Jahmings Maccow & E-Rif

Catch-A-Fire
do little to differentiate themselves from influences such as Bob Marley and Peter Tosh, but that's not such a bad thing. Their lead vocals and backing band have a warm, vintage sound that should please fans of classic Roots Reggae. Jesse T.

- Listen.com review

Born on Crocus Hill on the island of Anguilla, US based musician, singer, songwriter Jahmings Maccow has released his self-produced album "New Way", actually the CD version of his cassette that was released in 1999 on his own label "Liquid Cyber Records". Jahmings Maccow has branched out from Catch-a-fire and The Enforcers bands to become more of a Rhythm & Blues Rock guitar player and a more polished songwriter. All of the programing and most of the instruments were played by Jahmings Maccow, who is furthermore joined by such fine musicians like Paul Henton, Cesar Garcia, Michael Bolger, Maria Paul and backing vocalists Carolyn Tenore and Tita Hutchison. The thirteen to fifteen months it took to record this album have been spent well regarding the final result. "New Way" is a well produced and polished album on which Jahmings Maccow explores the styles of R&B, Rock and Latin Music while still maintaining his Roots in Reggae. This makes that the listener is treated to a well varied album, which has the potential to reach a mainstream audience. The songs are well constructed, the backing is tight, the vocals are crisp and clear, and the riddims are all fresh originals. Not exactly an album for the Roots Reggae purists, but beyond all doubt incorporating enough entertainment for music lovers with an open ear and mind.
Teacher & Mr. T.
- Reggae Vibes onlinezine

Jahmings Maccow & E-Rif ~ New Way
Posted on Saturday, July 07 @ 00:25:41 EDT

Quote: "This is a deep kind of musical spirituality, and manages to avoid the commercialized sound that has become synonymous with Americans’ idea of reggae music".



Reggae records have a tendency to go either one way or another. There’s just not much in the way of “middle ground”, musically speaking. Either it’s virtually devoid of emotion, instead cashing in on the classic reggae beats and themes, or it finds a way to touch a chord in your soul, and moves you to listen more closely. Jahmings Maccow is the real thing. This is a deep kind of musical spirituality, and manages to avoid the commercialized sound that has become synonymous with Americans’ idea of reggae music. It is something felt, rather than implicityly heard, and the message is often easily translated without having to utter a word. But what it is more than anything, is a serious form of music that tends to tackle more lofty subjects than your typical “I wanna ROCK!”. Maccow tells stories, spins yarns, asks big questions, the type typically reserved for the inner workings of the brain, and questions his existence, the need for suffering, and directs them at the audience and Jah Almighty simultaneously.

This is a good record for many reasons. First, it’s a nice break from loud guitar, crass lyrics, and homogenized alt-rock. Second, NEW WAY uses classic reggae instrumention, but adds a personalized twist, and since Maccow does the majority of the playing on this record, it becomes a personal vessel for one man. Next, this record feels very “live”, there’s really a freshness to this that spills over to the listener.

Of course, even though this record makes me long for warm weather, walks on the beach, and various other things that prove to find difficult in Indiana these days, it also puts me in a political mindframe, and makes me want to overthrow my government. I’m sure this is being monitored, so I should probably stop there. Highlights on this record include “Check Me Out”, “Scamper Dread”, “True Love”, “Why” and “Doomsday”.

Artist Website: http://www.rebelsproduction.com

(Liquid Cyber Records)
- Indie Music

Jahmings Maccow & E-Rif - New Way Reggae


This is probably some of the smoothest and soulful reggae music that I've heard in a long time. Great vocals, great lyrics, great all around sound and style. New Way is an album with irresistible charm and a highly alluring essence. Like a lot of reggae music, the lyrics jump out and hit you with a great sense of reality and compassion. Very intelligent songwriting and a very powerful sound. This is definitely one of the best reggae albums that I've had the pleasure to review. My recommendation comes high for this album. Simply amazing! - Michael Allison - THEGLOBALMUSE.COM - THEGLOBALMUSE.COM

Jahmings Maccow & E-Rif
Reggae Guitarist/Singer/Songwriter

Anguillian reggae musician Jahmings Maccow has recently released his twelve song CD entitled New Way. Maccow handles the rhythm. lead and acoustic guitars on the project, as well as lead vocals, keyboards and drum programming. He is joined on the CD by Paul Henton (bass, keyboards), Cesar Garcia (sax) and Michael Bolger (trumpet), among others. Unlike a lot of reggae musicians, Maccow is not shy about putting lead guitar breaks in his songs - he unleashes a raw, unpredictable sonic blast of overdriven/distorted guitar filled with trills and hammers on a good number of cuts, including the title track. Of course the arrangements feature the piano work and horn sections common to a great deal of reggae music, however the intemperate rawness of Maccow's solos give the music an edge not normally heard. The music on the New Way CD was recorded over a period of thirteen to fifteen months - from the winter of 1997 to the spring of 1999.
Born on the island of Anguilla, Jahmings started out singing with his school choir and playing the harmonica. Later in life, he would relocate to New York City, where his guitar playing caught the attention of reggae musician Henton, and they put together a band called Rhythm Dimensions. In 1984, Jahmings put together a group called the Enforcers, who did studio work for artists such as Max Romeo and Sugar Minott. From 1988 to 1990, he attended the Dick Grove Music School to continue his musical education. During that time he signed a songwriting contract with Sunrise Records, and wrote a single for Buddy Raye entitled "Yesterday" that was featured on the album "Hollywood Sessions".

Maccow is now busy promoting New Way, looking to acquire reviews and other press for the album.
- Guitar Nine Records

September 1, 2002, by Bill Ribas

Jahmings Maccow & E-Rif, New Way (© 1999 Liquid Cyber Recordings)
Far be it from me to call myself a know-it-all, and when it comes to reggae, well, it's probably a category on Jeopardy where I wouldn't win too much cash. Yet there's something calming about that reggae beat, the chinking of the guitar chords on the 2 and the 4, that just relaxes you. Jahmings Maccow, who has been around in various shades and forms since the late '70s, offers a disc that isn't full-blown reggae either, with some R&B, jazz, even hip-hop inflections and nuances, all popping up here and there. There are some beautiful moments with female backing vocals as well, as on the title track, for instance. And, who knows, maybe reggae purists will scoff at the various styles here, but hey, I like it. It calms me, and if you want to chill a bit, trow da disc on mon. www.rebelsproduction.com
- Street Beat Magazine

Jahmings Maccow & E-Rif - New Way

Liquid Cyber Records
By: Ben Ohmart


Though I've tried to label this recording as Reggae, once you are past the very Marley-esque 'Scamper Dread' which opens your 12 song journey, the music goes off in so many other directions, it's hard to keep up with it. The one thing you can Really say about this New Way is that it's looking island-grown, and seems to be sweetly self-produced. On some tracks, it's like sitting in with someone very talented at his home. Sometimes he gets the guitar player in, as the quite fluid 'New Way - part II' illustrates for a good 2 minutes. Sometimes Jammings brings in his back-up girls to help 'Leave This Town'.

He relies heavily on keyboards, but the strength of the Caribbean voice and the world-flavored rock put this CD into a party-political arena seldom heard on mainstream radio in the States.

There are some tracks that could use cleaning up, unless this is their charm. The highly synth-dominated 'Doomsday' is like 2 different songs in one - acoustic, and not. There is a little drum machine in the left speaker that, early on, sounds like static of some sort. If only it were on an acoustic piano to give realism to the earnest voices, it would be a much better tune in my humble opinion.

Same for 'Pay the Price', which has a great horn, sound, but mixing with the keys brings it down a notch. A pity since Maccow is a rather strong singer/arranger/composer. But this reviewer may be just oversensitive to hybrids. 'I pay the price - in parasites places / What a disgrace amongst the human race / Many are called but - few are chosen / Haven't you heard lord - Jah had risen'.

But looking past instrumentation into spirit and domino tumbling style, the New Way is a great release from the pressures of the day. You may not forget them - not with the color photos in CD booklet showing bombs, world leaders, the vast poor, the slashing of the ecology - but you will find yourself a little spiritually superior when you come away from the 51 minute disc. If the best entertainments make you think and act as well as smile, then put Maccow and his E-Rif among the best. You will find a tropical drink in your hand and a plethora of sunshine in your mirror before you're halfway thru the 1st cut.



- Black Hole Magazine

CD Review: Jahmings Maccow – Man Redemption
July 28, 2009 · Leave a Comment
Anguila expat Jahmings Maccow, formerly of New York roots legends Catch-A-Fire and the Enforcers, writes catchy, Bob Marley-influenced roots reggae songs that would have been right at home on Jamaican radio back in the late 70s. Fans of golden-era reggae singers like Gregory Isaacs, Johnny Clarke, Sugar Minott or Jacob Miller will love this album: if Rockers TV was still in syndication, you would no doubt see “The
CD Review: Jahmings Maccow – Man Redemption
July 28, 2009 · Leave a Comment
Anguila expat Jahmings Maccow, formerly of New York roots legends Catch-A-Fire and the Enforcers, writes catchy, Bob Marley-influenced roots reggae songs that would have been right at home on Jamaican radio back in the late 70s. Fans of golden-era reggae singers like Gregory Isaacs, Johnny Clarke, Sugar Minott or Jacob Miller will love this album: if Rockers TV was still in syndication, you would no doubt see “The
CD Review: Jahmings Maccow – Man Redemption
July 28, 2009 · Leave a Comment
Anguila expat Jahmings Maccow, formerly of New York roots legends Catch-A-Fire and the Enforcers, writes catchy, Bob Marley-influenced roots reggae songs that would have been right at home on Jamaican radio back in the late 70s. Fans of golden-era reggae singers like Gregory Isaacs, Johnny Clarke, Sugar Minott or Jacob Miller will love this album: if Rockers TV was still in syndication, you would no doubt see “The Rootsman” interviewing Maccow with much enthusiasm. The production here is far more oldschool than most anything coming out of Jamaica right now, a fat riddim with real keyboards and layers of guitar. Maccow is not only a good songwriter, he’s also a good guitarist, spicing his songs with an incisive yet tersely soulful, pensive edge. The Marley inspiration extends especially to the vocals, Maccow reaching up to the high registers with the same kind of inspired half-yelp. The tunes mix slow anthems in with the upbeat, hitworthy stuff. In keeping with the classic roots vibe, the lyrics address both spiritual and contemporary issues, hence the album title, Man Redemption – a bunch of uplifting tunes that frequently address some pretty heavy issues.

The big, slow, soulful title track – a prayer of sorts – contrasts with the upbeat, obviously Marley-inspired Let Them Grow, like something off the Kaya album with tasteful acoustic guitar accents and a clever, distorted electric guitar solo low in the mix. Set Me Free is more upbeat, late period Marley-style songwriting with a nice, long, thoughtfully doubletracked guitar passage.

How Ya Gwaan Crucify is predictably a lot darker, with a Rastaman Vibration edge. The album’s fifth track, Free the Pain has a playful phased guitar solo – the tune reminds a bit of the late great Lucky Dube. After that, Put You Down/I Didn’t Come has more of a vintage 70s Manhattans/Stylistics style smooth R&B feel. The rest of the album includes the rather apprehensive Dread; Didn’t You Hear, which manages to be both pro-peace and a cautionary tale; the Israel Vibration-inflected See Them Fighting/Ghetto Walls; the gloriously bouncy Jah Jah Say, and the vivid yet understated Cry for Tomorrow. If you’re a fan of classic roots reggae, this is a welcome throwback to a time when artists basically had to at least pay lip service to spirituality and be conscious of the world around them even if they didn’t embrace it. It’s obvious that Maccow is sincere about what he has to say.
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