me explain… The label that had “Ziggi Joker Smoker” on it was actually “Mr Williamz No Cigarette”... So what did you do you ask? No point in being vex and cussing whats done is done so I called one of my distributors whose reply to my question was "No mate, it ain't gonna work with the wrong labels on. I’m afraid your gonna have to find away to fix it"…
I went to staples bought 2 boxes of A4 labels, a paper trimmer, ink for the printer and 4 red bull and after 4 days they were all done and stuck on the right records with the titles and artist name with the help of my paps and brother I might add. Funny thing about it was that I was mad p@$**d off at the start but caught so much joke with my family while sticking the damn labels over the titles.
I’m very excited about the Joker smoker riddim all of the cuts have a different vybe for me. I did this riddim with Collie Buddz in mind but didn’t approach him (and I have only just realized that I didn’t) instead as I always do I sent it to YT first then I sent it to Ziggi.
I hadn't worked with Ziggi(Ganja Smoke In The Air) until now but I always keep my ears to the ground and was a fan of his work, to be honest when I first started the label his name came up and I tried to get in contact but I guess nothing happen before the time. I remember mixing the Ziggi track and wasn't happy with the start, to me it needed a musical drop near the start to really grab your attention and felt the music all the way through at the start would drown him out. I tried several drops in different places but you see when we catch it... Blouse and skirt the tune sound maddddddddd and the dub at the end was fun to do. His vocal is powerful but laid back to me all at the same time, I got some backing vocals done to sing along with him on the chorus and that really helped to lift those sections.
Next was Mr. Williamz (No Cigarette) who voiced his and sent me the vocals. When I first got the demo I felt he had done it again, the perfect follow up to "Babylon In Helicopter". His intro alone "We could never be a Joker Smoker / Cause you compare the size of my spliff to your size a spliff / Your size a spliff is much more mediocre" was so heavy that you know when your in a dance and you smash the wall with your hand for a pull up? Well that was me iyah. Mr. Williamz to me has a great talent and is growing around the globe, this tune is hot but im telling you there are some real smashers coming.
YT and the Credit Crunch... I speak to YT nearly every day. To find someone that love the music as much as you is a good thing and if its not music its Football that we talk about, however this particular phone call that I got from YT was about him NOT doing a weed tune on the Joker Smoker riddim. "Wait til you hear what I got planned for this tune Lynch, I’m gonna f@£% up the place with this one and it aint a weed tune either". I can always trust YT and all of my artist for that matter to have free reign most of the time because they are professionals and when an artist comes at you as a producer with that kind of confidence it just makes my job easier. When I heard Credit Crunch I had to laugh, why could I not be an MC and sum up the world situation in less than 4 minutes? That’s a skill. Credit Crunch needed a different mix compared to the rest, for a start it wasn't a weed tune and the thing with YT is he is full of lyrics so the music needs to have space other wise you could lose some of the wisdom that he is throwing at you. I had fun with the outro with the Nicodemus sample hobla, hobla...
The Joker smoker dub was tricky. I wanted to keep the Joker Smoker sample in it but then thought about the MC's around the world djing on the tune with this Joker Smoker vocal dropping in and out all the time and thought better of it. To be honest I didn't even know Joker Smoker til a few years ago. YT / Mr. Williamz / & Ziggi think I must have been in mars not to know it til so recent but they know it and it shows.
Yesterday the tunes were shipped to various parts of the world and today the UK shops received them and I have to re order already but yuh done kno dis time de pressin' plant better sort out de right label fi de right tune...
the buzz of "August Town" -- a song that he produced for the soulful Reggae crooner Etana. Although Etana has a wealth of red-hot Reggae music on the rise, "August Town" has exploded in Europe. 
ng social commentary and Etana's silky smooth vocals. And of course, the massive have taken to the raw and edgy dubwise riddim that "August Town" is built over. Although "August Town" is an isolated incident in Etana's community, it speaks to people all over. 
