Raging Fyah

"There's the band called Raging Fyah that has the essence of classic reggae, but it doesn't sound like old music from 50-odd years ago"

- Rolling Stone Magazine

In mid July singer Ray Darwin dropped his debut album People’s Choice. Almost at the same time his former band Raging Fyah also put out their debut album titled Judgement Day.

Raging Fyah is a six piece outfit that consists of former students at the acclaimed Edna Manley College in Kingston. Their new lead singer Kumar Bent has a voice similar to a more restrained Tarrus Riley and a tone that make him sound a bit like Konshens. And he’s a great singer that clearly fills the shoes of Ray Darwin.

Judgement Day is produced by the band themselves and lists eleven roots rock reggae tunes, often with high quality. The only tunes that don’t measure up are the marijuana tribute Ganja or the too mellow ballad Cyaan Cool.

Highlights include World Crisis with its well-orchestrated harmonies, the uplifting Karma and the skanking R.A.S (I&I) with a frenetic dub-infused workout in the latter part of the song.

Judgement Day is a promising debut album and I certainly look forward to hear more from these talented musicians in the near future. - Reggaemani WordPress

DSE Shorts has made a short doc on Wickie Wackie Live - October 5th, 2013 - You Tube

Amazing Pictures, Videos & Positive Reviews from the most recent Europe Tour 2013 Naah Look Back - ReggaeVille

With the web-documentary 'À la Jamaïque' French musician, filmmaker, illustrator, director, producer and sound engineer Romain Chiffre, better known as Sherkhan, takes viewers on a new look inside the Reggae Revival currently taking place.
By Biko Kennedy in Music | Published: Thursday, April 18, 2013

Filmed at the recently held Arts in the Garden, Sherkhan spoke with a few band members to get their perspective on the state of Reggae music today in comparison to days in the pass and why the Reggae Revival is the talk of Jamaican's music right now.
"In life and everything is a cycle so years ago when nothing was happening and NoMaddz started the trod from Jamnesia now it's gone to something bigger, so give thanks to Jah," explains Chris 'Birdheye/Birdie' Gordon from NoMaddz.

Delroy 'Pele' Hamilton, bass player and band leader of the Raging Fyah band, underscored Gordon's belief adding "It's a renaissance movement right now in Jamaica, a whole revival. It's a crew [of us and] not just one band. [Musical unity] was there in the beginning then it kind of shifted for a while but as is said 'What was there in the beginning, shall come back in the end'."

If ever there was a freestyle to be remembered it would be Protoje, at the Arts in the Garden concert, militantly spitting bars over the instrumental of his single 'Who dem a Program' saying:

"Ting a rise up slow/ see it deh Reggae have revival now/ dem have dem eyes pon you/ tink divide we and tun we inna rival now, but/ Chronixx just heights up so, Kabaka deh yah Rasta run di island now/ Jah 9 a shine and glow shh/ how do you stop the revival?"

Peep the episode of band revival here

Check out the other episodes and more information on A La Jamaique here
- JamaicansMusic.com

This summer, to celebrate the 50th anniversary of Jamaican Independence, the O2 and its multiple venues including indigO2, will be transformed into a Caribbean oasis as over 50 artists take to the stage as part of Respect Jamaica 50.

The two week extravaganza, from July 25 to August 6, will include a multitude of legendary Jamaican singers, DJs, writers, comedians, actors and poets from Damian Marley and Lee ‘Scratch’ Perry to Shaggy and Jimmy Cliff showcasing the cultural depth and diversity of this esteemed nation. Joining them on the bill will be Junior Murvin, whose 1976 song “Police and Thieves” cemented his place in reggae history, becoming an international hit covered by artists such as The Clash and Culture Club. Supported by the Jamaican Government, Respect Jamaica 50 will add a sprinkling of Caribbean flavour to what’s set to be a great summer for Jamaica!


Other artists confirmed on the roster include: Shaggy, Tappa Zukie, Jamaican Legends Band, Mutabaruka, John Holt, Freddie McGregor, Tarrus Riley, Toots & The Maytals, Young Toots, Horace Andy, Morgan Heritage, Raging Fyah, Yellowman, Dennis Alcapone, Benjamin Zephaniah, U-Roy, The Abyssinians, Winston Reedy, Mad Professor, Mighty Diamonds, Leroy ‘Heptones’ Sibbles, Marcia Griffiths, Maxi Priest, Gyptian, Johnny Clarke, Derrick Morgan, Max Romeo, Jah9, Sir Lloyd Coxsone, Michael Prophet, Gaylads, Bob Andy, Fatman Hi Fi and Jah Shaka Sound System.

All key Olympic events will be screened at the venues to ensure none of the action is missed, including Jamaica’s hotly anticipated gold medal run and a stunning feast of authentic Jamaican food and drink will also be on hand during the festivities for everyone to enjoy.

Rob Hallett, President of International Touring at AEG Live, said: “Having held a lifelong affection for Jamaica and its culture I am honoured that AEG Live, along with Jamaica 50 will be presenting the entertainment as part of Jamaica’s official celebrations in London of 50 years of independence with the greatest array of Jamaican talent, over 12 nights, that this country has ever seen.” For those in search of something lighthearted, some of the finest contenders in Jamaican comedy will be providing the laughs for the crowds at Proud2 from July 27 – August 6.

Other outstanding cultural events at Respect Jamaica 50 include Messenger: The Bob Marley Exhibition at the BME from July 24 – October 22 where visitors will be invited to explore a retrospective featuring personal memorabilia, candid photographs, old concert posters, records, music clips and archive video footage.

Director of the Jamaica 50 Secretariat, Robert Bryan said, “Jamaica is excited to be associated with AEG Live to present Jamaica 50. The Jamaica 50 Secretariat recognises this as an official celebratory event of Jamaica’s Jubilee celebrations and is delighted that such an outstanding line-up can be made available during the London 2012 games, when we expect even more great Jamaican moments. Jamaica House, located in the 02 during the Olympic Games, will also be showcasing and providing an authentic Jamaican experience in honour of this special year.”

Line-up
25 July: Lee "Scratch" Perry/ Junior Murvin/ Mad Professor
26 July: Damian Marley
28 July: Tappa Zukie/ U-Roy/ Yellowman/ Dennis Alcapone & Winston Reedy/ Ras Lawi with Reggae Vibes
29 July: Jamaican Legends Band: Ernest Ranglin, Sly Dunbar, Robbie Shakespeare & Monty Alexander
30 July: Mutabaruka live with the Lloyd Parks Band/ The Abyssinians/ Jah9/ Benjamin Zephaniah
31 July: John Holt/ Mighty Diamonds/ Leroy Heptones Sibbles
1 August: Freddie McGregor/ Marcia Griffiths/ Maxi Priest/ Johnny Osbourne
2 August: Tarrus Riley/ Gyptian/ Nomadz
3 August: Toots & The Maytals/ Junior Toots/ Chantelle Ernandez/ followed by Sir Lloyd Coxsone & Fatman Hi Fi until late
4 August: Horace Andy/ Johnny Clarke/ Michael Prophet with the Dub Asante Band followed by Jah Shaka Sound System until late
5 August: Morgan Heritage/ Shaggy/ Raging Fyah
6 August: Jimmy Cliff & Oneness/ Derrick Morgan/ Max Romeo/ Gaylads/ Bob Andy/ followed by David ‘Ram Jam’ Rodigan until late


- Hotminutemag.co.uk

Let me clarify.. it was Judement Day: Music for the Rebels, Raging Fyah’s album launch at Wickie Wackie beach, Bull Bay.

By the time we got to Wickie Wackie, it was already dusk. The night was cool and clear, and the moment we stepped in the venue, we could feel the vibes. Gabre Selassie was dropping some heavy rockers. A glimpse at the stage told part of the story. Instruments all set up, with a big red Raging Fyah Lion logo as backdrop.

The formal part of the launch included endorsements for RF from industry stalwarts such as Robert Bryan (Grizzleys); Mikey Bennett (Grafton Studios); and Ibo Cooper (Teacher/Mentor). Once the big ups were out of the way, MC Simone Simpson introduced us to the stars of the night. A tight set which included popular songs like Irie Vibe, Far Away, Cyaan Cool, etc got the crowd energised.

















The beautiful thing about this launch was that it felt like a family gathering. Bucking up into brethrens and sistrens like Kurfew Crew, Uprising Band (raspect to Kush, Akinsanya and Pot A Rice, and not to leave out Mama G), Jah9, Kiddus-I among others was a joy. For those who wanted their fix, you could get Raging Fyah memorabilia on spot (CD, T-shirt and lighter) or a touch of food and drinks to satisfy the body.

Also on board to show support on the stage were Duane Stephenson and Kurfew Crew, both of who gave energetic and well received performances. The whole night was about showcasing solid Jamaican Reggae music. We all loved it. Just like the big bonfire that was blazing backstage on the beach, we expect RF to be blazing bright and hot for a very long time.

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A BAND ON THE RISE: Serious and soulful, Raging Fyah brings the heat

ROCK STEADY: The band, which heads to Europe next for a 5-week club tour.

After a series of rollicking and attention-getting sets at concerts and other events across the island, roots-rockin' reggae band Raging Fyah took the stage last Tuesday night in Kingston for the latest in the ongoing Behind The Screen concert series at Usain Bolt's Tracks & Records. Bass player Delroy 'Pele' Wilson led the six-member band through an hour-and-a-half of mostly conscious reggae anthems and pulsating instrumentals, featuring hypnotic tracks from their debut album, Judgement Day, like "Far Away," "World Crisis" and the introspective title track.

The performance, witnessed by a modest but lively and receptive crowd, also included such standout numbers as "Nah Look Back," "Barriers," Dread" and "First Love." "We were really looking forward to it," Wilson told reporters after the gig. "Most of our other local performances have been limited to 20-25 minutes. This one was an extended version, so we could really give it to our fans."

A lot of doors have been opening for the group, formed in 2006 at the Edna Manley College. At this moment, they are gearing up to hit the road in Europe for a club a tour that will see them making appearances in France, Poland and Switzerland, among other countries. "Last year when we toured Europe, we were on mostly festivals which attracted audiences ranging from 25,000 to 40,000. This time it's the clubs, so we will see how the audiences react to us as an act rather than part of a lineup." Once they are back on home soil, expect the very busy band to hit the studio.

- Tallawahmagazine.com

A Lion Awakes: The Roots of the ‘Reggae Revival’
—September 29, 2013 by midnightraver
1
When Bob Marley passed in 1981, he left a vaccuum that would eventually be filled by cocaine-fueled rapid-fire riddims and slack lyrics which glorified guns, drugs, and sex, and worked only to fatten the pockets of the producers, and kill the souls of the people. Jamaica wanted nothing to do with reggae that promoted a positive, or “conscious” message. Names like Shabba Ranks, Yellowman, Ninjaman started appearing on the charts where names like Barrington, Cocoa Tea, Josey Wales once stood. It was the worst that Jamaica had to offer. The worst elements of American hip-hop thrown together in a stew, cooked up like the crack cocaine which was killing the souls of the poor and oppressed, and released with little thought given to quality of product or packaging. The island’s greatest cash crop of the previous 25 years was burned to the ground, drug-fueld violence ensued, tourism declined.

Any artist with a positive message was forced to go outside of Jamiaca and sign with labels like Real Authentic Sound (RAS), one of the few labels who promoted conscious dancehall artists at a time when nobody wanted to see or hear from them. Mega-talents like Charlie Chaplin, Yami Bolo, and Tiger recorded much of their music in Jamaica, but had it released and distributed by RAS in America, Europe, and Asia. In 1993, a new wave of roots-reggae acts emerged from central Jamaica, led by deejay Tony Rebel and singer Garnet Silk from Manchester, and dub poet Yasus Afari. Soon came artists like Everton Blender, Kulcha Knox and Luciano. Even artists who made their name singing slackness in the dancehall took a turn in the mid-nineties and embraced a more positive message. Capleton and Buju Banton embraced the tenets of Rastafari and began to sing conscious lyrics. In fact, it is Banton’s 1995 album ‘Til Shiloh that is arguably the best conscious reggae album of the nineties. Ultimately, there was little demand for a sea change in the music and reggae as message music declined at the turn of the millenium as it morphed into a popular, soulless sound with artists like Shaggy, Sean Paul, and Sean Kingston (ironically, grandson of legendary roots producer Jack Ruby) taking over the airwaves. Conscious roots music was back on life support.

In 2007, a natural mystic was in the air again. Arising from the hills of Nine Mile, it descended upon a small community 8 miles east of Kingston at Bull Bay. If you traced this energy back to where it was transferred from conscious minds and righteous spirits into a music as organic, as authentic as the sounds that emerged from the Kingston ghettos in the late 1960s and early 1970s, you’d find yourself at Jamnesia, a small but flourishing surf camp run by Billy Wilmot AKA Billy Mystic, former front man for the Mystic Revealers. Jamnesia offers a positive experience for disenfranchised youth that is made possible through a grant from the Jamaican government as well as support from industry partners like Red Bull, Insight Surf Clothing, X-Trak surfboard traction pads and surf accessories, Quashi surfboards, and IPath footwear.

It is here at Jamnesia that the “Reggae Revival” is born, a product of late-night jam sessions and impromptu live performances by island youth. During the summer of 2007, From The Deep, a band of roots reggae musicians and surfers like Wilmot’s son Inilek Wilmot, hold impromptu jam sessions which morph into concerts, making the place an ideal hangout for the local youth. It is here, on the same beach where Bob Marley laid his head to “rockstone” as his pillow that this energy gained momentum. This is the birthplace of the “Reggae Revival.”


Billy Wilmot
Dutty Bookman, a self-declared revolutionary and author of the 2011 memoir ‘Tried & True: Revelations of a Rebellious Youth’ is an ambassador for the movement, working dilligently to direct this energy in the right direction.

“Although I use the term ‘Reggae Revival’ to describe this new movement, I am not responsible for the movement. This is a movement that started with musicians and elders. Bob Andy working with Raging Fyah, Earl “Chinna” Smith working with the musicians ‘inna de yard,’ Billy Mystic and his son’s band From The Deep. It is a multi-generational movement championed by the youth with mentoring from the elders.”

Bookman just returned from the largest platform in the world for reggae artists, Rototom Sunsplash held in Benicassim, Spain. For the first time ever, the festival, which celebrated it’s 20th anniversary, held a discussion sponsored by it’s Reggae University focused on the recent groundswell of new-generation conscious acts from Jamaica known as the ‘Reggae Revival’. As Rototom’s artistic director, Sabrina Trovant so eloquently explained “the 20th Rototom Sunsplash will highlight the Reggae Revival, the new cultural movement which is responsible for the recent revitalisat - MidnightRaverBlog.com

Reggae alive and well: Reggae university examines root revival
Posted on 18th February, 2013

Pete Lilly of the Germany-based Riddim Magazine started Saturday afternoon's Rototom Reggae University panel of the 2013 International Reggae Conference by noting the gap in perspectives on reggae from where he lives and where the music form was born.

For a while, one prominent Jamaican selector had complained he could not get good reggae music from Jamaica and had to look to Europe for that, Lilly said "we have never been more excited about the developments" which have been termed "the reggae revival".

So the panel duly examined this purported revival, with forthright guitarist Earl 'Chinna' Smith making it clear that "reggae never dead". He was one of four guests on the panel, the other three being Protoje, Jah9 and Dutty Bookman. Lilly's Riddim colleague Ellen Koehlings, David Katz and Pier Tosi were part of the discussion, in which they put questions to the guests who gave extended responses.

Smith pointed out a huge difference in impact between someone like Eric Donaldson, who "come with Cherry Oh Baby and mash up the world" and some currently hot artistes who are on magazine covers but making little impact. "What music is today is a magazine thing," Smith said.

Jah9's New Name from her upcoming debut album, to be released later this month, was played to indicate the high quality of reggae being produced now. Responding to Koehlings' question about her path to reggae and working with Smith, Jah9 described Chinna's Inna De Yard base as "a meeting point where the elders share the knowledge with the new generation".

She pointed out that she came to reggae through Rastafari and described going to Inna De Yard for about a year before interacting with Smith. That changed when Uprising Roots bassist Pot A Rice was playing along with Smith one day and invited her to sing, which resulted in an extended session.

And she identified a connection between the music of the elders and now. "It is one current from then till now. The revival is not so much the music coming back, but Rastafari youth being able to stand up with courage and say Haile Selassie is the almighty and no one can kick out your teeth and pull out your hair," she said.

Responding to Katz, Smith noted how he had pulled out of touring because of how the artistes' attitude had changed. "When I go out there is not the exodus, is not the movement of Jah people... is a money thing," Chin said. So he played his guitar at home every day and eventually some people asked if they could record him like that and he decided he would, if he could do it in the same relaxed setting. "Another man do a tune," he said, and it developed from there.

Protoje's Reggae Revival (with guest Romain Virgo) from the Eight Year Itch album, which was released last week, was played before Protoje outlined how persons of his generation have had to search for reggae, which was sparse on radio and stage shows when they were growing up. He described how the live scene, which has been crucial to the increased reggae visibility, grew from 20 people to 50 to 500 and more.

positivity will never die

"Reggae cannot die. The positivity will never die. Now we see the interest of a 13- year-old coming to a reggae show," Protoje said. "They come to Jamnesia, Inna De Yard to reconnect with the culture."

Tosi spoke to author Dutty Bookman as the person who coined the phrase 'reggae revival', Bookman giving the context of his introduction to Rastafari livity through working with the Bob Marley Foundation. He studied the Harlem Renaissance and realised "I could learn so much about a time and place, packaged in a name".

Having been introduced to Jah9, No-Maddz, Raging Fyah and other artistes through his connection with Protoje, Bookman became immersed in the surge of artistes and realised he was "the only person capable of writing about it".

"I thought my contribution to this thing happening now was to give it a name," he said. Jamaican Renaissance would not do and he noted how performers like Raging Fyah were making it cool to listen to reggae again. "This coolness that is happening now is what I am referring to as the reggae revival," Bookman said. "It is up to us now, when they come, to show them the free spaces, the free-thinking spaces."

Lilly noted that it is not only musical performers, but photographers, film directors and visual artists, among other creative persons and asked if there is a common goal. Jah9 said: "The time of one artiste rising and shining over everybody, we may not have that again." And in terms of the collective output, she said it is not about how much money will be made, it is a matter of expression because one is full to t - DancehallReggae-Entertainment.com

Protoje: Reviving Reggae in Jamaica
Posted by Saxon Baird, July 1, 2013


Country
Jamaica
Genre
dancehall
reggae
If you’ve heard about a new roots reggae revival going on in Jamaica then you’ve undoubtedly heard the name Protoje associated with it. The 31-year old artist released his second full-length album ‘The 8-Year Affair’ earlier this year, showcasing his blend of live-band reggae and knack for rasta-driven dancehall. He’s not alone in this new sound but a part of a group of young Jamaican musicians who are trying to move away from the often synth-heavy and explicit themes of dancehall in order bring reggae back to the airwaves of Jamaica. Afropop contributor Saxon Baird chatted with Protoje earlier this month on the eve of a European summer tour to talk about this new movement, its messages and where it can go from here.

Saxon Baird: Why don’t you start by telling me how you think this reggae revival movement got started in Jamaica.

Protoje: I really got into the live music thing myself through a place called Jamnesia, which is a surf camp owned by famous Jamaican surfer Billy Mystic. At the camp, they often showcase musicians for anyone willing to listen. And it was there that I met Jah9 and Raging Fyah who were regularly playing music at night. So I started playing there as well and the first group of musicians from this movement that came out of there was me, Jah9, noMaddz and Raging Fyah. Then the next year, it was Kabaka Pyramid and Chronixx. So it was almost like a music class of 2009 and then 2010. So that’s where this all really took off and started was with Billy Mystic and Jamnesia.

What do you think characterizes and defines this movement?

Rastafari! That is the one thing that we all agree on. The music is really centered around the philosophy and teachings of His Imperial Majesty Haile Selassie as well as Marcus Garvey and Walter Rodney. You can really see the energy in the music coming from these teachings. We all have different things that we emphasize but its all based in trying to bring this knowledge to the youths and our generation.

It’s interesting because Rastafari has traditionally been associated with a fairly poor segment of Jamaica but my impression is that this new reggae revival doesn’t hold the same weight in places like Tivoli Gardens and Trenchtown that it once did. And it can be argued that some of the more violent or carnal themes of dancehall is part of the reason for its past popularity. After all, It’s hard to be positive or wise when you have no money and are struggling to put food on the table. Do you think your positive themes can resonate with those youths living in poverty in Jamaica?

Well one thing I’ve found is that you can’t teach the youth philosophy without a foundation. So right now I think it’s important that we really need to feed these youths spiritually as well as physically, of course. We find that Rastafari, no matter what the youth is going through, can still hold relevance. It’s just a matter of giving them that information. I mean his majesty (Haile Selassie) saw and wrote and talked about things that were going on well before my time but his messages and his teachings still resonate. I think that the youth can learn from that and still move forward. Listen, the youth are ready for knowledge and ready for information. That’s the age we are in right now. And so we are trying to bring that to them through creative music that is fresh and innovative and brings them this message.

You talked a lot about being influenced by Black Uhuru and Barrington Levy in making The 8 Year Affair. What about these musicians and bands resonated with you?

They played music hard! Just the sound and the words are so hard. Like, I got a lot of respect for Bob Marley and the Wailers…I mean they are like the best band of all time. But the way that Black Uhuru played music was just different. It was just a whole different energy, you understand? So that just really resonates with me. And the same goes for Ini Kamoze. His music is just so hot and totally different. Kamoze’s music could have come out yesterday and it would have been fresh. People would be like, “yo, there’s this new kid Ini Kamoze, he’s killing it!” (Laughs)

For me, it’s crazy to hear his music that was produced so long ago and still have such energy. For me, that’s how my influence really started. But I have lots of different inspirations and on different albums, I’ve tried to pay homage to those different inspirations. It’s never really the same with me, though. I won’t come back in my next record with the same type of energy.
Is there something in Jamaican music that you feel is missing that was there with artists Ini Kamoze or bands like Black Uhuru?

I wouldn’t say it’s missing, it just is what it is. The thing is that the music cycles. And no matter what cycle were in, there is nothing that anyone can really do about it, you know? We see the new artists coming up - AfroPop.org

Culture: Reggae revival takes place at Arts in the Garden
Held on the well-manicured lawns of the Hope Botanical Gardens, Arts in the Garden wasn't merely a free concert like none other…it was an experience that'll be forever etched in the minds of many to never be removed.
By Biko Kennedy in Culture | Published: Monday, February 25, 2013

ARTIST(S) PAGE

Denyque


Protoje


No-Maddz


Rootz Underground


Shaggy


Tessanne Chin


Raging Fyah


Chronixx

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When Chronixx met BBC Radio 1Xtra LiveKABAKA PYRAMID TO RELEASE - "LEAD THE WAY" EPTessanne Chin ready to wow on #TheVoiceShaggy to release "Out Of Many, One Music" albumAlbum Review: Gappy Ranks – Shining Hopeview more --------------------------------Advertisement---------------------------------
2The initiative of the Ministry of Tourism and Entertainment as part of its effort to develop the entertainment sector came just in time for Reggae Month and held its 'Reggae revival' with a number of upcoming and established acts.
Hosted by multi-platinum recording artiste Shaggy, Reggae music filled the air as a shoulder to shoulder stance was the feasible option for majority of the fans throughout the concerts entirety.

According to State Minister of Entertainment Damion Crawford the event was solely to highlight and further emphasis the plethora of talents emerging from Jamaica. "What we realise is that there needs to be a greater marketing of the product. [The concert allowed] for greater exposure of our acts to energise the market and also expose these acts to intermediaries," the Minister explains.

From the Rootsy vibrations from Kevor Williams' vocals emerging from Pentateuch's hit single 'Black Face' and Raging Fyah warning us about 'Judgement Day' to seeing Steve 'The Lightning' Newland of Rootz Underground allow the live music to get the better of him and Chevaughn from C-Sharp memorized female patrons with his vocal range, the performances were top-notch to say the least with surprise performances from Denyque and Tessanne Chin.

Ska Rebirth had every reminiscing about the earlier times if Jamaicans music and Di Blueprint Band couldn't help but show patrons why they were recently crowned the best band in the world, but undoubtedly it was a "Poo Puku Poo Puku Poo" moment with No-maddz.

Fast rising star Chronixx and the Zinc Fence band held everyone's attention painlessly with patrons singing along with his songs verbatim without missing a beat.

But the talk of the night was Protoje and the Indiggnation band. Fresh off the release of his sophomore album, The 8 Year Affair, Protoje performed a few singles of the project but the freestyle he did on his militant single 'Who dem a Program' said it all:

"Ting a rise up slow/ see it deh Reggae have revival now/ dem have dem eyes pon you/ tink divide we and tun we inna rival now, but/ Chronixx just heights up so, Kabaka deh yah Rasta run di island now/ Jah 9 a shine and glow shh/ how do you stop the revival?"

Minister of Tourism and Entertainment, the Hon. Dr. Wykeham McNeill noted that "the feedback from agents who attended the first event has been positive and many of them are totally blown away. They have seen our artistes and they are saying that this is fabulous. I believe that the initiative will prove to be an excellent platform for the exposure of new and emerging talent."

Underscoring the Minister's belief, Omar Grant, Director of A and R at Roc Nation said "if we do more of this, giving a greater awareness of reggae music and more acceptance, it will actually cause a breakthrough and take it to another level, and more people in the US and in other countries would pay greater attention to reggae music and appreciate it more."

A great evening for Reggae music…a great evening never to be ignored by many…if you missed it, you truly missed something spectacular.
- JamaicanMusic.com

There's a new roots reggae movement in Jamaica, but it might be most apparent outside of the island and on your laptop. Set off by a handful of young “conscious” artists who came together at a surf camp, this new movement is heavy on Rastafarian spirituality and a live band sound.
13By MTV Iggy
June 20, 2013
Take a cab ride through Kingston or a mini-bus across the Blue Mountains and you will still hear CD-R mixes of dancehall and American hip-hop from storied Jamaican soundsystems like Stone Love blasting from the speakers. Meanwhile uptown spots of the island’s capital in neighborhoods like Liguanea and New Kingston continue to play Top 40, soul and indie rock with the occasional Bob Marley or Beres Hammond jam thrown in for good measure. But via the support of the radio station IRIE FM and a strong online presence, the reggae revivalists are gaining followers looking for an alternative to the often materialistic themes and digital sound of dancehall. It’s already gained a considerable following across Europe and in the United States, but its popularity within Jamaica remains in question. Though it hasn’t broken through on a mainstream level in Jamaica, it seems poised to grow in popularity.


Kabaka Pyramid/Photo courtesy of the artist
A 30-mile drive east of Kingston in Bulls Bay lays a small surf camp with hostel accommodations called Jamnesia. The camp was started and continues to be run by Jamaica’s most famous surfer Billy Mystic. At night just steps away from the beach, Jamnesia host live music steeped in Jamaica’s long and storied roots reggae history. It was in this humble setting that this new reggae revival movement really began to take root.

Featuring a handful of Jamaican-born music acts such as Chronixx, Protoje, Kabaka Pyramid, Raging Fyah and Jah9, the artists would regularly come together at night to collaborate and jam together for whoever was willing to listen and play along. Fast forward three years later: A stagnant dancehall scene has seen its biggest star Vybz Kartel get incarcerated for murder, and a nightly jam session has blossomed into a genuine reggae revival.

The sound of this revival does not merely imitate the roots reggae of the late 1970s but rather updates it with studio tricks and vocal styles that pull from more “conscious” dancehall artists like Damien “Jr. Gong” Marley and Sizzla. Characterized by unwavering positivity, the glue that brings this new movement together more than anything is not just a penchant for live instrumentation but a serious belief in the teachings of Rastafarianism.

“Rastafari is most important to us,” says Kabaka Pyramid, a Jamaican artist whose 2011Rebel Music EP help put this new reggae sound on the map with its fusion of roots reggae and hip-hop. Kabaka Pyramid sees many differences amongst the artists in the reggae revival but reiterates their foundation is through Rastafarianism and live music. “Everyone has their own individuality but there is still a real unity there. A love for the music, live music and Rastafari makes up our binding.”

This is exemplified in the words and images of a recent video dropped by Kabaka Pyramid for his track “Warrior.” Over a Nyabinghi drum beat often used in Rastafarian prayers and rituals, the video showcases Pyramid and fellow reggae revivalist Protoje decked out in the Rastafarian colors of red, green and gold as the two play out an imaginary war with an unseen enemy in the name of “truth and rastafari.” Similar themes can be heard in the music of 20-year old Chronixx, who is undoubtedly the most popular artist heading up this movement. A recent video for his track “Beat and a Mic” features the budding star riding around country roads on a bicycle between contemplative shots at the beach while he sings that love is the only way to “uplift mankind.” Compare these tracks with the bravado of young dancehall star Popcaan’s recent synth-heavy “So We Do It” single or its video (motorcycle tricks, dancing girls) and the line being drawn between the reggae revivalist and dancehall’s latest trends is clear.


Protoje live/Photo Credit: Sista Irie Photography
If any artist in this movement seems poised for breaking through the Jamaican mainstream it’s Chronixx. In 2012, the young singer dropped a free mixtape with American producer Diplo’s Major Lazer along with a slew of singles and music videos. While in February he headlined a free concert hosted by Jamaican superstar Shaggy in the Hope Botanical Gardens of uptown Kingston.

Put on by Jamaica’s State Minister for Tourism and Entertainment, Chronixx and his backing group of musicians the ZincFence Band (named after his label) drew hundreds of energetic locals who quickly took to his brand of live reggae and his positive messages steeped in a sort of vague Rastafari spirituality.

Yet as Protoje notes, despite the success of such concerts and a popular online presence, the movement still has a long way to go in Jamaica. The 31-ye - MTVIGGY.com

Roots reggae group, Raging Fyah, just recently released its first two singles of the new year, titled, "Raging Dread" (above), and "Nah Look Back" (Below). I'm a big fan of these guys, and love their style of music. Both tracks feature some solid vocals and quality production - Raging Dread, a nice mix of dubby roots, and Nah Look Back more of the upbeat roots style Raging Fyah is known for. Both tracks give you an idea of how musically versatile this group can be.


- Rudeboy Reggae.com

Sizzla Blazes with Cameo at Reggae Fusion
Tanya Batson-Savage | Sunday, November 25th, 2012
Music
Tags: SizzlaReggaeRagin FyahLutan FyahRedbones
Sizzla Kalonji
The poster for Reggae Fusion at Redbones boasted Mystikal Revolution, Raging Fyah and Lutan Fyah, however it was the un-billed Sizzla who stole the show, bringing the night to a historic, and a little hysterical, close. Sizzla took the stage during Lutan Fyah’s performance for what was assumed to be a standard cameo. However, over a half hour later he still had control of the mic and was threatening that he wouldn’t leave until the police arrived at the turn off the sound.

Fortunately for Redbones, Sizzla relented before the 2:00 am cut-off point. The concert, produced by Mystikal, took place at the popular restaurant on Friday, November 24, 2012. Overall it was a night burgeoning with talent, and Sizzla’s performance was an unexpected topping on a diverse serving of musicians.



GIRL delivers an acoustic reggae set
The night’s performance began with an engaging acoustic reggae flavour. First up was the smoky-voiced Righteous who performed ‘Dreams’ and ‘My City’. GIRL, armed with a voice evocative of Jill Scott was up next. She began with a charming mash-up of Til Shiloh and What A Day then delivered two original pieces ‘Love’ and ‘Press Play’.

Raging Fyah was the first of the major acts to take the stage. The band delivered a solid set, including several fan favourites. The band delivered a strong performance with ‘If You Run From Yourself’, ‘Funky Reggae Party’, ‘Far Away’ and the title song from their 2011 debut album, Judgement Day. The song seems destined to become a reggae classic. The band ended its performance with a new song ‘Naa Look Back’.

Ragin Fyah


Mystikal Revolution was next on the stage and delivered a mix of reggae hits and their own original pieces ending with ‘Black Woman’. The band was followed by Ky-enie who delivered ‘Glory Days’, ‘Old Time Tradition’ and ‘Wings of an Angel’.

The night should then have been brought to a close by Lutan Fyah backed by Mystikal Revolution. Lutan Fyah was in the middle of a rousing performance which included ‘Settle Down’ and ‘ Don’t Make Your Mama Bawl’ when Sizzla Kalonji arrived on the stage. For a while the two played microphone tag, as each took turn delivering a crowd favourite. However, after a while, only Sizzla and his performing side-kick of the night El Stitch were left on the stage, and Lutan Fyah was left on the sidelines.

At one point, while Sizzla and El Stitch were having their back and forth, Sizzla declared, “Just remember say a my show,” he told El Stitch with a faux admonishment. Then he paused. “Wait, a Lutan Fyah show.”

However, coming to that realization did not deter him. “Mi naa stop till out a di gate mi see blue light!” Sizzla declared. He challenged Mystical Revolution to keep pace with him, even going so far as requesting that they change the rhythm without his telling them which one they should play.

“Gi mi another riddim,” he demanded. “But mi naa tell you which one. A Mystikal you name. We a get mystical tonight.” When the band paused too long he urged them on. “Hurry up no! Before Police come so we can cut.”



Lutan Fyah (right) and Sizzla (left)
When in an attempt to keep up with his un-ending repertoire Mystikal Revolution changed their bass and drummer, Sizzla saw this as an even greater challenge.

Finally, after approximately 45 minutes of free-styling, and delivering hits such as ‘Dry Cry’, ‘Be Strong’, ‘To The Point’ and ‘Thank You Mama’ he finally ended his performance and thankfully there were no blue lights in sight.
- Susumba.com

Raging Fyah reggae band and Production company
Music production with a difference Raging Fyah is one of the most talented and dynamic groups ever to hit the Jamaican music scene.

Divinely united in 2006, six stunning musicians- Anthony Watson, Courtland White, Demar Gayle, Delroy Hamilton, Kumar Bent and Mahlon Moving, set out to rekindle a flame of positivity in the music industry.

Though their versatility enables them to play all genres of music, most of their songs are influenced by passion, purpose and life experiences- assume a roots rock reggae flavour. They write their own songs and ensure that every word touches the soul of the listener, uplifting and motivating people from all socio-economic and cultural backgrounds.

The resulting melodies have been commonly likened to legendary artistes such as Bob Marley, Peter Tosh and Third World. The band also has its own recording label, Raging Fyah Productions, which produced their debut single “Peace Reigns”, followed by “Fight” as well as “H20 riddim” which is a compilation of several popular reggae and dancehall artistes.

The Band is committed to changing the world, note by note, melody by melody- spreading light in areas of darkness, growing when conditions seem most bleak, demolishing obstacles without remorse; the band just keeps blazing.

Members Role

Demar "Kojo" Gayle - Keyboards (Singer)

Delroy "Pele" Hamilton - Bass Guitar (Singer)

Mahlon Moving Engineer/singer

Anthony "Toni" Watson - Drummer (Singer)

Courtland "Gizmo" White - Guitarist (Singer)

Kumar Bent - Lead Singer/guitar

Listed below are some of their top singles.

1. 01 Irie Vibes

2. Far Away

3. Running Away

4. World Crisis

5. Judgement Day (listen Judgement Day below)



6. Cyaan Cool

7. Music Isn't Biased

- Dancehall Reggae World

From A Spark to A Raging Fire!
April 18, 2013
Jamaica is the reggae capital of the world, and over the years we have produced notable reggae artists such as Buju Banton, Bob Marley, Junior Jong and others. Today we are still producing a new breed of reggae artists. Among them is the group of young and talented musicians called Raging Fyah.

Though they have yet to get the big break that every musician dreams of, they have been steadily making progress over the years to get there. Having produced the Judgement Day Album and two new singles Dread and Nah Look Back.

They group had to overcome many struggles, as the music business is no doubt a tough industry to crack. The group claims that the reason that they could even produce the Judgement Day album is because of the tremendous response they get from their audience after live performances. The group claims that producing that album took a lot of sacrifice – that is, money, time, effort, energy, talent and heart.

- Entertainment Trail

All the Q & A is in the Magazine but I cannot copy it here. - I Am Entertainment Magazine

Raging Fyah is one of the most talented and dynamic groups ever to hit the Jamaican music scene. Divinely united, five stunning musicians- Anthony Watson, Courtland White, Demar Gayle, Delroy Hamilton, Kumar Bent – set out to rekindle a flame of positivity in the music industry.

Though their versatility enables them to play all genres of music, most of their songs – influenced by passion, purpose and life experiences- assume a roots rock reggae flavour. They write their own songs and ensure that every word touches the soul of the listener, uplifting and motivating people from all socio-economic and cultural backgrounds. The resulting melodies have been commonly likened to legendary artistes such as Bob Marley, Peter Tosh and Third World. The band also has its own recording label, Raging Fyah Productions, which produced their debut single “Peace Reigns”, followed by “Fight” as well as “H20 riddim” which is a compilation of several popular reggae and dancehall artistes.

The band is committed to changing the world, note by note, melody by melody- spreading light in areas of darkness, growing when conditions seem most bleak, demolishing obstacles without remorse; the band just keeps blazing… like a Raging Fyah!!!
Instrumentation

Kumar Bent – Guitar & Lead Vocals
Gizmo White – Lead Guitar & Vocals
Delroy “Pele” Hamilton – Bass & Vocals
Demar “Keysie” Gayle – Keyboards & Vocals
Anthony Watson – Drums & Vocals - KIT 21

Review: Respect Jamaica 50th in London, UK @ Indig02 8/5/2012



More than any other thus far, the penultimate night of Respect Jamaica 50th seemed loaded with expectation. For, on top of Independence itself looming the next day, it carried a host of additional baggage. There was the return of the reformed Morgan Heritage: back on a London stage for the first time in five years following their solo career hiatus. Then there was the return of Shaggy, one year after the ill-fated One Love Peace Festival, where time management errors led to him having just twenty minutes to play. Add to that the men’s 100 metres race featuring Usain Bolt and Johan Blake (with the potential to nearly double Jamaica's standing in the London 2012 Olympic medal table) at 9.45pm during the show - and even the final concert for Independence on the Monday with Jimmy Cliff, Bob Andy, and David Rodigan was given a close run for the most portentous of the series.


But before all that, came another important landmark: the British debut of Kingston's Raging Fyah, one of the critically acclaimed scene of academically qualified Jamaican bands that have for some years now been tipped to sweep reggae back to the foundation. Where their fellow exemplifiers of this trend, dub poetry outfit No Maddz, failed to make it into Europe for their summer tour, it was left to Kumar Bent and co to represent a phenomenon well known to aficionados on the continent, if not so much here. And represent they did: playing their bottom-heavy trad-roots, and once again showing that live they are on a whole other level than their recorded output thus far. Unlike at Summerjam in Germany, the sound levels on Bent's vocals were high enough to hear his languid voice in its full definition. There is a palpable UK flavour to their sound: Music Isn't Biased could almost have been sung by Matumbi (and name checks a British experience, the Punky Reggae Party). As you might expect from music grads, each member played a solo on their instrument as a finale. The rise of the bands has been perhaps overstated by some European commentators, hoping everything will revert to the days of old, yet an impressive Raging Fyah appearance in the UK shows it is gathering momentum.

Minor technical problems arose when the announcer Mandingo’s microphone was switched off mid appraisal of Raging Fyah’s performance – earning the engineer a sharp rebuke from the veteran journalist and producer. At Ernest Ranglin the previous Sunday Mandingo had made an expansive and inclusive speech about how Jamaicans and non Jamaicans alike had contributed to the music’s 50 years since independence. Today he didn’t flinch from the harder realities of the colonial experience: reminding the audience that Caribbean migrants to Britain had helped rebuild the country post Second World War – putting up with hostility and racism in the process.

Morgan Heritage were originally billed as the headliners for the event. Yet by the night before it had been decided that Shaggy would close the show and the Morgans would have the 9pm spot. Announced by Mandingo’s co-host Robbo Ranx the five siblings, all bar lead singer Peter playing instruments, were a reminder that live bands in Jamaica are nothing new under the island sun. Their multi-genre absorbing, hook-laden take on reggae might be a little too sweet for some of the roots purists who champion Raging Fyah but the house was packed with true believers tonight. Starting with The Return, the clarion call title track to their forthcoming taster EP it was clear from the impassioned looks on the faces of Peter and his sister Una in particular that they were overjoyed to be back together.

They powered through blistering renditions of Don’t Haffi Dread, A Man Is Still A Man and Can’t Get We Out, proving that pound-for-pound in passion energy and commitment they rivalled Tarrus and the Marleys for strongest live presence of the 12 days. “We’ve got works to do” Peter, Una and big Gramps harmonised as Lukes struck his guitar and Mojo his percussion, clearly happy to resume what Gramps has called their “dayjobs” after time for family and individual careers. Mojo came from behind his drums to rap on Liberation and chant Capleton’s Jah Jah City while Peter imitated Jah Cure and Ras Shiloh’s cuts on the same rhythm - right down to the latter’s distinctive vibrato. Imprisoned Buju Banton was saluted with the Lord’s Prayer.

But the highlight of a by now emotionally charged evening was still to come. At nine forty five the show stopped for the 100 metres to be broadcast on video screens. As Jamaicans Usain Bolt and Johan Blake took gold and silver the applause from both venues was deafening as Peter danced about the stage in delight. He and Gramps then taught an elaborate lesson in the differences between reggae and dancehall (with Peter as “Mr Reggae” and Gramps as “Mr Dancehall”) giving the deep voiced keyboardist a chance to toast some r - Reggaeville

Review: Raging Fyah in Wuppertal, Germany @ U-Club 8/28/2012



Considering the fact that the festival season ended only the weekend before the show on a Tuesday night, cosy U-Club, located in Wuppertal, Germany, was not too overcrowded on August 28th.

The six guys out of Jamaica are capable of combining the full range of different traditional styles and elements of Jamaican music and creating something brisk new out of it without forgetting to pay tribute to the roots where it comes from.

At 10 o'clock pm Ellen Köhlings from German RIDDIM magazine entered the stage to announce the newcomer band by giving some special thanks to the guys who did their last show in Europe that night after spending 2 months on the continent.

Raging Fyah started their show very energetically with a fulminant instrumental intro of 'Step Outta Babylon', placing the emphasis on guitar and base, very much to the glee of the audience that welcomed the musicians with a warm round of applause. Spreading some easy, rootsy 'Irie Vibes' with the same-titled song and 'Music Isn't Biased', Raging Fyah went on with a nice and slow vibe. After only a few songs it soon became clear that these guys obviously can be counted to the rare examples of musicians whose music sounds just as good as recorded when performed live on stage - maybe even better, because of their perfect interplay within the band.

Raging Fyah showed some gratefulness for the welcoming of the European audience by dedicating their brand new track 'Delighted' to them, surprising with some typical dub sound effects that were set in precisely by engineer Mahlon Moving.


Showing their versatility in playing different types of Reggae, Raging Fyah mashed up the place with a rapid rhythm of 'Running Away', a Ska-influenced track from their debut album Judgement Day.
The performance kept on spreading a young, rebellious, and untamed spirit: Symbolically tearing his hair out while singing 'Far Away', stretching up his fist in the sky during sweet-melodic 'Behold' or pointing out the finger against '(...)foolish man(...)' in 'Judgement Day', the poses of lead singer Kumar Bents and the other band members always seemed to be extremely meaningful, but they never looked rehearsed.
The patrons seemed to be really impressed by the apparent playful ease of Raging Fyahs' performance: They rewarded the band by clapping their hands above their heads collectively to the strong offbeat and baseline of the socially critical tunes 'Karma' and 'World Crisis'.

Roots Rock track 'I and I' was played by Raging Fyah in a more rocky version and closed the show musically as energized and full of guitar and base as it had started.
Lead singer Bents finally ended the gig showing some German skills by telling the crowd that the band's in love with each and every person in it: 'Wir lieben euch alle' (We love all of you).

Of course the encore wasn't left out: Raging Fyah presented the rhythmic 'Cyaan Cool', a demanding song addressed to bad minded people and the melodic highest-grade anthem 'Ganja', before leaving stage shortly only to appear again immediately.
The guys showed some thankfulness to their supporters from RIDDIM magazine and the whole of Europe again for their hospitality.
When Kumar Bent lead over to the brand new 'Barriers', thematically dealing with meditative topics again, the powerful performance of the song thrilled the massive again which payed tribute to the energized show by dismissing Raging Fyah with a hurricane of applause.

The fact of the guys composing all of their songs by themselves, as the band told Reggaeville, makes their tracks become individual master pieces of music, perfectly customized to both the versatile voice of lead singer and background singers and the sound of instruments that is clear and heavy at the same.


The band works as a team and the meditative and spiritual but young and kind of cheeky team spirit is transferred to the audience very soon and allows it to be part of that team for the time of the show.
Visiting a Raging Fyah live show is a real intensive and inspiring pleasure on one hand for people who love the good pure live music style and on the other hand also for fans of new and innovative music.

After the show, the band members showed off some real pleasant nature by spending about 40 minutes signing posters and taking photographs with fans in the front area of the club instead of relaxing in the backstage area or leaving for the hotel after such an exhausting gig and only a few hours before flying home to Jamaica.

Bon Voyage, Raging Fyah!

- Reggaeville

Raging Fyah will be a force to be reckoned with in the near future. - Carribean Current

Wonderful Review of Raging Fyah Live Performance at Wickie Wackie Beach, Bull Bay, Kingston, Jamaica - JamaicansMusic.com

THERE is something about reggae band Raging Fyah.

They have no current hits mounting charts and are not on the playlists of popular radio jocks and sound system selectors. Yet, this aggregation, formed in 2006 at the Edna Manley College of the Visual and Performing Arts, continues to impress audiences with their live performances. - Jamaica Observer