Interview with Jah Cutta
March 15, 2004.
J: You can ask me anything you want.
F: Do you work enough. Do you have a day job?
J: No, music is my day job, you know. Yeah, music is my day job. But what I would like to play more show, more, you know but. More, as just not to play to play but more as a statement show.
F: Spiritual thing?
J: Yes. Statement shows. Every time we play, we leave a message, we leave a statement.
F: And what’s the message you’re trying to send out?
J: Like, we’re trying to show them that, with all the laws on earth, we should still have some freedom and some leeway to most of the laws, that, some natural stuff. Like, the smoking of weed. The legalization of weed in a certain way. Easier penalty of certain weed.
F: A law that there should be no penalty for weed.
J: Yeah, there should be no penalty for weed. They should see it for really what it is. The healing of the nation.
F: So, you a Rasta Man?
J: Well, sure. I’m a Rasta man from I know myself.
F: Do you get back to Jamaica much?
J: All the time. I just got back in January.
F: So what do you think of the Rasta movement now, the way it started? It originally started as the back to Africa movement.
J: The Rasta movement right now…
F: It’s completely different.
J: It’s completely different. You have not the mass of the Rastafarians as before. We use to look like, as I said, back to Africa, strong . Now you find some of the veterans, you know? Like direction is back to Africa, the old country. The younger generation, some see it as a fad, as a fashion.
F: That’s why I wanted to talk to a Rasta man about it because in my opinion, I see dreads as a fashion statement. Twenty years ago, you see dreads and you know that you’re going to talk to a Rasta man.
J: Yeah twenty years ago.
F: And now, sixteen year old blonde kid with dreads down to their elbows. Now what does that mean?
J: And they don’t know the reason. Some don’t know the concept why I wear my dreads. Some just wear it, “oh, because it’s cool”, you know, it looks cool. My friends say it looks nice and what’s the purpose behind it. They don’t know.
F: And what do you think it is?
J: Well, it’s a identity to show, that what it shows, it shows that you choose to be a Rasta Man.
F: To separate yourself.
J: To separate yourself from the rest of the people on earth. To see you, they see you with your covenant, to show this is my symbol, this is what I am, a true Rasta Man. But some don’t know the reason.
F: No, I talk to some kids and they say it looks like some buds and I say, “those fools.” (Laughter). They should at least come up with some Judas lion’s mane. But yeah, as a separation from society. To show the world, that hey, I’m this way.
J: That’s right. That’s who I am, you know.
F: If I was black I would probably have dreads, too. But I only comb my hair once a week, whether I have to or not. (Laughter)
J: But you see, you have the liberty and it’s in your heart, the concept and you done know the liberty. Like, you know, a real Rasta Man, don’t deal with sinful act. They’re more peace and love and try to work things out and have things in a mellow level.
F: It’s what?
J: At a mellow level, done to create a bad scene. Rasta man is a peace, loving, going person. Who always tries to solve situation. If he sees there’s a problem ready to occur, he’s ready to solve that. And he teach people equal rights and justice and shoots and rights and level immunity. That’s what goes with the music now. Taking back from then, when in the roots rock reggae era.
F: When Bob was.
J: Yeah, when Bob Marley, these come up, from even down before. Kim Boot, Vera Wilson, Arthur Nilley’s drum root, those guys coming up.
F: They’re all prophets?
J: They’re all singer but they’re lyrics is, is something that you can get a daily inspiration from. You can see it, it can give you a message, you know, for the day. You can listen to a song and it would change your vibes from what you were thinking before. If you were down, it would give you a lift you up, y’know. If you were in a bad state, it would mad you start smiling, you know, start singing and feeling joyable yourself. Now, the music, the reage music is all about packaging. It’s all about fuckin’.
F: Everything all like that now.
J: You know what I mean?
F: The hype.
J: It’s all about the hype kind of thing. But what, why….
F: The reage musician in the 60’s and 70’s, a lot of them were thought of as prophets.
J: That’s right.
F: Do you think of them as prophets? Do you think of Bob Marley as a prophet?
J: I see Bob Marley as a lyrical prophet. He’s like o.k. He’s like, um, I think Shoobook.
F: This is how I start this article. “If you know your history, you wouldn’t have to ask me. Who the hell do you think I am?”
J: That’s right. Cause once the history book back. Everyone needs to read to have knowledge from this book.
F: How did you take it, on his death bed when he was baptized into the Ethiopian Church? Were you aware of that?
J: Yes.
F: O.k. How did you take it?
J: Well, I take it as that, he’s trying to show everyone who listens to his music and who follow his music, his message, that it’s a real thing. He’s not just singing but living it. You know what I’m saying? He’s like, actually, living what he’s singing. Because I know art is not easy. They sing something but they don’t live it. This guy sings what he lives. So when he was baptized in that church in Ethiopia, you can rest assured that he is a true Nazarene. Because basically with Bob Marley I see reage music. Peter Tosh, he is a retired teacher also, you understand?
F: I thought so. He was quite inspiring.
J: Yeah. As I was telling you before, most of these singers, leading, coming up. Their song reflect on things that they see. The earth changing, the differences of laws. Oh, they see mankind behaving, acting. Oh, they think things are suppose to be cause…. Remember Peter Tosh is the one who said legalize herb, from a long, long time ago. And he’s seeing bush doctor, he’s seeing, um…
F: Peter Tosh is the only reage star from that time that I’ve actually got to see and I really enjoyed it.
J: Yeah, because everything he do man, everything he singing is real. Like he’s real, real stuff. He’s not just singing to singing. He means what he saying and he’s living what he singing.
F: So, have you toured outside of Canada?
J: Yeah, we toured everywhere in Canada but we still want to tour more.
F: But outside. Like Europe or America.
J: No, no, no. That’s the next place we want to go right now. We have been in the music business now for 28 years and we think we’ve been hurt by many people influenced. Their hears by listening to what we have and the quality music that we have done and many of them I hope and wish a lot of good for us. But we just don’t, like, we don’t just reach that person who can push their hands, you know? We say, Ok, guys, we’re going to take you a little farther. And this is on the outside of Canada. Like England, Japan, Europe, France.
F: Do you have a record label?
J: No. I’m on an independent label. Low Colour and Stamp Records.
F: How many albums do you have out now?
J: Right now, I have a 12 inch first release, 12 inch disk of 45 that was distributed to Ethiopia. Then I have another CD, a full length CD, “If it was in Jah”. Then here comes another CD we released last year in May titled “World Wide Pressure”. Now we’re working on a third album to release in June, “Come Indy”.
F: Well, it sounds pretty political, your music.
J: Yeah, well our music is all about message. It’s all about the inspiration of what we see happening around us. It’s all about little things we think if we see it on records, people could listen and make a difference and about changing their live. Their thinking of anything bad, also. Anything to open their eyes to things that is destructive, things that can mess up mankind. Things that can make us live bad amongst each other. Change those shit, you know what I mean? My music is like that. Talking about the destructive element.
F: To show the world about it. Who writes your music?
J: Basically, I do. I write my music. Yes.
F: How many people, what’s your band called?
J: Jah Cutta Determination.
F: Been the same band forever?
J: It’s the same name but little changes of musicians. But it still consists of the same lead singer, which is me the leader, the same bass player from then and the drummer. So everybody else, we had.
F: How many people are in the band now?
J: Right now there’s six of us.
F: So you have horns and all that?
J: Well, no. Keyboards, drum, bass, guitar and two singers, me and Mellow G, this singer that sings with me, Mellow G. In Canada, for instance in Montreal actually, there’s a lot of people here that loves Reage. But there’s a lot of people who would like to see it go farther here, like on the radio and everything. But they know it’s not going to get that fair chance. We would like to see Reage play on mainstream, like, songs like that appeared on my album. Somebody who appeared to Jews in this city for 28 years.
F: How old where you when you came from Jamaica?
J: 15
F: I think I met you the same week you landed, then.
J: Yeah?
F: I remember back in my mind…
J: Yeah, I remember you, man. (Laughter)
F: You see Laurie dread much?
J: Not, not really.
F: I seen him about 6 months ago. He was suppose to go home for Christmas.
J: Ok, Ok.
F: He finally went back last year, or the year before.
J: Yeah, a couple of years ago.
F: Do you get back every year?
J: Yeah. Cause right now this album that I have, I’m doing some of the work in Jamaica.
F: Why?
J: Because, (there is some music playing)
F: So do you get to work enough as a musician to make a living?
J: Well not really. You have to make your own shows. You have to like uh always planning, setting up shows, setting up some kind of formal tour. So, call in a couple of people, call in club owners to kind of get to show your own shows.
F: So you’re doing your own management work.
J: Yeah, yeah. My own management, my own booking, for right now. But we’re looking for better, you understand what I’m saying? We’re looking for better, cause we want to see someone who is going to understand what we’re looking for. Cause we have it for them to work with. From there, once the live style is Ok with our family and with ourself, we’re going to be happy. So automatically good things are going to come me in happiness.
F: Have you done any shows in Jamaica?
J: Yes.
F: How different is it from here?
J: Very different. In Jamaica you don’t play a lot so you get nervous, a lot of butterfly in the system.
F: You still get nervous, Cutta?
J: A little.
F: No, you still get nervous?
J: Well, not nervous. It’s when you don’t play into a city or country where is Jamaica, where is so many things going through your head. You have to be perfect, you have to be just right on track. You have to be because they know reggae. They know if you come and play foolishness. They don’t want to hear no do do do, they don’t want to hear no nice. We just want to be sticking to what we’re doing, you understand. So all that is on your head. So those is all the things plus you have to sing and have some truth in what you’re doing. So sometimes you can’t do everything that’s running through your mind. Besides that, I’m not nervous.
F: You still appear to be. I like it. That’s why I do things like that jumping thing. (laughter)
J: It’s Ok cause it’s a natural thing, too. But when you’re playing into a new country, that have vibes of fear to go and play, that make you. You have to be perfect, you have to be kicking, you have to be slamming. You know I mean all those things. I’m looking to play more out of town, to play more shows. We just hoping for the acceptation of the reggae. If the radio play reggae, play Canadian reggae artist who’s been living here doing music with many French singers. I sing with Linda Lamae.
F: Have you done any French songs?
J: Yeah, I do a French song in my thing. I sing with acts segea, you know what I mean. There’s a lot of them people I sing with. It would be nice to see them play some Canadian artist, reggae artists who are out there, that would help them for the big company to hear our songs. For some people, that their songs be played on the station and they’d listen and go, “Hmmm, who’s that?” You understand what I’m saying. So those are the things. We don’t get no break in that. It’s always those Caribbean college radio that only broadcast so far but most people don’t listen. But people who do listen are people who know you. So we want people who never hear you, who would like to hear something new.
F: Do you find it hard to get your message across without preaching to people, or do you fell like you’re preaching to them?
J: No, no, no. I feel I’m connecting with them. I don’t feel I’m preaching to them because the lyrics that I’m sending out with the beat of the music, they go straight in with the beat and everybody just flow straight in. It’s not like I’m commanding them or telling them they have to listen, they have to listen or pay attention. Nothing like that. It just goes right in with the beat and everything just smooth and it just take them away to that understanding, you know.
F: When did you decide to be a musician?
J: Well, when I was born I was a musician.
F: As long as I’ve known you, you have been.
J: When I was born I was a musician, you know why? Because when I was a kid I use to like take some jackets, put them on in the Sunday evening and put on a show for my family, sitting on the veranda.
F: Back on the island.
J: Yeah, everybody was sitting on the veranda, I would just go on in the back, put on a jacket, dress up different and I come give them a show and gone. When there’s a party in the community, I go there, I start to dance, I tour every fucking deal. (Laughter) I mash up everything, win the prize, go home with the package. Every time man. And uh, like, work with my father farming fields and then you saw the radio over there in the land open so I could always listen to the music. I use to dance while watering the plants, I use to dance with the shovel. (Laughter) Then I came here and then I went to use Belmont Park. Do you remember they use to have a thing like that, Belmont Park?
F: That was a life time ago.
J: Yeah, a life time ago. They use to have a singing booth.
F: Yes, I remember this.
J: Yeah, I went in there and I did my first 45 (Laughter) and then my friend came in and started curse, a lot of bad words on it. A lot of cursing words and then it was done and then I took it home and said, “Yeah, we do a record, we have a record”, and everybody was going crazy and then they said, “We want to hear it, we want to hear it”. Then I played it in my aunt’s livingroom and everybody couldn’t believe it. They was shocked. They were saying it was good, it was nice.
F: Isn’t that crazy.
J: It was nice.
F: At one time we had to get on a bus and drive for two hours to get into this little box where you could make a recording. Twenty-five years later everybody’s got one in their pocket. (Laughter)
J: I’m telling you. Yeah, you know.
F: Did you sing in the church at all?
J: Well, I use to go to church with my mother. I use to sing there, yeah. ……
F: Did you ever go to a Rasta church?
J: Yes sir.
F: What’s that like?
J: Well, that um, it’s a highly place to behold cause it’s so much different. It’s so much different from going to like a regular church of God.
F: I’m expecting that you share in scripture, sharing sacrament, singing praise.
J: Singing praise, sacrament and scriptures and the whole history and the teachings and different ways of living than regular people.
F: Is there still Boo Boo in Jamaica?
J: In Jamaica, yes. They separate themselves and live on the hills. Up there they have a whole community. Everything they need. They make brooms, mat, hat, bags, brush. Everything they make from the earth, the trees, the plants and they make their money like that. They don’t want to feed nothing from society.
F: Is there any Rasta churches in Montreal?
J: Not no more. There was before, but not no more. They use to have the twelve tribes of Israel, they use to have the Orthodox way, they use to have African movement. No more.
F: It’s all washed away with the Equal Rights of Canada.
This article was written for the magazine Cannabis Quebec in 2004.
March 15, 2004.
J: You can ask me anything you want.
F: Do you work enough. Do you have a day job?
J: No, music is my day job, you know. Yeah, music is my day job. But what I would like to play more show, more, you know but. More, as just not to play to play but more as a statement show.
F: Spiritual thing?
J: Yes. Statement shows. Every time we play, we leave a message, we leave a statement.
F: And what’s the message you’re trying to send out?
J: Like, we’re trying to show them that, with all the laws on earth, we should still have some freedom and some leeway to most of the laws, that, some natural stuff. Like, the smoking of weed. The legalization of weed in a certain way. Easier penalty of certain weed.
F: A law that there should be no penalty for weed.
J: Yeah, there should be no penalty for weed. They should see it for really what it is. The healing of the nation.
F: So, you a Rasta Man?
J: Well, sure. I’m a Rasta man from I know myself.
F: Do you get back to Jamaica much?
J: All the time. I just got back in January.
F: So what do you think of the Rasta movement now, the way it started? It originally started as the back to Africa movement.
J: The Rasta movement right now…
F: It’s completely different.
J: It’s completely different. You have not the mass of the Rastafarians as before. We use to look like, as I said, back to Africa, strong . Now you find some of the veterans, you know? Like direction is back to Africa, the old country. The younger generation, some see it as a fad, as a fashion.
F: That’s why I wanted to talk to a Rasta man about it because in my opinion, I see dreads as a fashion statement. Twenty years ago, you see dreads and you know that you’re going to talk to a Rasta man.
J: Yeah twenty years ago.
F: And now, sixteen year old blonde kid with dreads down to their elbows. Now what does that mean?
J: And they don’t know the reason. Some don’t know the concept why I wear my dreads. Some just wear it, “oh, because it’s cool”, you know, it looks cool. My friends say it looks nice and what’s the purpose behind it. They don’t know.
F: And what do you think it is?
J: Well, it’s a identity to show, that what it shows, it shows that you choose to be a Rasta Man.
F: To separate yourself.
J: To separate yourself from the rest of the people on earth. To see you, they see you with your covenant, to show this is my symbol, this is what I am, a true Rasta Man. But some don’t know the reason.
F: No, I talk to some kids and they say it looks like some buds and I say, “those fools.” (Laughter). They should at least come up with some Judas lion’s mane. But yeah, as a separation from society. To show the world, that hey, I’m this way.
J: That’s right. That’s who I am, you know.
F: If I was black I would probably have dreads, too. But I only comb my hair once a week, whether I have to or not. (Laughter)
J: But you see, you have the liberty and it’s in your heart, the concept and you done know the liberty. Like, you know, a real Rasta Man, don’t deal with sinful act. They’re more peace and love and try to work things out and have things in a mellow level.
F: It’s what?
J: At a mellow level, done to create a bad scene. Rasta man is a peace, loving, going person. Who always tries to solve situation. If he sees there’s a problem ready to occur, he’s ready to solve that. And he teach people equal rights and justice and shoots and rights and level immunity. That’s what goes with the music now. Taking back from then, when in the roots rock reggae era.
F: When Bob was.
J: Yeah, when Bob Marley, these come up, from even down before. Kim Boot, Vera Wilson, Arthur Nilley’s drum root, those guys coming up.
F: They’re all prophets?
J: They’re all singer but they’re lyrics is, is something that you can get a daily inspiration from. You can see it, it can give you a message, you know, for the day. You can listen to a song and it would change your vibes from what you were thinking before. If you were down, it would give you a lift you up, y’know. If you were in a bad state, it would mad you start smiling, you know, start singing and feeling joyable yourself. Now, the music, the reage music is all about packaging. It’s all about fuckin’.
F: Everything all like that now.
J: You know what I mean?
F: The hype.
J: It’s all about the hype kind of thing. But what, why….
F: The reage musician in the 60’s and 70’s, a lot of them were thought of as prophets.
J: That’s right.
F: Do you think of them as prophets? Do you think of Bob Marley as a prophet?
J: I see Bob Marley as a lyrical prophet. He’s like o.k. He’s like, um, I think Shoobook.
F: This is how I start this article. “If you know your history, you wouldn’t have to ask me. Who the hell do you think I am?”
J: That’s right. Cause once the history book back. Everyone needs to read to have knowledge from this book.
F: How did you take it, on his death bed when he was baptized into the Ethiopian Church? Were you aware of that?
J: Yes.
F: O.k. How did you take it?
J: Well, I take it as that, he’s trying to show everyone who listens to his music and who follow his music, his message, that it’s a real thing. He’s not just singing but living it. You know what I’m saying? He’s like, actually, living what he’s singing. Because I know art is not easy. They sing something but they don’t live it. This guy sings what he lives. So when he was baptized in that church in Ethiopia, you can rest assured that he is a true Nazarene. Because basically with Bob Marley I see reage music. Peter Tosh, he is a retired teacher also, you understand?
F: I thought so. He was quite inspiring.
J: Yeah. As I was telling you before, most of these singers, leading, coming up. Their song reflect on things that they see. The earth changing, the differences of laws. Oh, they see mankind behaving, acting. Oh, they think things are suppose to be cause…. Remember Peter Tosh is the one who said legalize herb, from a long, long time ago. And he’s seeing bush doctor, he’s seeing, um…
F: Peter Tosh is the only reage star from that time that I’ve actually got to see and I really enjoyed it.
J: Yeah, because everything he do man, everything he singing is real. Like he’s real, real stuff. He’s not just singing to singing. He means what he saying and he’s living what he singing.
F: So, have you toured outside of Canada?
J: Yeah, we toured everywhere in Canada but we still want to tour more.
F: But outside. Like Europe or America.
J: No, no, no. That’s the next place we want to go right now. We have been in the music business now for 28 years and we think we’ve been hurt by many people influenced. Their hears by listening to what we have and the quality music that we have done and many of them I hope and wish a lot of good for us. But we just don’t, like, we don’t just reach that person who can push their hands, you know? We say, Ok, guys, we’re going to take you a little farther. And this is on the outside of Canada. Like England, Japan, Europe, France.
F: Do you have a record label?
J: No. I’m on an independent label. Low Colour and Stamp Records.
F: How many albums do you have out now?
J: Right now, I have a 12 inch first release, 12 inch disk of 45 that was distributed to Ethiopia. Then I have another CD, a full length CD, “If it was in Jah”. Then here comes another CD we released last year in May titled “World Wide Pressure”. Now we’re working on a third album to release in June, “Come Indy”.
F: Well, it sounds pretty political, your music.
J: Yeah, well our music is all about message. It’s all about the inspiration of what we see happening around us. It’s all about little things we think if we see it on records, people could listen and make a difference and about changing their live. Their thinking of anything bad, also. Anything to open their eyes to things that is destructive, things that can mess up mankind. Things that can make us live bad amongst each other. Change those shit, you know what I mean? My music is like that. Talking about the destructive element.
F: To show the world about it. Who writes your music?
J: Basically, I do. I write my music. Yes.
F: How many people, what’s your band called?
J: Jah Cutta Determination.
F: Been the same band forever?
J: It’s the same name but little changes of musicians. But it still consists of the same lead singer, which is me the leader, the same bass player from then and the drummer. So everybody else, we had.
F: How many people are in the band now?
J: Right now there’s six of us.
F: So you have horns and all that?
J: Well, no. Keyboards, drum, bass, guitar and two singers, me and Mellow G, this singer that sings with me, Mellow G. In Canada, for instance in Montreal actually, there’s a lot of people here that loves Reage. But there’s a lot of people who would like to see it go farther here, like on the radio and everything. But they know it’s not going to get that fair chance. We would like to see Reage play on mainstream, like, songs like that appeared on my album. Somebody who appeared to Jews in this city for 28 years.
F: How old where you when you came from Jamaica?
J: 15
F: I think I met you the same week you landed, then.
J: Yeah?
F: I remember back in my mind…
J: Yeah, I remember you, man. (Laughter)
F: You see Laurie dread much?
J: Not, not really.
F: I seen him about 6 months ago. He was suppose to go home for Christmas.
J: Ok, Ok.
F: He finally went back last year, or the year before.
J: Yeah, a couple of years ago.
F: Do you get back every year?
J: Yeah. Cause right now this album that I have, I’m doing some of the work in Jamaica.
F: Why?
J: Because, (there is some music playing)
F: So do you get to work enough as a musician to make a living?
J: Well not really. You have to make your own shows. You have to like uh always planning, setting up shows, setting up some kind of formal tour. So, call in a couple of people, call in club owners to kind of get to show your own shows.
F: So you’re doing your own management work.
J: Yeah, yeah. My own management, my own booking, for right now. But we’re looking for better, you understand what I’m saying? We’re looking for better, cause we want to see someone who is going to understand what we’re looking for. Cause we have it for them to work with. From there, once the live style is Ok with our family and with ourself, we’re going to be happy. So automatically good things are going to come me in happiness.
F: Have you done any shows in Jamaica?
J: Yes.
F: How different is it from here?
J: Very different. In Jamaica you don’t play a lot so you get nervous, a lot of butterfly in the system.
F: You still get nervous, Cutta?
J: A little.
F: No, you still get nervous?
J: Well, not nervous. It’s when you don’t play into a city or country where is Jamaica, where is so many things going through your head. You have to be perfect, you have to be just right on track. You have to be because they know reggae. They know if you come and play foolishness. They don’t want to hear no do do do, they don’t want to hear no nice. We just want to be sticking to what we’re doing, you understand. So all that is on your head. So those is all the things plus you have to sing and have some truth in what you’re doing. So sometimes you can’t do everything that’s running through your mind. Besides that, I’m not nervous.
F: You still appear to be. I like it. That’s why I do things like that jumping thing. (laughter)
J: It’s Ok cause it’s a natural thing, too. But when you’re playing into a new country, that have vibes of fear to go and play, that make you. You have to be perfect, you have to be kicking, you have to be slamming. You know I mean all those things. I’m looking to play more out of town, to play more shows. We just hoping for the acceptation of the reggae. If the radio play reggae, play Canadian reggae artist who’s been living here doing music with many French singers. I sing with Linda Lamae.
F: Have you done any French songs?
J: Yeah, I do a French song in my thing. I sing with acts segea, you know what I mean. There’s a lot of them people I sing with. It would be nice to see them play some Canadian artist, reggae artists who are out there, that would help them for the big company to hear our songs. For some people, that their songs be played on the station and they’d listen and go, “Hmmm, who’s that?” You understand what I’m saying. So those are the things. We don’t get no break in that. It’s always those Caribbean college radio that only broadcast so far but most people don’t listen. But people who do listen are people who know you. So we want people who never hear you, who would like to hear something new.
F: Do you find it hard to get your message across without preaching to people, or do you fell like you’re preaching to them?
J: No, no, no. I feel I’m connecting with them. I don’t feel I’m preaching to them because the lyrics that I’m sending out with the beat of the music, they go straight in with the beat and everybody just flow straight in. It’s not like I’m commanding them or telling them they have to listen, they have to listen or pay attention. Nothing like that. It just goes right in with the beat and everything just smooth and it just take them away to that understanding, you know.
F: When did you decide to be a musician?
J: Well, when I was born I was a musician.
F: As long as I’ve known you, you have been.
J: When I was born I was a musician, you know why? Because when I was a kid I use to like take some jackets, put them on in the Sunday evening and put on a show for my family, sitting on the veranda.
F: Back on the island.
J: Yeah, everybody was sitting on the veranda, I would just go on in the back, put on a jacket, dress up different and I come give them a show and gone. When there’s a party in the community, I go there, I start to dance, I tour every fucking deal. (Laughter) I mash up everything, win the prize, go home with the package. Every time man. And uh, like, work with my father farming fields and then you saw the radio over there in the land open so I could always listen to the music. I use to dance while watering the plants, I use to dance with the shovel. (Laughter) Then I came here and then I went to use Belmont Park. Do you remember they use to have a thing like that, Belmont Park?
F: That was a life time ago.
J: Yeah, a life time ago. They use to have a singing booth.
F: Yes, I remember this.
J: Yeah, I went in there and I did my first 45 (Laughter) and then my friend came in and started curse, a lot of bad words on it. A lot of cursing words and then it was done and then I took it home and said, “Yeah, we do a record, we have a record”, and everybody was going crazy and then they said, “We want to hear it, we want to hear it”. Then I played it in my aunt’s livingroom and everybody couldn’t believe it. They was shocked. They were saying it was good, it was nice.
F: Isn’t that crazy.
J: It was nice.
F: At one time we had to get on a bus and drive for two hours to get into this little box where you could make a recording. Twenty-five years later everybody’s got one in their pocket. (Laughter)
J: I’m telling you. Yeah, you know.
F: Did you sing in the church at all?
J: Well, I use to go to church with my mother. I use to sing there, yeah. ……
F: Did you ever go to a Rasta church?
J: Yes sir.
F: What’s that like?
J: Well, that um, it’s a highly place to behold cause it’s so much different. It’s so much different from going to like a regular church of God.
F: I’m expecting that you share in scripture, sharing sacrament, singing praise.
J: Singing praise, sacrament and scriptures and the whole history and the teachings and different ways of living than regular people.
F: Is there still Boo Boo in Jamaica?
J: In Jamaica, yes. They separate themselves and live on the hills. Up there they have a whole community. Everything they need. They make brooms, mat, hat, bags, brush. Everything they make from the earth, the trees, the plants and they make their money like that. They don’t want to feed nothing from society.
F: Is there any Rasta churches in Montreal?
J: Not no more. There was before, but not no more. They use to have the twelve tribes of Israel, they use to have the Orthodox way, they use to have African movement. No more.
F: It’s all washed away with the Equal Rights of Canada.
This article was written for the magazine Cannabis Quebec in 2004.