MICHAEL ROSE
Interviewed by Jesse I -- November 23, 1999

This interview was conducted via conference call from the USA to Australia , thanks to Joshua B at Heartbeat Records.

JESSE: Right now on the line one of the most distinctive singers in reggae music; one time lead vocalist for Black Uhuru, Grammy winner, and solo singer extraordinaire. Michael Rose, thank you for joining us here on Chant Down Babylon.

MICHAEL ROSE: Yes I, blessed love, y'know.

J: I've gotta say, it's an honor to speak to you Michael. The very first reggae record I ever bought on vinyl was Black Uhuru's “Sensimilla”, and it's still one of my all time favorite albums.

M: Seen.

J: Do you have a favorite album from those Black Uhuru days?

M: Um, yeah “Red”.

J: Okay.

M: I don't know if you like that one.

J: Oh, I love it.

M: It have songs like “Sponji Reggae”, “Rockstone”…

J: Yeah! Yeah, I love that one.

M: Yeah? Okay.

J: That's probably my second favorite after Sensimilla. Why does that album stand out so much for you?

M: Because inna the time… them times in Jamaica in really run red dem time deh, y'know.

J: Okay.

M: Yeah. So it was album where… I couldn't forget that album deh y'know? The memory behind it.

J: Well of course, you were singing reggae before you joined Black Uhuru right.

M: Oh yeah. Yeah, I had a solo career. That was in 72… 1972 when I recorded “Guess Who's Coming To Dinner” , “Freedom Over Me”, “Clap The Barber”, “Love Between Us”. It came out on the Observer label.

J: Right okay. So how did you get your start in the business? Who was the first person to take you into the recording studio?

M: Umm… I want tell you y'know. The first time I recorded it was in the same time with Niney. I recorded a song for Lee Perry Scratch. That song was called “Observe Life”.

J: So why did you decide to become a singer in the first place, how did you get involved with reggae?

M: Well… my brothers and me used to sing y'know. Like, y'know, cause… they used to sing like… Christmas carols and, y'know… and dem tings y'know. They weren't like professional singers y'know what I mean. But they used to love it, you know what I mean?

J: Right.

M: Y'know so… it just happens that I became the singer.

J: Right, okay. So where abouts in Jamaica do you come from?

M: I grew up in Kingston 11. They call it Waterhouse.

J: Of course, okay. So of course from there you worked your way up to the international stage, and then you won the very first reggae grammy award.

M: Yeah, along with the group Black Uhuru.

J: One thing, these days it seems like the reggae Grammy doesn't have much real relevance to the reggae scene anymore. Do you think the award is still as meaningful as it originally was, or do you think it's lost a bit of focus over the years.

M: Um… well, no I wouldn't say it loses its focus, y'know… It's just that… you must find the table will turn. Y'know you just have to come to reality y'know. Sometime Bunny Wailers win it, sometime Jimmy Cliff win it, sometime Ziggy Marley, sometimes… y'know what I'm saying? From time to time, different people get the grammy y'know. But you know, the first grammy for reggae was Black Uhuru. Y'know. But um, let's see what the future brings.

J: Well soon after getting the grammy, you decided to leave Black Uhuru. What was the motivation behind that move?

M: Well you see.. it's like Black Uhuru.. we didn't have anything verbally. It's like um.. they decided they wanted to do their thing, and I did my thing. It's just one of dem ting there, it's just a pity it happened that way.

J: Right. What do you think about the fact that Black Uhuru has continued to go, and sort of keeps changing its lineup. Do you still follow Black Uhuru these days?

M: Um, not really y'know. Cause y'know I.. I more pay attention to whatever I'm doing right now.

J: Since leaving Black Uhuru you've put out numerous great solo albums, most recently the Bonanza album out on Heartbeat. How are you finding the reception to the new album?

M: Well, it just came out, two weeks, so I don't even know. But I heard that it's doing well over in England and Europe somewhere there.

J: Okay. Right, well I'm certainly a fan of the album, I think it's got some real killer tunes. My favorites are Ganja Bonanza, Chatto, Jah Jah Never Fail I, but for me the standout is really Youths of the Ghetto. Love that tune.

M: Oh, “help”?

J: Yes.

M: Yeah, yeah, okay. Well, you see, we always have to sing about the ghetto and the youths there, because that's where all the guns and everything start from. The banging, you know what I'm saying? So we always have to sing about the ghetto because when the youths in the ghetto cry… bwai, it's a big cry from long time.

J: Right. Do you have a favorite tune on the album?

M: Um… yeah. Ganja Bonanza.

J: Well, the album came in for quite a bit of criticism on the internet when it was released. Some people felt there were too many reworkings of old tunes, and not enough new material..

M: Nah, you mean like bogus badge? Well, well, well, that was a single that I did, and it didn't come out on an album! And I just think, well, this is the time for it. You know what I mean? People can have their opinions, you know, I'm open for critics. I'm an artist; I've always been criticized. You see the thing is that when you're an artist you have to be open for these things. People will say all kinda things. It's just the artist in himself, have to just, don't lose yourself. Just be neutral at all times for things like these, y'know. Babylon will have their opinions y'know, it's just that InI know the work haffe gwaan. We just have to keep the fire burning.

J: Yes. Well the other criticism that I heard was relating to the R&B tunes on the album. You're obviously just looking for some crossover success there, yeah?

M: Ah…. Well, y'know… The crossover thing is… it's just another side of Michael. If people don't want to see that side of Michael, that just… that's it. What can I tell you?

J: Well, I believe that you're working on a new album now? Another album from Heartbeat?

M: Yeah.

J: So what sort of approach will this album have?

M: Um… I could play something for you if you want me too.

J: I'd love it!

M: Yeah man, you see… when you are an artist you can't please everyone.

J: You can't please all the people all the time. It's been said for a while.

M: Yeah… (Cues up track) Yeah, right away, right away. I know you're going to love this one. Are you ready?

J: Yes I.

M: You see people must understand music is music, and music is love y'know. And if one don't have love inna them, them nah go know how fe accept music when it come.

<Michael plays a tune down the phone, with a chorus about “run run come, never give it up…”>

J: Yes I, very very nice there Michael. That's a special treat for our listeners down under, a real exclusive there, straight down the phone line! Sounding very very nice!

M: Rastafari!

J: You must be pretty happy with these new workings yeah?

M: Oh yeah, that's why me a show you now and never worry about what people want to say, y'know. Cause everyone have them opinion y'know.

J: Keep working like that, that is fantastic stuff, we'll be looking forward to that one.

M: Yeah? I have another one to play for you. You want to hear it?

J: Yeah, I'd love to.

M: Yeah man, so you nah say we a like to waste time.. keep the fire burning y'know.

J: Yes I, fire burning very nice.

M: Yeah, alright, listen this now.

<Michael plays a great tune “Jailhouse Call”>

J: Yes! Very nice, Michael Rose. Got me rockin' in the studio over here, I'll tell ya!

M: Really!

J: Yes I, gotta move to that one. Very nice, even down the phone line.

M: Yeah…

J: So whereabouts are you recording this one?

M: In Miami . I'm working with Dr. Paul. And with Paul Karl Peterson. I don't know if you know him.

J: No, I'm not familiar with him.

M: He's done this track with Bob Marley, the Punky Reggae Party.

J: Oh, okay. Well when you're writing your songs, where does your inspiration come from?

M: Oh, well you see… me can just go a studio now and mek a song. That's how I am. I could just sit down for 10 minutes and get me a song. Depends on the vibes. Me can fly pon a plane, and me just write 10 songs before the flight finish. You know dem way deh! Another time me just nah think bout music. But I listen a lot. Me used to listen to like B.B. King… My listening span is wide.

J: Okay.

M: Me used to do like hotel circuit in the early times in Jamaica . I used to run like the hotels on the coast in Jamaica . Entertain tourists and all these things.

J: Right. So who would you say has been the biggest influence on your singing?

M: Dennis Brown. Because when me first start out them say me sound like Dennis Brown. Me and Dennis Brown used to do it under the same producer, and them thing deh, so me haffe change my sound. That make me come up with the sound now, the trademark, the ding-ding-woi.

J: Yes.

M: You know what I'm saying, then everybody get to love it.

J: Yes, we love it here.

M: Yes, then you listen to this!

<Michael starts playing another song down the line>

M: This one is called “Big Things”. Big things a gwaan in Jamaica , big things!

<Michael plays all of the song, another great rootsy sounding cut>

J: Yes, big things a gwaan!

M: Yes! You see it!

J: Love it! Man I think I like that one the most out of all those tunes, that sounds very nice.

M: You see it. That's how I make music, I make music in such a way that it caters for different audiences. That's the way I came in the business, I used to do hotel circuit I can't avoid it. So this is why I do song like maybe the R&B flavor, and then people will say “oh, Michael shouldn't do this, he shouldn't do that”. But.. y'know…

J: You haffe do what you want to do.

M: Yes.

J: Right, well I've got to say that voice sounds fantastic on those tunes. Your voice has held up really well over the years, it's still sounding as good as ever.

M: Hey listen, this one is called “Grandma”, listen to this.

J: Okay.

<Michael plays “Grandma” down the line>

M: Rude boy?

J: Yes. Very nice. A tune for Grandma, eh?

M: Yeah because, you find now most of the youth they dis elders; they're dissing their grandmothers, y'know what I'm saying? They're Dissing their mother and father… So you know, you need a music now where you have to make everyone know, because most kids grow with their grandmother.

J: Right.

M: You know what I'm saying?

J: Yeah, I know I've heard a lot of that in Jamaica , the grandparents play a huge role in bringing up their kids. That's a nice one to hear.

M: Right. See, it is not like I'm not working. While people are ripping me down, I'm working.

J: Right. It sounds like you're working very hard. So that album must be just about finished is it? Or a bit more to do…

M: Yeah, it's finished. Um… we just doing like… editing. We were just editing today, putting the songs together and everything like that. We've mixed, we've finished everything.

J: Right.

M: This album is coming out for 2000.

J: Ok. Well, I don't think anybody is going to be able to rip that one down, Michael Rose, that sounds very nice.

M: Well, yeah man! This album, is gonna storm them. Trust me.

J: Yeah, well, we'll be helping it. We'll be playing that one a lot down under, I can assure you of that one.

M: Alright.

J: So, that waterhouse style you sing in… whenever I think of the waterhouse style, you're the first name that springs to mind.

M: You see, it is not a “waterhouse” sound you know. It is just that a lot of people like it, and they became attached to it. And then people try to say it's a waterhouse sound, but it is not a waterhouse sound, it's a Michael Rose sound.

J: So you were the first person to sing in that style, yeah?

M: Yeah, I was the one who create that sound. I put it together.

J: Okay. That's pretty high flattery, that all these other singers try to sing in that style.

M: Oh well, they idolize the style. This is why a lot of youths try to do it.

J: For those listeners at home, how do you describe.. what's the trademarks of your style for the people listening…

M: <sings> Like, two-two-tweng. Staniya hoy, staniyahoy! I-I-I-I! na na ning-ning woi! Who-oi! Na na ning-ning woi! Yeah?

J: Yeah, very nice, that's what we want to hear! Love that – just a taste of Michael Rose over the phone line.

M: Yeah.

J: Well, Michael Rose, thank you very much for taking the time to speak to us.

M: It's my pleasure man. Don't worry man, I'm gonna burn a CD especially for you.

J: Yes I!

M: I'm gonna burn this one for you, this one here, the 2000 CD… and let you gwaan spin it. Only you alone, exclusive!

J: Yes, very nice, we'll play it like crazy man!

M: Alright!

J: Do you have any final words for your fans here in Australia ?

M: Just to tell them say, one love and y'know, we just have to keep our world beautiful… talk to our kids and mek sure them stop fire the gun.. yeah? Stay off the drugs, and dem thing there because too much stress inna the world today. And it's only we the youths, and the youths that are coming up can make this place a better place. Yeah?

J: Seen. Big respect to the man Michael Rose. Thank you very much for joining us here.

M: Oh, blessed love, and just keep on doing what you're doing, and tell all your fans that I love them man.