November 30, 2025 • 51 mins
This week, we are talking di tings with singer, songwriter, bassist, & one of the most influential voices and musicians in Reggae music, Leroy Sibbles, O.D.
Crowned the "King of the Reggae Bassline", Uncle Leroy’s musical artistry has guided generations. As a renowned songwriter, the unmistakable lead voice of "The Heptones", the arranger of some of your favourite Studio One songs, and the architect behind some of Reggae's most iconic basslines; his influence is woven throughout Jamaican music.
In this episode, Uncle Leroy reflects on his globally recognized & celebrated career, spanning six decades! He has been inducted into the Canadian Reggae Hall of Fame, received Jamaica’s Order of Distinction, multiple international awards, and most recently, the prestigious "Reggae Icon Award" at Jamaica’s Grand Gala.
This episode is more than an interview; it's an awe-inspiring story of a man from Trenchtown who believed in himself & used his God given gift to help define the sound of a nation.
This is definitely an episode you don't want to miss. So grab your tea, coffee, or a glass of wine, and let’s talk di tings!
If you enjoyed the episode, leave us a 5 star rating, share this episode, and follow Let’s Talk Di Tings on Spotify, Apple Podcasts, or wherever you listen to podcasts.
Listen to LTDT on:
SPOTIFY: https://open.spotify.com/show/6akOR9kAnsbANiszBDcVOL?si=aa70627937124c3e
APPLE PODCASTS: https://podcasts.apple.com/us/podcast/lets-talk-di-tings/id1662696625
Crowned the "King of the Reggae Bassline", Uncle Leroy’s musical artistry has guided generations. As a renowned songwriter, the unmistakable lead voice of "The Heptones", the arranger of some of your favourite Studio One songs, and the architect behind some of Reggae's most iconic basslines; his influence is woven throughout Jamaican music.
In this episode, Uncle Leroy reflects on his globally recognized & celebrated career, spanning six decades! He has been inducted into the Canadian Reggae Hall of Fame, received Jamaica’s Order of Distinction, multiple international awards, and most recently, the prestigious "Reggae Icon Award" at Jamaica’s Grand Gala.
This episode is more than an interview; it's an awe-inspiring story of a man from Trenchtown who believed in himself & used his God given gift to help define the sound of a nation.
This is definitely an episode you don't want to miss. So grab your tea, coffee, or a glass of wine, and let’s talk di tings!
If you enjoyed the episode, leave us a 5 star rating, share this episode, and follow Let’s Talk Di Tings on Spotify, Apple Podcasts, or wherever you listen to podcasts.
Listen to LTDT on:
SPOTIFY: https://open.spotify.com/show/6akOR9kAnsbANiszBDcVOL?si=aa70627937124c3e
APPLE PODCASTS: https://podcasts.apple.com/us/podcast/lets-talk-di-tings/id1662696625
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Leroy Sybyls is one of those rare artists whose influence
is so deeply woven into the fabric of our culture
that you can feel it before you even learn his name.
His work sits at the intersection of intuition, craftsmanship, and destiny.
(00:22):
He is an aquarius, which somehow makes perfect sense, a
water bearer pouring new ideas into the world, reshaping sound
and refreshing the musical landscape. Whether you know him as
the lead voice of the Heptones, the architect behind some
of Studio One's most enduring basslines, or as the industry
(00:45):
has named him, the King of the Reggae bassline on
Kleroy's musical gift has impacted and continues to impact generations.
What fascinates me most about his legacy is is that
it wasn't built on spectacle. It was built on feel,
(01:05):
on that uncanny ability to hear what a song needed
before anyone else did. This week, I had the honor
of speaking with the man responsible for the groove and
lyrics of some of my favorite songs. Not just the legend,
not just the King of the reggae bassline, but the thinker,
(01:30):
the craftsman, the human being who was raised by a mother, father,
and grandmother who identified and encouraged his musical gift. The
man who helped build the sonic foundation reggae music continues
to stand on. This is a kind of conversation that
(01:51):
deepens your listening and expands your appreciation for reggae music,
for musicianship. The kind that will leave you in awe,
feeling pro to be a Jamaican and of course make
you laugh. So grab your tea, coffee or a glass
of wine and let's talk the things. Music is so divine,
(02:18):
it's yours and it's mine. Come on and sing with me.
It makes you so.
Speaker 2 (02:27):
It.
Speaker 3 (02:31):
Get good, make your body yet, it gets you in
the corn, makes your whole body, yourself you can control
(02:54):
just when you feel.
Speaker 1 (03:07):
Hello, everyone, welcome back to Let's Talk to Things, where
we discuss personal growth, music and film while encouraging you
to live fearlessly and fabulously. I'm your host, Ash and
this week we are talking to Things with one of
the essential voices in reggae music, a man who for
(03:30):
more than six decades has shaped the sound of Jamaica music,
and whose career flows through Studio One, the Heptones and
dozens of classic rhythms that continue to ripple through Jamaica
and beyond. Singer, songwriter and bassist Leroy Sibbles, Hi, uncle Leroy,
how are you? How about good? Good? Thank you for
(03:54):
being here and coming to talk to things with me.
I really appreciate it.
Speaker 2 (04:00):
If it's for your ina, but really for your daddy.
You know we.
Speaker 1 (04:06):
Love you, know, yes, I know he's always sharing such
great stories about you, So yes, I appreciate you doing
it for him as well. So your voice and your
bass have supported the very foundation of Jamaica music, from
your early days at Studio One, to fronting one of
(04:27):
my favorite bands, the Heptones, and now continuing with new
music like A Chance on Love. Your journey is woven
into the soul of reggae and I'm honored to have
you here with me today to share that journey. But
before we go into your amazing career, I wondered if
we could go back to the beginning, like your childhood.
(04:48):
So how did music come into your life growing up
in Jamaica and what inspired you back then?
Speaker 4 (04:55):
Well, I got the inspiration was just that in conception,
you know, But growing up my mom and my great grandmother,
my mom.
Speaker 2 (05:07):
Used to see a lot.
Speaker 4 (05:09):
Oh because of that is that I could I could
do that, you know, like when I was like nine ten,
you know within that Okay, it was on Sundays after
we had dinner. Mm hmm my my my mom is.
Speaker 2 (05:28):
The same sign? Right?
Speaker 4 (05:30):
Oh?
Speaker 1 (05:30):
Really? What sign is that?
Speaker 2 (05:32):
Aquariance?
Speaker 1 (05:33):
Aquarius? Okay?
Speaker 2 (05:35):
You know, so we we are we have a lot.
Speaker 4 (05:38):
Of things that governed right right, there's one another we
used to see a lot of do it sounds?
Speaker 1 (05:47):
Oh that's so nice. Wow, So that was your first
introduction to music.
Speaker 4 (05:52):
Yes, and my my grandmother and my great grandmother their revival.
Speaker 2 (05:56):
Its fir people, you know, Okay, I don't too.
Speaker 1 (06:03):
Wow, that's incredible.
Speaker 4 (06:06):
Love music too, absolutely easier with me. But to two
months ago he celebrated one dream.
Speaker 1 (06:21):
That's amazing. So you have your musically inclined on both
sides basically. Oh and when did you discover your talent
with the bass, because that's something I don't know if
a lot of people know, because they know you more
as a singer some person, So I would love to
know that when did you figure that out or did
you have lessons or was it just something that came naturally?
Speaker 2 (06:43):
Naturally?
Speaker 4 (06:45):
I learned to play the guitar acoustic guitar, which helped
me to wreck to create out mos sums for their tones. Oh,
I was doing trade, you know, learn trade. But when
(07:06):
I got my first you know, money, I bought the
guitar guitar and I went to this last card okay.
Speaker 2 (07:17):
That that I were living in Trenchtown.
Speaker 1 (07:19):
Wow. And then from there or I guess maybe a
little bit backwards, is that before after you developed your
relationship with studio one, one came after, came after okay, okay? Wow?
And did you have certain like mentors like I think
Jackie Mattoo My dad mentioned.
Speaker 2 (07:40):
Oh yeah, but.
Speaker 1 (07:43):
He guided me, okay, got you. He gave me some guidance.
Speaker 4 (07:49):
He was a studio it was a studio arrange at
the time, and he was responsible for the eptunes recorded.
It was created the music for the etne where we were.
Speaker 1 (08:01):
The tone right, go you? Okay?
Speaker 2 (08:04):
So what really started this bass thing with me?
Speaker 4 (08:10):
Because I I never touched a bass guitar before jacking
into Ski, said Leight, I wanted to play a b
I wanted to play a bass. He had a drummer
and he would be playing keyboards and he wanted a
basement at the time. They couldn't find a bas man,
you know, so they came to me, never seen me
playing bass before, and said.
Speaker 2 (08:31):
You wanted me to play this?
Speaker 4 (08:34):
Wow. We went to the studio, Yeah, Diana, he said,
grab the bass, you know, on the studio bass. I
picked it up and he started to show me the
lines that he wanted.
Speaker 5 (08:44):
Me to play, and I copied what I heard and
I read them with the end of the week weekend
we were a club called a tick for that on
Ready's Road.
Speaker 2 (08:57):
That that's no.
Speaker 1 (08:58):
Longer there, right right. I've heard my parents talk about
that though, of course.
Speaker 2 (09:03):
Yeah, that was one of the main spun back then.
You know.
Speaker 1 (09:08):
So were you a little bit nervous given that you
hadn't Wow, I was so insane, you know, you know.
Speaker 4 (09:20):
But but much of the players, Yeah, we played for
about two months the first I was very nervous, but
I got settled in after the second week and you know,
weeks after that.
Speaker 1 (09:35):
But and in your biography you've said that when you
and the Heptones got together, there was like an instant chemistry.
How would you describe that to someone that's never experienced
that kind of creative synergy?
Speaker 4 (09:49):
A lot of people who know what's happening. They know
that I I am there, and it said that I
was writing the songs are raging. All the odds and
oohs that their sad were all my ideas.
Speaker 1 (10:05):
Oh wow, okay, so you weren't just the lead singer.
You were really the lead leader of the band in
that way.
Speaker 6 (10:15):
When when I actually left my wedding thing after we
went to Studio one for the first time, I left
the welding thing and I stayed over and started writing,
writing and arranging.
Speaker 4 (10:27):
These songs that that that were their tones, you know
what I mean in the afternoon when they came in,
they will be coming to new songs and no arrangement.
Speaker 2 (10:38):
Every week.
Speaker 4 (10:39):
Wow.
Speaker 1 (10:40):
So they just had to basically sing what you instructed them.
Speaker 4 (10:43):
To, yes, exactly. Then after learning their bats. But after
a while, you know, they's started really I'm bringing one and.
Speaker 2 (10:51):
Two songs mm hm.
Speaker 1 (10:54):
Mm hmmm.
Speaker 2 (10:55):
Yes, you know.
Speaker 4 (10:56):
But I wasn't one doing most of the work, and
that helped me that when I went that way to
left Studio one apart just played beyase I became the
Jacum two at the time.
Speaker 1 (11:11):
Of his So you were like the arranger for Studio
one after exactly.
Speaker 2 (11:15):
Yes.
Speaker 1 (11:16):
Oh, so what other songs did you arrange the album?
Speaker 2 (11:20):
Noman is an Island?
Speaker 1 (11:22):
Oh yes, Oh my gosh. I love Dennis Brown.
Speaker 2 (11:27):
Too, Little Queen and the Minstuel. But Cardie Campbell.
Speaker 4 (11:35):
Actually the baseline of Queen of the Minstuel mm hmm
made a judgment Sullivan famous because that was that. That's
that's a that's the baseline that brought her on the
scene when Bill billboard her first oh her.
Speaker 1 (11:50):
First song with was it Missy Elliott?
Speaker 2 (11:53):
Yes, exactly, Okay.
Speaker 1 (11:57):
Oh my goodness, I never knew that all these years.
Speaker 2 (12:00):
Wow, but maybe I said that for you, you know, yes.
Speaker 1 (12:05):
Give me a little exclusive, thank you very much. Wow,
that is this has been said? Goodfore Yes, no, I know,
I know. No, that's so amazing. So wait, that would
mean you wrote my favorite heptone song, party time.
Speaker 4 (12:23):
Yes, you know I I made the couchy.
Speaker 2 (12:30):
Really music. Wow, you know.
Speaker 4 (12:36):
It was an instrument that sound that I made. M
h The instrument that sound is called full of Okay,
and it's a it's the instrumental or are they the
music for past of Cochi? Oh?
Speaker 1 (12:53):
I see, okay, so they put those lyrics on it,
but it was originally intent.
Speaker 4 (12:59):
Yes, they redid the music and I sung past they
I've been many years after mm hm, Jackie wasn't England.
Speaker 2 (13:11):
I think that this is the music I use.
Speaker 4 (13:14):
Yes, and they recorded past the Duchy Wow, the dutchy
maybe some good money because it went Billboard.
Speaker 1 (13:20):
Wow, that's so amazing. How does that make you feel though,
that you know something you did is now so big,
like in different different realms of music, because like you said,
they took it and kind of like Jasmine Sullivan or
you know, different groups have taken it and kind of
made it their own, but they stilled me yourself, I have.
Speaker 2 (13:40):
Very important because that makes you money, you know.
Speaker 1 (13:44):
Yeah, well that's true too.
Speaker 2 (13:45):
Yeah, it's important.
Speaker 1 (13:47):
You know, it's very important of course.
Speaker 2 (13:49):
Yeah, you know, so a lot of people don't notice.
But even that that really.
Speaker 4 (14:01):
Dancings and called champion, Yeah, champion, I've made that that that.
Speaker 1 (14:09):
That track, Oh my gosh. I had no clue. And
I know so much about music obviously my dad. But
I just there's not enough stories.
Speaker 2 (14:22):
I understand. I understand, and that's why I took your
time out too.
Speaker 4 (14:26):
That's another reason why I'm taking time out to to
to be doing this because young people, you know of
their musical history, you know what I mean?
Speaker 1 (14:37):
For sure, I think just people. I would even go
on to say just people that are interested in music
in general, because as I'm sure you know, a lot
of artists worldwide take Jamaica music and use it as
a foundation. So I think you know that that's one
of the reasons why I have this show. And I've
had persons like Uncle Ken can Booth, Uncle Dean Fraser
(14:59):
come on here and talk about a lot of the
work that you guys have done and the work that
you guys have put in because.
Speaker 2 (15:07):
Yes, back in the days, yeah, oh.
Speaker 7 (15:09):
My goodness, without love, you can't go on most of
the artists back then, well we do that.
Speaker 2 (15:19):
I was ranging Burning Spear.
Speaker 1 (15:21):
O Burning Spear to.
Speaker 4 (15:23):
The first time about that Burning Spear did. Yeah, I
helped Orange and played this at really.
Speaker 1 (15:32):
Oh my gosh, he's one of my favorites too.
Speaker 2 (15:37):
Studio on the best of Studio one I'm This and
John Wolds and John Olds Studio one I'm I'm I'm
Good album.
Speaker 1 (15:49):
Those are albums, man, Yeah, those are classics.
Speaker 2 (15:53):
Oh yes, oh yeah, so I'm really deep in the music.
Speaker 1 (16:00):
I see why you've been crowned the king of the
reggae baseline.
Speaker 2 (16:05):
The popular.
Speaker 1 (16:07):
Yeah, and I just want to know when you hear
stuff like that, what does that recommend like recognition mean
to you in this phase of your life and your
career that you're getting accomplished?
Speaker 2 (16:18):
You know? Yeah, James Brown said.
Speaker 1 (16:30):
That's amazing, my gosh. And I read on your website
that you had a vision as a child, like seeing
yourself floating above a crowd, feeling like destined for something.
Can you tell us a little bit about that. I
think that's so interesting.
Speaker 2 (16:48):
Well you said that's exactly what happened.
Speaker 4 (16:51):
Okay, it is not so I know it was not
dream it was it was you know what I mean.
Speaker 1 (16:59):
Yeah, yeah, I.
Speaker 2 (17:03):
Because I say, you know what I mean? Right?
Speaker 1 (17:06):
No, you know yeah, especially because you said it was reoccurring,
So it wasn't just like one.
Speaker 2 (17:14):
Now many dreams, one time experience.
Speaker 1 (17:19):
That's true. That's true.
Speaker 4 (17:21):
Many and many and many and many and many and
many and many and many times.
Speaker 1 (17:26):
Wow.
Speaker 7 (17:27):
That's after it stopped for a while, I went and
migrated to Canada, was there, right? It started back again.
I started to again, and then I became popular in Canada.
I've got the Canyad Major Canada.
Speaker 1 (17:43):
Now that's the next thing I was going to talk about.
Speaker 2 (17:47):
Sorry, this is what they're called jumping the gut, you know.
Speaker 1 (17:51):
But that's beautiful. You're right on point. Yes, please tell
us about that, because that's so incredible to receive that
kind of recognition from Canada, you know.
Speaker 4 (18:00):
Oh yeah, whether when I just tip to Canada, I
was greeted by by by me high snow.
Speaker 2 (18:10):
That was terrible. Man, got there, there wasn't much music,
reggae music.
Speaker 1 (18:14):
At me, you know what I mean, right right?
Speaker 4 (18:17):
And then within a year or two I got set
today and started to get popular, started to create bands,
and a lot of bands were formed because of me.
Farm around me. I'm farmed because of my inspiration.
Speaker 1 (18:35):
I've been there right right right.
Speaker 2 (18:38):
We're a club called the Club in Canada and yes,
in Toronto.
Speaker 8 (18:44):
Oh and I would pack that club like every weekend
from Thursday Friday Saturday weekend and if you come after
nine you couldn't get it.
Speaker 2 (18:56):
And we did that for months.
Speaker 1 (18:58):
Did you have different bands or was it like a son.
Speaker 2 (19:02):
My band?
Speaker 9 (19:05):
Yeah, I grow Wow called Bruce Corburn something con Coburn Cockburn.
Speaker 2 (19:19):
Yeah.
Speaker 4 (19:20):
I got a good record for playing one song and
it went big for you, really big, wondering where the
lions are.
Speaker 2 (19:34):
The lands by now?
Speaker 1 (19:38):
But are you sure you weren't a comedian? Also? You
have great comedic timing. Was that was he already artist
or was he a different was? Okay? Okay, got you?
Speaker 2 (19:55):
You know, but they heard of me being a being
talent right right. I proved it to him because I
get him. I hit this line.
Speaker 1 (20:06):
Yeah, I think that that more than proved it. Yeah,
black too, That's amazing.
Speaker 2 (20:11):
They had no doubt after that.
Speaker 1 (20:13):
Yes, with me and I.
Speaker 2 (20:17):
Did an album Kenny and with Canaan and major award
for that.
Speaker 1 (20:26):
Wow, that's incredible. That's incredible.
Speaker 2 (20:29):
And every year in Canada I was getting award from
different sources of different area.
Speaker 1 (20:35):
Also, it wasn't just like a one time thing. You're
collecting multiple awards.
Speaker 4 (20:40):
No, even I don't stop too. I'm still collecting our
arts throughout the years. I've moved back to Jamaica and
still yeah, I'm collecting awards from collecting award from different
states in America.
Speaker 2 (20:54):
Really that I'm in New York, Yeah, all over the place.
Speaker 1 (21:01):
Oh, I love that. That's amazing. That's amazing because the
more awards you collect. I think, especially in different times,
Like you said, our generation, the younger generation, will learn
more about your contribution to music.
Speaker 2 (21:13):
Right.
Speaker 4 (21:14):
And I did a really really really impressive documentary on me,
like the National Again Film Board. Uh huh yeah, and
it's really good, really good.
Speaker 1 (21:30):
Really? Do you know where it was released or like
where people.
Speaker 2 (21:36):
On air Canada?
Speaker 1 (21:38):
On Air Canada.
Speaker 2 (21:40):
You can look it up.
Speaker 1 (21:42):
I'll have to look that up. Do you know what
it's called? By any chance?
Speaker 2 (21:46):
My name my National Film Film Board? Okay, I forgot
the title.
Speaker 1 (21:52):
Ah, okay, Okay, I can google it later, Okay, perfect,
I will definitely do that. Nice and so, like you said,
and like we talked about, you're still creating, right. You
have a new single out, and I'm sure you're doing
more production and performances. But how do you approach making
music today versus decades ago, like with the Heptones, is
(22:15):
it any different?
Speaker 2 (22:16):
Well? Most offer right now. I want studio at my house.
Speaker 1 (22:22):
Okay, And thats a big different, right because you have
more control exactly, I.
Speaker 2 (22:28):
Can do one. You know, I'm made it up whenever
I want to.
Speaker 1 (22:34):
Yeah, you know that makes sense.
Speaker 2 (22:38):
It's cheaper. I'm more feasible.
Speaker 1 (22:41):
Yeah, definitely, yeah, because you can do things on your
own time and go back to different things, right and
just to go back a little bit. So when you
were recording those hit songs at Studio one, at what
point in your career did you realize like, WHOA, like
we're a big group where like we have these huge hits.
(23:03):
Because every time I talk to like my dad or
uncle Ken, it's like they they explained that it was
just a way of life, like nobody really realized how
big and influential they were at that time. But do
you remember realizing you were getting big or.
Speaker 2 (23:19):
Well I I I I.
Speaker 4 (23:23):
I grew with the time, so I know I wasn't.
I was much bigger than I started when I started.
When when when we just start judge down and started
to rare, you know, started practice. M h well we
started like said no, you're that cloud that.
Speaker 1 (23:46):
Night mm hmm.
Speaker 2 (23:48):
I couldn't go further than ten o'clock card coven. We
just started card covene one. We started.
Speaker 4 (23:58):
I and we we we we we we practiced until
we realized that we could now go as love as
we wanted.
Speaker 2 (24:09):
And and I was with no no one.
Speaker 4 (24:14):
Complaining. Ah, that's why we know we were ready. Yeah,
and then when we went to Studio one, you know,
did an audition. We were auditioned. Back came Booth and
the Gay Lads I called the Gay Lights the gas okay,
and the other one we sang before when we went
(24:36):
to Studio one and we were accepting.
Speaker 1 (24:39):
Wow, you know, so so we know that we were
growing you know, yeah, yeah.
Speaker 4 (24:44):
You were.
Speaker 2 (24:47):
Almost got drove crazy?
Speaker 4 (24:51):
Was that?
Speaker 2 (24:52):
No, The first big song was sond called Fatty Fatty
Fatty Fatty. Yeah, that's some that broke that said, that
was one of the early sexist sons.
Speaker 1 (25:04):
Okay, I'm taking notes. I have to look these off.
I did not know that one, okay, okay.
Speaker 2 (25:16):
So I said it was our suggestive because the lyrics
for two weeks and I was bad.
Speaker 1 (25:29):
Oh wow, oh my goodness.
Speaker 2 (25:32):
So people get to hear it.
Speaker 1 (25:34):
Mm hmmm.
Speaker 2 (25:35):
Then it got popular was juke boxes.
Speaker 1 (25:39):
Wow, So that probably intrigued people even more just by
the fact that it wasn't allowed to be played on radio.
No exactly, Yeah, I would.
Speaker 4 (25:51):
And everywhere we tried during the day time when we're
walking mm hmm.
Speaker 2 (25:58):
At that time, we didn't have no no VI nothing
mm hmm. We walked like we were driving me.
Speaker 4 (26:06):
You know, most of we were trying on on on foot,
you know, yeah, saying on the lyrics, my feet on
the carriage. Yes, that's how it was.
Speaker 2 (26:22):
That's how it was reality, you know.
Speaker 1 (26:25):
Wow.
Speaker 4 (26:26):
Wow?
Speaker 1 (26:26):
And what at what point did you meet my dad
when you were.
Speaker 2 (26:31):
With the Was that before in Canada? Yeah? Yeah, we were.
Speaker 4 (26:38):
We were established when when we met your dad. I
met your dad because we were playing with toots.
Speaker 1 (26:45):
Oh okay, okay, we got.
Speaker 4 (26:47):
I mean, we got the chance of him, We got
the pleasure, I should say, played back on back in
us up sometimes too during your time.
Speaker 2 (26:59):
But he was really a.
Speaker 1 (27:02):
Drummer, drummy okay, very nice, I guess I thought, because
I know my dad worked with Studio one too, so
I thought maybe you guys met back then. Okay, okay,
but that's still a long time because that was like
almost forty years ago.
Speaker 2 (27:22):
You can't see.
Speaker 1 (27:23):
Yeah, I was about to stay, I know, because I
was born in Canada.
Speaker 4 (27:30):
You know, I was saying, I said that you don't
really saw America my kids up in Canada. Yes, yeah,
you have the accent, you know.
Speaker 1 (27:41):
Yes, that's so funny. Born in Canada, and then we
went to Jamaica to live, so I started school in Jamaica.
People are always confused by my accent because it's not
like Jamaica and Jamaica, but.
Speaker 2 (27:55):
It's not America.
Speaker 1 (27:58):
It's a little bit of it, exactly exactly. I can't
lose the roots, so to keep.
Speaker 2 (28:03):
It, you get you get a feel of all of
the area environments, you know.
Speaker 1 (28:13):
Yeah, No, definitely, definitely. I'm really My parents brought me
up to be really proud of where I come from,
so I always speak the same in any room. I never,
you know, try to sown the America and anything like that.
I'm really proud. Yeah, exactly exactly. I think more of
us should do that, for sure. And I think if
(28:34):
there's one positive thing that this hurricane has taught us
is the world loves Jamaica. You know, the world loves
so people should be very proud of how they speak all.
Speaker 2 (28:45):
They I'm not sure that that Jamaicans are quite aware.
Speaker 1 (28:51):
Yeah, I don't think so either. Yeah, I agree. It's
unfortunate though. It's really unfortunate because this really showed, I mean,
the way people just came to help immediately before the
storm even left. They were sending help just off of
you know, the music or having visited there or the people,
(29:11):
like we should be proud of ourselves because that.
Speaker 2 (29:17):
Whatever is coming in is being distributed.
Speaker 1 (29:20):
Yes, of course, yeah, that is a big concern for sure. No, true,
it's true. We have to you know, we have to
laugh about it. But we we just have to hope
and pray that people are doing the right right and yeah,
helping people.
Speaker 2 (29:41):
What I'm saying, I'm hearing stories already, you know really
Oh no, oh gosh, I just broke a person earlier
saying that let's say, some of this stuff that was
given away.
Speaker 1 (29:55):
Oh my gosh, Oh that breaks my heart. Yeah, that's unfortunate. Well,
I have hope because I know that there are some
organizations that are Jamaican based that are like bringing food
to people and stuff that you can actually see them do.
So I feel at least good about that that there's
(30:16):
some people that are actually living in that are helping,
you know. But that's unfortunate to hear, for sure.
Speaker 4 (30:23):
Yeah.
Speaker 2 (30:24):
Yeah, but there's so much demand. Yeah right now, you know,
once demand, you know what I mean, you know that
that you know, we we we hope that it's not
the distribution.
Speaker 1 (30:44):
It's not dropping sword exactly exactly. And this is going
to be an ongoing thing. I mean, Jamaica is going
to need help for.
Speaker 2 (30:50):
A long time, but it's more inhergent right now. You know,
at this moment, yes, for sure, you're just kind of
sucking out.
Speaker 4 (31:00):
Then you know you can you know, you know that
stuff can happen, but right now it's necessary that everyone
who was in need gets help. I went down there
the first Sunday after the star mhm, you and I
I went to a supermarket and bought all that I could.
(31:22):
I'm tak I love that at the back of my my, my, my,
my truck and went down there and distributed it, you know,
the little that I could, you know what I mean.
Speaker 1 (31:35):
Oh, I love that, and I'm sure they were appreciative
of that.
Speaker 2 (31:40):
I would most cry just in the condition.
Speaker 1 (31:43):
Mm hmmm. Yeah, that's what everyone's telling me. I'm only
seeing it, you know, online, but people are telling me
when you're there in person, it's a whole other thing.
Speaker 10 (31:54):
Were very important mm hmm, like food, yeah, yeah, what
you well, I tell you, man, right, I'm sure they're
still in need right now because I see I see
the mom distributing some some.
Speaker 2 (32:17):
Some some little some little bags were stuff in it.
Speaker 4 (32:20):
Mm hmm, that haveter We do it like three times
I did for that person really ste you know, like
they're surviving.
Speaker 1 (32:31):
Yeah, no, especially if persons have little children.
Speaker 2 (32:34):
A right. Yeah, I'm most that, you know, I'm saying.
Speaker 1 (32:39):
Yeah, yeah, it's very sad, very very sad. But hopefully,
like I said, hopefully people are going to do the
right thing more often than not. We can only hope
for that, hope that yeah, you know, yeah, I think
Jamaica will be fine. I think as a community we
won't allow it to not be fine. So I think
that that's a good thing that everybody is kind of
(33:01):
trying to do their part as pray.
Speaker 2 (33:03):
I hope, I'm pray.
Speaker 1 (33:08):
Definitely, definitely, And I would like to think that Another
positive spin is thank god it was only half of
the island because at least the other half, like Kingston
and other places on the east side, can help those
on the North coast. You know what, if it was
the entire island, then where would the help come from?
Because everybody, Yeah, yeah.
Speaker 2 (33:31):
The good the Good Lord is still.
Speaker 1 (33:35):
Exactly one hundred percent, one hundred percent agree, Yes, I
just want to wonder, excuse me if you could share
your I guess passion for reggae music, because reggae to
me is not just music, it's a community. Like we
talked about, people love the music, people love the culture,
(33:57):
and you are a pioneer within the music. So what
values do you think need to be kept in terms
of like mentoring, preserving history, and preserving and protecting the
roots of reggae.
Speaker 2 (34:11):
Well, I would say that.
Speaker 4 (34:15):
The people who are the performers, the artists, they're some writers,
right should not straight. I should keep keep the value
you know, alive and keep the music alive. You know,
because a lot of kids, they are not doing much reggae,
(34:36):
reggae is it's a lot of people are making a
lot of.
Speaker 2 (34:41):
Statements right now. Enough for the music, you know what
I mean.
Speaker 4 (34:46):
Because the younger kids are they're they're mixing the beat,
they're changing the beat through some of that stuff.
Speaker 2 (34:53):
Mh, some semi American.
Speaker 1 (34:55):
Kind of beat, right right, you know, saying yeah, no, definitely,
it's not the authentic.
Speaker 2 (35:04):
Authentic much anymore.
Speaker 4 (35:08):
Even my you and he should have and I think
I hope he realized the mistake in my cranics Chronics, Yeah,
because it got popular and re reggae music after and
after started water it down mm hmm until right now
in the album right nowhere is what down? And it's
(35:32):
not getting the response that that that a guy like
in a young person that HI should and it's it's sad,
you know what I mean? Yeah, but we should know
that you should never straight from herods.
Speaker 1 (35:48):
And it's interesting because with Chronics album, what's the timing
is interesting because he has that song on their Hurricane
and you know obviously.
Speaker 2 (36:00):
Cause this thing no.
Speaker 1 (36:08):
No, no, but just of the realm of of what
you're saying, because it's a different zund for him.
Speaker 5 (36:14):
Right.
Speaker 2 (36:14):
But I'm really disappointed with this that they did. Is
that really totally?
Speaker 1 (36:21):
Really you don't even like hurricane?
Speaker 2 (36:24):
No, we do not like a hurricane looking to um a.
Speaker 1 (36:31):
Really, I'm so surprised to hear that. Really, So okay,
let me ask you what exactly don't you like a
bolted in totality would you say? If there was like
one thing to pinpoint.
Speaker 4 (36:51):
It is not authentic no more, No, it's so like,
it's so like that crack and it's a professional. It's
somebody that search really likeness and and I'm struggling to
find their way.
Speaker 1 (37:11):
Okay, so what if what if he wrote or sang
the songs like that this time? Because he is in
that space where he's trying to figure out like where
he stands, because he took a break for a long time, right,
So maybe that's why why Yeah, that's the only thing.
Speaker 4 (37:32):
I Maybe it's not within his control, you know. Yeah,
maybe it's just real life has taken them.
Speaker 1 (37:39):
Yeah, because I think I don't know, I find that
sometimes And I think you can definitely speak on this
having been a musician for so many years. It's like,
let's say you, okay, perfect example, you have these two
major hits, Book of Rules and Party Time. Let's say
people just know those two hits, right, But then and
(38:00):
let's say fifty years later, now you want to do
something that sounds totally different. Maybe it has a little
bit of dance hall in it, and you do well
with it, like people love it. But then there are
those people that know those two very popular heptone songs
and they're like, this is not his style, but it's
still good music. It's just not that style.
Speaker 4 (38:21):
Yeah, that's the thing. If you make that change, it
has to be it must be a change when you
spost to lose the magic. Mmm, you knows what I'm saying.
M yeah, it must really just something. There must be
(38:46):
some magic because even by Maley right did some songs
that they were reggae but and that level and that
like a change, the thing never hurt.
Speaker 1 (39:01):
Yeah, yeah, I mean, it's it's music. So that's the
thing I love about music. Everyone is not going to
like everything.
Speaker 2 (39:07):
That you do, no understand supposed to that. That is
what you live. You know, if you lose that, you're
losing following.
Speaker 1 (39:17):
Right, the audience, I see, I see what you mean. Yeah, yeah,
Well hopefully if he is in that place, you know,
hopefully it's something that he's worked through, and who knows,
maybe his next album will go back to that sound
or a sound he'll be in from now on. I
guess we have to just wait and see.
Speaker 2 (39:35):
You know, that is it? That is it? That's just it.
Speaker 1 (39:40):
Exactly before I do my thank you, I'm going to
ask you a few rapid fire questions, and basically what
that means is you have to answer with the first
thing that comes to your mind. Okay, all right, what
is one studio line or base part that you're most proud.
Speaker 2 (39:58):
Of a gana.
Speaker 1 (40:02):
You played on that, Leroy, I need to let me
get my pen and paper, because like all my favorite songs,
you don't you.
Speaker 4 (40:16):
Would you believe that when I tell him something that
was so popular, I had so much versions that when
I tend them, said it reggae.
Speaker 2 (40:24):
They're reggae at them.
Speaker 1 (40:27):
Yes, because even on Skip Marley's song in our site
samples that I remember, I sent it to my dad
and I'm like, Dad, what sample is in this song?
And I can't think of it?
Speaker 2 (40:37):
Yes? Wow, I think my my horns.
Speaker 1 (40:42):
Wow wow wow wow wow wow. Okay, great, great, great, great?
What is And I feel like this might be a
little difficult, but what is your favorite studio one song?
Speaker 2 (40:54):
Oh? That's that one, you know? One of my favorite
is that. I do remember the name of the song.
Speaker 1 (41:05):
How does it go?
Speaker 2 (41:07):
Oh? Can see?
Speaker 1 (41:23):
Oh my gosh, I know the rhythm, but I can't.
Speaker 2 (41:26):
Yeah, I remember what it's called right now. But I
just love that. And I didn't play at that.
Speaker 3 (41:33):
Yeah, yeah it.
Speaker 2 (41:36):
Oh god, that the one apart from me right there
signs Yeah, the one that really really really yes, Hey,
my best lines that the best lines that I played
solo one m.
Speaker 4 (41:54):
I've been covered from this from the from the seventies,
from the sixties up to two day.
Speaker 2 (42:03):
I said, see over my soul. Mm hmm you s yeah,
of course my bast like that. Jee yeah wow, they
see a baseline taking the fireman. Mh give me, said,
(42:24):
I know, were kid, then we.
Speaker 1 (42:25):
Love the far I know.
Speaker 4 (42:31):
I didn't love money and the comet. I like that.
Speaker 2 (42:40):
That's one of them. When there you're around, I want said,
we've been living in a serious time. Don't let that
the ever blow your mind.
Speaker 4 (42:53):
Those serious come down us sundangerous.
Speaker 2 (42:58):
I like that.
Speaker 1 (43:00):
Wow, you know wow wow wow, wow, wow wow.
Speaker 4 (43:05):
Don't mention a few when someone said, bring up.
Speaker 1 (43:10):
The vibes that Yeah, no, right now, geez geez.
Speaker 2 (43:17):
I like that. I love that, yeah, said so why
I'm going to king?
Speaker 1 (43:28):
Yeah, well you have it, because I feel like it
needs to be a jeopardy category, like what baselines did
you play on? Because I think people would be so
surprised to know that. Definitely, Wow, that is that's amazing.
(43:48):
Wow wow wow. Okay, next question, what is your favorite
non reggae genre to listen to when you just want
to relax?
Speaker 2 (43:58):
Oh, just some music you know, because I know, I.
Speaker 4 (44:07):
When I'm a special and I'm music, I love music
that when I hear it mm hmm.
Speaker 2 (44:14):
If I feel it, then is that good music? I
like it? I listen.
Speaker 1 (44:20):
Okay, so not one specific genre. It's just you hear
something and you like it.
Speaker 2 (44:25):
Yeah, guys, right now, I'm from love for them. Yeah.
Oh yeah, you know nothing my love you know. Yeah,
I mean a Rugby soul.
Speaker 1 (44:40):
Yeah.
Speaker 2 (44:42):
Yeah, you know what I mean. What I should say,
you know what I should say? What I love most
black music.
Speaker 1 (44:49):
Okay, so that covers a lot, because I mean black
music could be country, jazz.
Speaker 2 (44:56):
Yeah, yeah, but everything beep a bleaster you know.
Speaker 1 (45:01):
Well that's true. Yeah, that is true.
Speaker 2 (45:04):
That's so white people have some good news to you know.
But some of them is when when them, when them
coupled the black music style that them say you know, ah,
you know some white people play with love.
Speaker 1 (45:20):
Yeah what song.
Speaker 2 (45:25):
Hotel California? Oh?
Speaker 1 (45:27):
Is that the Eagles, the Vegles.
Speaker 2 (45:31):
Yeah you know that, So that that's the stuff.
Speaker 1 (45:38):
You know, know that you say it. It's yeah, I
never really thought about it, but now that you say that,
thinking about.
Speaker 4 (45:45):
Her that there were touring whatever group when they when
they when they need that sound. Well, that makes sense
to me because it's so it's Rega influenced. You know
about that song again?
Speaker 2 (45:59):
Yeah? That that solo.
Speaker 1 (46:01):
Jesus really I got to play it again. I don't
remember the solo part. I wonder if the reggae band
was touts on the Metals because my dad toured with them. Yeah,
could be, yes, it just could be my girl, yeah,
(46:26):
because I remember him telling me that they toured with
the Eagles and the Who.
Speaker 5 (46:31):
All right there, yeah, that is it.
Speaker 1 (46:35):
Yeah, so it must have been them.
Speaker 4 (46:36):
That is it.
Speaker 1 (46:43):
See you We're learning all kinds of new things there.
All right. Three more questions? What is or where is
one place in Jamaica that always makes you feel inspired?
Speaker 2 (46:59):
Once? What up time that you know?
Speaker 4 (47:03):
Oh?
Speaker 1 (47:03):
Yeah, I missed Hellshare back in the day when it
was the actual Beach Global destroyer destroyed. It's unbelievable. More Beach,
No more Beach. I can't believe it.
Speaker 2 (47:18):
Believe that's that's sad.
Speaker 1 (47:23):
But yeah, Hellshare is a good one. Okay, name a
musician that you would love to collaborate with. Uh, it
could be a singer, actual musician, anyone.
Speaker 2 (47:41):
Oh okay, I.
Speaker 1 (47:45):
Know, No anyone in like, anyone of like the younger
artists that maybe would love to collaborate with you. I'm sure.
Speaker 4 (47:58):
I can't think that in the name right now, Okay,
I will. I will work with any and and and
and any any any good singer got you?
Speaker 2 (48:10):
That depends on the project, you know.
Speaker 4 (48:11):
What I mean?
Speaker 1 (48:12):
Okay, okay, so you're open to working with Yes, I'm
a person love that. Love that okay. And last, but
not least, fifty years from now, when a child discovers
your music, what do you hope he or she learns
about you? Leroy Sibyls Yeah.
Speaker 2 (48:35):
I want when I'm listener said, what do you know?
This one was a genius?
Speaker 1 (48:39):
I love it. I'm sure they will say that I don't.
Speaker 4 (48:45):
Because these lines man that I create many Oh yes,
something about that about magic, you know?
Speaker 2 (48:54):
And that's I think I should I should say before.
Speaker 4 (48:57):
I leave here, is that my base lines have made
a lot of singers and DJs.
Speaker 1 (49:06):
Mm hmm.
Speaker 4 (49:07):
You know my lines are responsible for a lot of
singers and dj is from from the said most yeah, yeah,
almost almost almost.
Speaker 2 (49:22):
All. Right, let's let's figure on it. Mm hmm of
reggae DJs and singers' baseline. That's the show.
Speaker 1 (49:35):
WHOA, Yeah, that's amazing. That's amazing, and that's sounds very
accurate based on what you've shared with us today. So
I think that's a good, good number that you chose.
Well this part of the show, I usually do my
(49:57):
thank you. It's kind of my thing, and I tell people, well,
no cry crying, because me love cry. So yes, I'm passionate.
Speaker 2 (50:07):
I like that.
Speaker 1 (50:11):
So, Uncle Roy, it has been an honor to sit
with you and to listen to you and learn from you.
And I hope you leave this conversation knowing, truly, knowing
how deeply your work has shaped our culture, or sound
and our sense of who we are. I think that
you have put your heart, your voice, and your bass
(50:32):
into songs that became the heartbeat of many generations. And
beyond that, you gave young musicians and are continuing to
give young musicians something internal, the idea that rhythm can
be legacy and not just sound. Your voice, your basslines,
your harmonies. They're not just part of reggae's history, they're
(50:54):
a part of its heartbeat. And hearing you reflect on
your journey, the discipline had to have the joy, the faith.
It really brings a new understanding of what legacy really means.
So as you move forward making new music that I
also love, and continuing to mentor you know, young people
(51:15):
that are interested in following your path, I hope you
know that your gift is not fleeting. It's woven into
the harmony, the memory, and the soul of Jamaica's musical landscape.
So thank you again for coming to talk to things
with me. And it's been an absolute honor having you.
Speaker 2 (51:33):
It's my total pleasure, my love, you know, definitely thank you.
It was so pleasure to it to you.
Speaker 1 (51:42):
There is no problem
Leroy Sybyls is one of those rare artists whose influence
is so deeply woven into the fabric of our culture
that you can feel it before you even learn his name.
His work sits at the intersection of intuition, craftsmanship, and destiny.
(00:22):
He is an aquarius, which somehow makes perfect sense, a
water bearer pouring new ideas into the world, reshaping sound
and refreshing the musical landscape. Whether you know him as
the lead voice of the Heptones, the architect behind some
of Studio One's most enduring basslines, or as the industry
(00:45):
has named him, the King of the Reggae bassline on
Kleroy's musical gift has impacted and continues to impact generations.
What fascinates me most about his legacy is is that
it wasn't built on spectacle. It was built on feel,
(01:05):
on that uncanny ability to hear what a song needed
before anyone else did. This week, I had the honor
of speaking with the man responsible for the groove and
lyrics of some of my favorite songs. Not just the legend,
not just the King of the reggae bassline, but the thinker,
(01:30):
the craftsman, the human being who was raised by a mother, father,
and grandmother who identified and encouraged his musical gift. The
man who helped build the sonic foundation reggae music continues
to stand on. This is a kind of conversation that
(01:51):
deepens your listening and expands your appreciation for reggae music,
for musicianship. The kind that will leave you in awe,
feeling pro to be a Jamaican and of course make
you laugh. So grab your tea, coffee or a glass
of wine and let's talk the things. Music is so divine,
(02:18):
it's yours and it's mine. Come on and sing with me.
It makes you so.
Speaker 2 (02:27):
It.
Speaker 3 (02:31):
Get good, make your body yet, it gets you in
the corn, makes your whole body, yourself you can control
(02:54):
just when you feel.
Speaker 1 (03:07):
Hello, everyone, welcome back to Let's Talk to Things, where
we discuss personal growth, music and film while encouraging you
to live fearlessly and fabulously. I'm your host, Ash and
this week we are talking to Things with one of
the essential voices in reggae music, a man who for
(03:30):
more than six decades has shaped the sound of Jamaica music,
and whose career flows through Studio One, the Heptones and
dozens of classic rhythms that continue to ripple through Jamaica
and beyond. Singer, songwriter and bassist Leroy Sibbles, Hi, uncle Leroy,
how are you? How about good? Good? Thank you for
(03:54):
being here and coming to talk to things with me.
I really appreciate it.
Speaker 2 (04:00):
If it's for your ina, but really for your daddy.
You know we.
Speaker 1 (04:06):
Love you, know, yes, I know he's always sharing such
great stories about you, So yes, I appreciate you doing
it for him as well. So your voice and your
bass have supported the very foundation of Jamaica music, from
your early days at Studio One, to fronting one of
(04:27):
my favorite bands, the Heptones, and now continuing with new
music like A Chance on Love. Your journey is woven
into the soul of reggae and I'm honored to have
you here with me today to share that journey. But
before we go into your amazing career, I wondered if
we could go back to the beginning, like your childhood.
(04:48):
So how did music come into your life growing up
in Jamaica and what inspired you back then?
Speaker 4 (04:55):
Well, I got the inspiration was just that in conception,
you know, But growing up my mom and my great grandmother,
my mom.
Speaker 2 (05:07):
Used to see a lot.
Speaker 4 (05:09):
Oh because of that is that I could I could
do that, you know, like when I was like nine ten,
you know within that Okay, it was on Sundays after
we had dinner. Mm hmm my my my mom is.
Speaker 2 (05:28):
The same sign? Right?
Speaker 4 (05:30):
Oh?
Speaker 1 (05:30):
Really? What sign is that?
Speaker 2 (05:32):
Aquariance?
Speaker 1 (05:33):
Aquarius? Okay?
Speaker 2 (05:35):
You know, so we we are we have a lot.
Speaker 4 (05:38):
Of things that governed right right, there's one another we
used to see a lot of do it sounds?
Speaker 1 (05:47):
Oh that's so nice. Wow, So that was your first
introduction to music.
Speaker 4 (05:52):
Yes, and my my grandmother and my great grandmother their revival.
Speaker 2 (05:56):
Its fir people, you know, Okay, I don't too.
Speaker 1 (06:03):
Wow, that's incredible.
Speaker 4 (06:06):
Love music too, absolutely easier with me. But to two
months ago he celebrated one dream.
Speaker 1 (06:21):
That's amazing. So you have your musically inclined on both
sides basically. Oh and when did you discover your talent
with the bass, because that's something I don't know if
a lot of people know, because they know you more
as a singer some person, So I would love to
know that when did you figure that out or did
you have lessons or was it just something that came naturally?
Speaker 2 (06:43):
Naturally?
Speaker 4 (06:45):
I learned to play the guitar acoustic guitar, which helped
me to wreck to create out mos sums for their tones. Oh,
I was doing trade, you know, learn trade. But when
(07:06):
I got my first you know, money, I bought the
guitar guitar and I went to this last card okay.
Speaker 2 (07:17):
That that I were living in Trenchtown.
Speaker 1 (07:19):
Wow. And then from there or I guess maybe a
little bit backwards, is that before after you developed your
relationship with studio one, one came after, came after okay, okay? Wow?
And did you have certain like mentors like I think
Jackie Mattoo My dad mentioned.
Speaker 2 (07:40):
Oh yeah, but.
Speaker 1 (07:43):
He guided me, okay, got you. He gave me some guidance.
Speaker 4 (07:49):
He was a studio it was a studio arrange at
the time, and he was responsible for the eptunes recorded.
It was created the music for the etne where we were.
Speaker 1 (08:01):
The tone right, go you? Okay?
Speaker 2 (08:04):
So what really started this bass thing with me?
Speaker 4 (08:10):
Because I I never touched a bass guitar before jacking
into Ski, said Leight, I wanted to play a b
I wanted to play a bass. He had a drummer
and he would be playing keyboards and he wanted a
basement at the time. They couldn't find a bas man,
you know, so they came to me, never seen me
playing bass before, and said.
Speaker 2 (08:31):
You wanted me to play this?
Speaker 4 (08:34):
Wow. We went to the studio, Yeah, Diana, he said,
grab the bass, you know, on the studio bass. I
picked it up and he started to show me the
lines that he wanted.
Speaker 5 (08:44):
Me to play, and I copied what I heard and
I read them with the end of the week weekend
we were a club called a tick for that on
Ready's Road.
Speaker 2 (08:57):
That that's no.
Speaker 1 (08:58):
Longer there, right right. I've heard my parents talk about
that though, of course.
Speaker 2 (09:03):
Yeah, that was one of the main spun back then.
You know.
Speaker 1 (09:08):
So were you a little bit nervous given that you
hadn't Wow, I was so insane, you know, you know.
Speaker 4 (09:20):
But but much of the players, Yeah, we played for
about two months the first I was very nervous, but
I got settled in after the second week and you know,
weeks after that.
Speaker 1 (09:35):
But and in your biography you've said that when you
and the Heptones got together, there was like an instant chemistry.
How would you describe that to someone that's never experienced
that kind of creative synergy?
Speaker 4 (09:49):
A lot of people who know what's happening. They know
that I I am there, and it said that I
was writing the songs are raging. All the odds and
oohs that their sad were all my ideas.
Speaker 1 (10:05):
Oh wow, okay, so you weren't just the lead singer.
You were really the lead leader of the band in
that way.
Speaker 6 (10:15):
When when I actually left my wedding thing after we
went to Studio one for the first time, I left
the welding thing and I stayed over and started writing,
writing and arranging.
Speaker 4 (10:27):
These songs that that that were their tones, you know
what I mean in the afternoon when they came in,
they will be coming to new songs and no arrangement.
Speaker 2 (10:38):
Every week.
Speaker 4 (10:39):
Wow.
Speaker 1 (10:40):
So they just had to basically sing what you instructed them.
Speaker 4 (10:43):
To, yes, exactly. Then after learning their bats. But after
a while, you know, they's started really I'm bringing one and.
Speaker 2 (10:51):
Two songs mm hm.
Speaker 1 (10:54):
Mm hmmm.
Speaker 2 (10:55):
Yes, you know.
Speaker 4 (10:56):
But I wasn't one doing most of the work, and
that helped me that when I went that way to
left Studio one apart just played beyase I became the
Jacum two at the time.
Speaker 1 (11:11):
Of his So you were like the arranger for Studio
one after exactly.
Speaker 2 (11:15):
Yes.
Speaker 1 (11:16):
Oh, so what other songs did you arrange the album?
Speaker 2 (11:20):
Noman is an Island?
Speaker 1 (11:22):
Oh yes, Oh my gosh. I love Dennis Brown.
Speaker 2 (11:27):
Too, Little Queen and the Minstuel. But Cardie Campbell.
Speaker 4 (11:35):
Actually the baseline of Queen of the Minstuel mm hmm
made a judgment Sullivan famous because that was that. That's
that's a that's the baseline that brought her on the
scene when Bill billboard her first oh her.
Speaker 1 (11:50):
First song with was it Missy Elliott?
Speaker 2 (11:53):
Yes, exactly, Okay.
Speaker 1 (11:57):
Oh my goodness, I never knew that all these years.
Speaker 2 (12:00):
Wow, but maybe I said that for you, you know, yes.
Speaker 1 (12:05):
Give me a little exclusive, thank you very much. Wow,
that is this has been said? Goodfore Yes, no, I know,
I know. No, that's so amazing. So wait, that would
mean you wrote my favorite heptone song, party time.
Speaker 4 (12:23):
Yes, you know I I made the couchy.
Speaker 2 (12:30):
Really music. Wow, you know.
Speaker 4 (12:36):
It was an instrument that sound that I made. M
h The instrument that sound is called full of Okay,
and it's a it's the instrumental or are they the
music for past of Cochi? Oh?
Speaker 1 (12:53):
I see, okay, so they put those lyrics on it,
but it was originally intent.
Speaker 4 (12:59):
Yes, they redid the music and I sung past they
I've been many years after mm hm, Jackie wasn't England.
Speaker 2 (13:11):
I think that this is the music I use.
Speaker 4 (13:14):
Yes, and they recorded past the Duchy Wow, the dutchy
maybe some good money because it went Billboard.
Speaker 1 (13:20):
Wow, that's so amazing. How does that make you feel though,
that you know something you did is now so big,
like in different different realms of music, because like you said,
they took it and kind of like Jasmine Sullivan or
you know, different groups have taken it and kind of
made it their own, but they stilled me yourself, I have.
Speaker 2 (13:40):
Very important because that makes you money, you know.
Speaker 1 (13:44):
Yeah, well that's true too.
Speaker 2 (13:45):
Yeah, it's important.
Speaker 1 (13:47):
You know, it's very important of course.
Speaker 2 (13:49):
Yeah, you know, so a lot of people don't notice.
But even that that really.
Speaker 4 (14:01):
Dancings and called champion, Yeah, champion, I've made that that that.
Speaker 1 (14:09):
That track, Oh my gosh. I had no clue. And
I know so much about music obviously my dad. But
I just there's not enough stories.
Speaker 2 (14:22):
I understand. I understand, and that's why I took your
time out too.
Speaker 4 (14:26):
That's another reason why I'm taking time out to to
to be doing this because young people, you know of
their musical history, you know what I mean?
Speaker 1 (14:37):
For sure, I think just people. I would even go
on to say just people that are interested in music
in general, because as I'm sure you know, a lot
of artists worldwide take Jamaica music and use it as
a foundation. So I think you know that that's one
of the reasons why I have this show. And I've
had persons like Uncle Ken can Booth, Uncle Dean Fraser
(14:59):
come on here and talk about a lot of the
work that you guys have done and the work that
you guys have put in because.
Speaker 2 (15:07):
Yes, back in the days, yeah, oh.
Speaker 7 (15:09):
My goodness, without love, you can't go on most of
the artists back then, well we do that.
Speaker 2 (15:19):
I was ranging Burning Spear.
Speaker 1 (15:21):
O Burning Spear to.
Speaker 4 (15:23):
The first time about that Burning Spear did. Yeah, I
helped Orange and played this at really.
Speaker 1 (15:32):
Oh my gosh, he's one of my favorites too.
Speaker 2 (15:37):
Studio on the best of Studio one I'm This and
John Wolds and John Olds Studio one I'm I'm I'm
Good album.
Speaker 1 (15:49):
Those are albums, man, Yeah, those are classics.
Speaker 2 (15:53):
Oh yes, oh yeah, so I'm really deep in the music.
Speaker 1 (16:00):
I see why you've been crowned the king of the
reggae baseline.
Speaker 2 (16:05):
The popular.
Speaker 1 (16:07):
Yeah, and I just want to know when you hear
stuff like that, what does that recommend like recognition mean
to you in this phase of your life and your
career that you're getting accomplished?
Speaker 2 (16:18):
You know? Yeah, James Brown said.
Speaker 1 (16:30):
That's amazing, my gosh. And I read on your website
that you had a vision as a child, like seeing
yourself floating above a crowd, feeling like destined for something.
Can you tell us a little bit about that. I
think that's so interesting.
Speaker 2 (16:48):
Well you said that's exactly what happened.
Speaker 4 (16:51):
Okay, it is not so I know it was not
dream it was it was you know what I mean.
Speaker 1 (16:59):
Yeah, yeah, I.
Speaker 2 (17:03):
Because I say, you know what I mean? Right?
Speaker 1 (17:06):
No, you know yeah, especially because you said it was reoccurring,
So it wasn't just like one.
Speaker 2 (17:14):
Now many dreams, one time experience.
Speaker 1 (17:19):
That's true. That's true.
Speaker 4 (17:21):
Many and many and many and many and many and
many and many and many times.
Speaker 1 (17:26):
Wow.
Speaker 7 (17:27):
That's after it stopped for a while, I went and
migrated to Canada, was there, right? It started back again.
I started to again, and then I became popular in Canada.
I've got the Canyad Major Canada.
Speaker 1 (17:43):
Now that's the next thing I was going to talk about.
Speaker 2 (17:47):
Sorry, this is what they're called jumping the gut, you know.
Speaker 1 (17:51):
But that's beautiful. You're right on point. Yes, please tell
us about that, because that's so incredible to receive that
kind of recognition from Canada, you know.
Speaker 4 (18:00):
Oh yeah, whether when I just tip to Canada, I
was greeted by by by me high snow.
Speaker 2 (18:10):
That was terrible. Man, got there, there wasn't much music,
reggae music.
Speaker 1 (18:14):
At me, you know what I mean, right right?
Speaker 4 (18:17):
And then within a year or two I got set
today and started to get popular, started to create bands,
and a lot of bands were formed because of me.
Farm around me. I'm farmed because of my inspiration.
Speaker 1 (18:35):
I've been there right right right.
Speaker 2 (18:38):
We're a club called the Club in Canada and yes,
in Toronto.
Speaker 8 (18:44):
Oh and I would pack that club like every weekend
from Thursday Friday Saturday weekend and if you come after
nine you couldn't get it.
Speaker 2 (18:56):
And we did that for months.
Speaker 1 (18:58):
Did you have different bands or was it like a son.
Speaker 2 (19:02):
My band?
Speaker 9 (19:05):
Yeah, I grow Wow called Bruce Corburn something con Coburn Cockburn.
Speaker 2 (19:19):
Yeah.
Speaker 4 (19:20):
I got a good record for playing one song and
it went big for you, really big, wondering where the
lions are.
Speaker 2 (19:34):
The lands by now?
Speaker 1 (19:38):
But are you sure you weren't a comedian? Also? You
have great comedic timing. Was that was he already artist
or was he a different was? Okay? Okay, got you?
Speaker 2 (19:55):
You know, but they heard of me being a being
talent right right. I proved it to him because I
get him. I hit this line.
Speaker 1 (20:06):
Yeah, I think that that more than proved it. Yeah,
black too, That's amazing.
Speaker 2 (20:11):
They had no doubt after that.
Speaker 1 (20:13):
Yes, with me and I.
Speaker 2 (20:17):
Did an album Kenny and with Canaan and major award
for that.
Speaker 1 (20:26):
Wow, that's incredible. That's incredible.
Speaker 2 (20:29):
And every year in Canada I was getting award from
different sources of different area.
Speaker 1 (20:35):
Also, it wasn't just like a one time thing. You're
collecting multiple awards.
Speaker 4 (20:40):
No, even I don't stop too. I'm still collecting our
arts throughout the years. I've moved back to Jamaica and
still yeah, I'm collecting awards from collecting award from different
states in America.
Speaker 2 (20:54):
Really that I'm in New York, Yeah, all over the place.
Speaker 1 (21:01):
Oh, I love that. That's amazing. That's amazing because the
more awards you collect. I think, especially in different times,
Like you said, our generation, the younger generation, will learn
more about your contribution to music.
Speaker 2 (21:13):
Right.
Speaker 4 (21:14):
And I did a really really really impressive documentary on me,
like the National Again Film Board. Uh huh yeah, and
it's really good, really good.
Speaker 1 (21:30):
Really? Do you know where it was released or like
where people.
Speaker 2 (21:36):
On air Canada?
Speaker 1 (21:38):
On Air Canada.
Speaker 2 (21:40):
You can look it up.
Speaker 1 (21:42):
I'll have to look that up. Do you know what
it's called? By any chance?
Speaker 2 (21:46):
My name my National Film Film Board? Okay, I forgot
the title.
Speaker 1 (21:52):
Ah, okay, Okay, I can google it later, Okay, perfect,
I will definitely do that. Nice and so, like you said,
and like we talked about, you're still creating, right. You
have a new single out, and I'm sure you're doing
more production and performances. But how do you approach making
music today versus decades ago, like with the Heptones, is
(22:15):
it any different?
Speaker 2 (22:16):
Well? Most offer right now. I want studio at my house.
Speaker 1 (22:22):
Okay, And thats a big different, right because you have
more control exactly, I.
Speaker 2 (22:28):
Can do one. You know, I'm made it up whenever
I want to.
Speaker 1 (22:34):
Yeah, you know that makes sense.
Speaker 2 (22:38):
It's cheaper. I'm more feasible.
Speaker 1 (22:41):
Yeah, definitely, yeah, because you can do things on your
own time and go back to different things, right and
just to go back a little bit. So when you
were recording those hit songs at Studio one, at what
point in your career did you realize like, WHOA, like
we're a big group where like we have these huge hits.
(23:03):
Because every time I talk to like my dad or
uncle Ken, it's like they they explained that it was
just a way of life, like nobody really realized how
big and influential they were at that time. But do
you remember realizing you were getting big or.
Speaker 2 (23:19):
Well I I I I.
Speaker 4 (23:23):
I grew with the time, so I know I wasn't.
I was much bigger than I started when I started.
When when when we just start judge down and started
to rare, you know, started practice. M h well we
started like said no, you're that cloud that.
Speaker 1 (23:46):
Night mm hmm.
Speaker 2 (23:48):
I couldn't go further than ten o'clock card coven. We
just started card covene one. We started.
Speaker 4 (23:58):
I and we we we we we we practiced until
we realized that we could now go as love as
we wanted.
Speaker 2 (24:09):
And and I was with no no one.
Speaker 4 (24:14):
Complaining. Ah, that's why we know we were ready. Yeah,
and then when we went to Studio one, you know,
did an audition. We were auditioned. Back came Booth and
the Gay Lads I called the Gay Lights the gas okay,
and the other one we sang before when we went
(24:36):
to Studio one and we were accepting.
Speaker 1 (24:39):
Wow, you know, so so we know that we were
growing you know, yeah, yeah.
Speaker 4 (24:44):
You were.
Speaker 2 (24:47):
Almost got drove crazy?
Speaker 4 (24:51):
Was that?
Speaker 2 (24:52):
No, The first big song was sond called Fatty Fatty
Fatty Fatty. Yeah, that's some that broke that said, that
was one of the early sexist sons.
Speaker 1 (25:04):
Okay, I'm taking notes. I have to look these off.
I did not know that one, okay, okay.
Speaker 2 (25:16):
So I said it was our suggestive because the lyrics
for two weeks and I was bad.
Speaker 1 (25:29):
Oh wow, oh my goodness.
Speaker 2 (25:32):
So people get to hear it.
Speaker 1 (25:34):
Mm hmmm.
Speaker 2 (25:35):
Then it got popular was juke boxes.
Speaker 1 (25:39):
Wow, So that probably intrigued people even more just by
the fact that it wasn't allowed to be played on radio.
No exactly, Yeah, I would.
Speaker 4 (25:51):
And everywhere we tried during the day time when we're
walking mm hmm.
Speaker 2 (25:58):
At that time, we didn't have no no VI nothing
mm hmm. We walked like we were driving me.
Speaker 4 (26:06):
You know, most of we were trying on on on foot,
you know, yeah, saying on the lyrics, my feet on
the carriage. Yes, that's how it was.
Speaker 2 (26:22):
That's how it was reality, you know.
Speaker 1 (26:25):
Wow.
Speaker 4 (26:26):
Wow?
Speaker 1 (26:26):
And what at what point did you meet my dad
when you were.
Speaker 2 (26:31):
With the Was that before in Canada? Yeah? Yeah, we were.
Speaker 4 (26:38):
We were established when when we met your dad. I
met your dad because we were playing with toots.
Speaker 1 (26:45):
Oh okay, okay, we got.
Speaker 4 (26:47):
I mean, we got the chance of him, We got
the pleasure, I should say, played back on back in
us up sometimes too during your time.
Speaker 2 (26:59):
But he was really a.
Speaker 1 (27:02):
Drummer, drummy okay, very nice, I guess I thought, because
I know my dad worked with Studio one too, so
I thought maybe you guys met back then. Okay, okay,
but that's still a long time because that was like
almost forty years ago.
Speaker 2 (27:22):
You can't see.
Speaker 1 (27:23):
Yeah, I was about to stay, I know, because I
was born in Canada.
Speaker 4 (27:30):
You know, I was saying, I said that you don't
really saw America my kids up in Canada. Yes, yeah,
you have the accent, you know.
Speaker 1 (27:41):
Yes, that's so funny. Born in Canada, and then we
went to Jamaica to live, so I started school in Jamaica.
People are always confused by my accent because it's not
like Jamaica and Jamaica, but.
Speaker 2 (27:55):
It's not America.
Speaker 1 (27:58):
It's a little bit of it, exactly exactly. I can't
lose the roots, so to keep.
Speaker 2 (28:03):
It, you get you get a feel of all of
the area environments, you know.
Speaker 1 (28:13):
Yeah, No, definitely, definitely. I'm really My parents brought me
up to be really proud of where I come from,
so I always speak the same in any room. I never,
you know, try to sown the America and anything like that.
I'm really proud. Yeah, exactly exactly. I think more of
us should do that, for sure. And I think if
(28:34):
there's one positive thing that this hurricane has taught us
is the world loves Jamaica. You know, the world loves
so people should be very proud of how they speak all.
Speaker 2 (28:45):
They I'm not sure that that Jamaicans are quite aware.
Speaker 1 (28:51):
Yeah, I don't think so either. Yeah, I agree. It's
unfortunate though. It's really unfortunate because this really showed, I mean,
the way people just came to help immediately before the
storm even left. They were sending help just off of
you know, the music or having visited there or the people,
(29:11):
like we should be proud of ourselves because that.
Speaker 2 (29:17):
Whatever is coming in is being distributed.
Speaker 1 (29:20):
Yes, of course, yeah, that is a big concern for sure. No, true,
it's true. We have to you know, we have to
laugh about it. But we we just have to hope
and pray that people are doing the right right and yeah,
helping people.
Speaker 2 (29:41):
What I'm saying, I'm hearing stories already, you know really
Oh no, oh gosh, I just broke a person earlier
saying that let's say, some of this stuff that was
given away.
Speaker 1 (29:55):
Oh my gosh, Oh that breaks my heart. Yeah, that's unfortunate. Well,
I have hope because I know that there are some
organizations that are Jamaican based that are like bringing food
to people and stuff that you can actually see them do.
So I feel at least good about that that there's
(30:16):
some people that are actually living in that are helping,
you know. But that's unfortunate to hear, for sure.
Speaker 4 (30:23):
Yeah.
Speaker 2 (30:24):
Yeah, but there's so much demand. Yeah right now, you know,
once demand, you know what I mean, you know that
that you know, we we we hope that it's not
the distribution.
Speaker 1 (30:44):
It's not dropping sword exactly exactly. And this is going
to be an ongoing thing. I mean, Jamaica is going
to need help for.
Speaker 2 (30:50):
A long time, but it's more inhergent right now. You know,
at this moment, yes, for sure, you're just kind of
sucking out.
Speaker 4 (31:00):
Then you know you can you know, you know that
stuff can happen, but right now it's necessary that everyone
who was in need gets help. I went down there
the first Sunday after the star mhm, you and I
I went to a supermarket and bought all that I could.
(31:22):
I'm tak I love that at the back of my my, my, my,
my truck and went down there and distributed it, you know,
the little that I could, you know what I mean.
Speaker 1 (31:35):
Oh, I love that, and I'm sure they were appreciative
of that.
Speaker 2 (31:40):
I would most cry just in the condition.
Speaker 1 (31:43):
Mm hmmm. Yeah, that's what everyone's telling me. I'm only
seeing it, you know, online, but people are telling me
when you're there in person, it's a whole other thing.
Speaker 10 (31:54):
Were very important mm hmm, like food, yeah, yeah, what
you well, I tell you, man, right, I'm sure they're
still in need right now because I see I see
the mom distributing some some.
Speaker 2 (32:17):
Some some little some little bags were stuff in it.
Speaker 4 (32:20):
Mm hmm, that haveter We do it like three times
I did for that person really ste you know, like
they're surviving.
Speaker 1 (32:31):
Yeah, no, especially if persons have little children.
Speaker 2 (32:34):
A right. Yeah, I'm most that, you know, I'm saying.
Speaker 1 (32:39):
Yeah, yeah, it's very sad, very very sad. But hopefully,
like I said, hopefully people are going to do the
right thing more often than not. We can only hope
for that, hope that yeah, you know, yeah, I think
Jamaica will be fine. I think as a community we
won't allow it to not be fine. So I think
that that's a good thing that everybody is kind of
(33:01):
trying to do their part as pray.
Speaker 2 (33:03):
I hope, I'm pray.
Speaker 1 (33:08):
Definitely, definitely, And I would like to think that Another
positive spin is thank god it was only half of
the island because at least the other half, like Kingston
and other places on the east side, can help those
on the North coast. You know what, if it was
the entire island, then where would the help come from?
Because everybody, Yeah, yeah.
Speaker 2 (33:31):
The good the Good Lord is still.
Speaker 1 (33:35):
Exactly one hundred percent, one hundred percent agree, Yes, I
just want to wonder, excuse me if you could share
your I guess passion for reggae music, because reggae to
me is not just music, it's a community. Like we
talked about, people love the music, people love the culture,
(33:57):
and you are a pioneer within the music. So what
values do you think need to be kept in terms
of like mentoring, preserving history, and preserving and protecting the
roots of reggae.
Speaker 2 (34:11):
Well, I would say that.
Speaker 4 (34:15):
The people who are the performers, the artists, they're some writers,
right should not straight. I should keep keep the value
you know, alive and keep the music alive. You know,
because a lot of kids, they are not doing much reggae,
(34:36):
reggae is it's a lot of people are making a
lot of.
Speaker 2 (34:41):
Statements right now. Enough for the music, you know what
I mean.
Speaker 4 (34:46):
Because the younger kids are they're they're mixing the beat,
they're changing the beat through some of that stuff.
Speaker 2 (34:53):
Mh, some semi American.
Speaker 1 (34:55):
Kind of beat, right right, you know, saying yeah, no, definitely,
it's not the authentic.
Speaker 2 (35:04):
Authentic much anymore.
Speaker 4 (35:08):
Even my you and he should have and I think
I hope he realized the mistake in my cranics Chronics, Yeah,
because it got popular and re reggae music after and
after started water it down mm hmm until right now
in the album right nowhere is what down? And it's
(35:32):
not getting the response that that that a guy like
in a young person that HI should and it's it's sad,
you know what I mean? Yeah, but we should know
that you should never straight from herods.
Speaker 1 (35:48):
And it's interesting because with Chronics album, what's the timing
is interesting because he has that song on their Hurricane
and you know obviously.
Speaker 2 (36:00):
Cause this thing no.
Speaker 1 (36:08):
No, no, but just of the realm of of what
you're saying, because it's a different zund for him.
Speaker 5 (36:14):
Right.
Speaker 2 (36:14):
But I'm really disappointed with this that they did. Is
that really totally?
Speaker 1 (36:21):
Really you don't even like hurricane?
Speaker 2 (36:24):
No, we do not like a hurricane looking to um a.
Speaker 1 (36:31):
Really, I'm so surprised to hear that. Really, So okay,
let me ask you what exactly don't you like a
bolted in totality would you say? If there was like
one thing to pinpoint.
Speaker 4 (36:51):
It is not authentic no more, No, it's so like,
it's so like that crack and it's a professional. It's
somebody that search really likeness and and I'm struggling to
find their way.
Speaker 1 (37:11):
Okay, so what if what if he wrote or sang
the songs like that this time? Because he is in
that space where he's trying to figure out like where
he stands, because he took a break for a long time, right,
So maybe that's why why Yeah, that's the only thing.
Speaker 4 (37:32):
I Maybe it's not within his control, you know. Yeah,
maybe it's just real life has taken them.
Speaker 1 (37:39):
Yeah, because I think I don't know, I find that
sometimes And I think you can definitely speak on this
having been a musician for so many years. It's like,
let's say you, okay, perfect example, you have these two
major hits, Book of Rules and Party Time. Let's say
people just know those two hits, right, But then and
(38:00):
let's say fifty years later, now you want to do
something that sounds totally different. Maybe it has a little
bit of dance hall in it, and you do well
with it, like people love it. But then there are
those people that know those two very popular heptone songs
and they're like, this is not his style, but it's
still good music. It's just not that style.
Speaker 4 (38:21):
Yeah, that's the thing. If you make that change, it
has to be it must be a change when you
spost to lose the magic. Mmm, you knows what I'm saying.
M yeah, it must really just something. There must be
(38:46):
some magic because even by Maley right did some songs
that they were reggae but and that level and that
like a change, the thing never hurt.
Speaker 1 (39:01):
Yeah, yeah, I mean, it's it's music. So that's the
thing I love about music. Everyone is not going to
like everything.
Speaker 2 (39:07):
That you do, no understand supposed to that. That is
what you live. You know, if you lose that, you're
losing following.
Speaker 1 (39:17):
Right, the audience, I see, I see what you mean. Yeah, yeah,
Well hopefully if he is in that place, you know,
hopefully it's something that he's worked through, and who knows,
maybe his next album will go back to that sound
or a sound he'll be in from now on. I
guess we have to just wait and see.
Speaker 2 (39:35):
You know, that is it? That is it? That's just it.
Speaker 1 (39:40):
Exactly before I do my thank you, I'm going to
ask you a few rapid fire questions, and basically what
that means is you have to answer with the first
thing that comes to your mind. Okay, all right, what
is one studio line or base part that you're most proud.
Speaker 2 (39:58):
Of a gana.
Speaker 1 (40:02):
You played on that, Leroy, I need to let me
get my pen and paper, because like all my favorite songs,
you don't you.
Speaker 4 (40:16):
Would you believe that when I tell him something that
was so popular, I had so much versions that when
I tend them, said it reggae.
Speaker 2 (40:24):
They're reggae at them.
Speaker 1 (40:27):
Yes, because even on Skip Marley's song in our site
samples that I remember, I sent it to my dad
and I'm like, Dad, what sample is in this song?
And I can't think of it?
Speaker 2 (40:37):
Yes? Wow, I think my my horns.
Speaker 1 (40:42):
Wow wow wow wow wow wow. Okay, great, great, great, great?
What is And I feel like this might be a
little difficult, but what is your favorite studio one song?
Speaker 2 (40:54):
Oh? That's that one, you know? One of my favorite
is that. I do remember the name of the song.
Speaker 1 (41:05):
How does it go?
Speaker 2 (41:07):
Oh? Can see?
Speaker 1 (41:23):
Oh my gosh, I know the rhythm, but I can't.
Speaker 2 (41:26):
Yeah, I remember what it's called right now. But I
just love that. And I didn't play at that.
Speaker 3 (41:33):
Yeah, yeah it.
Speaker 2 (41:36):
Oh god, that the one apart from me right there
signs Yeah, the one that really really really yes, Hey,
my best lines that the best lines that I played
solo one m.
Speaker 4 (41:54):
I've been covered from this from the from the seventies,
from the sixties up to two day.
Speaker 2 (42:03):
I said, see over my soul. Mm hmm you s yeah,
of course my bast like that. Jee yeah wow, they
see a baseline taking the fireman. Mh give me, said,
(42:24):
I know, were kid, then we.
Speaker 1 (42:25):
Love the far I know.
Speaker 4 (42:31):
I didn't love money and the comet. I like that.
Speaker 2 (42:40):
That's one of them. When there you're around, I want said,
we've been living in a serious time. Don't let that
the ever blow your mind.
Speaker 4 (42:53):
Those serious come down us sundangerous.
Speaker 2 (42:58):
I like that.
Speaker 1 (43:00):
Wow, you know wow wow wow, wow, wow wow.
Speaker 4 (43:05):
Don't mention a few when someone said, bring up.
Speaker 1 (43:10):
The vibes that Yeah, no, right now, geez geez.
Speaker 2 (43:17):
I like that. I love that, yeah, said so why
I'm going to king?
Speaker 1 (43:28):
Yeah, well you have it, because I feel like it
needs to be a jeopardy category, like what baselines did
you play on? Because I think people would be so
surprised to know that. Definitely, Wow, that is that's amazing.
(43:48):
Wow wow wow. Okay, next question, what is your favorite
non reggae genre to listen to when you just want
to relax?
Speaker 2 (43:58):
Oh, just some music you know, because I know, I.
Speaker 4 (44:07):
When I'm a special and I'm music, I love music
that when I hear it mm hmm.
Speaker 2 (44:14):
If I feel it, then is that good music? I
like it? I listen.
Speaker 1 (44:20):
Okay, so not one specific genre. It's just you hear
something and you like it.
Speaker 2 (44:25):
Yeah, guys, right now, I'm from love for them. Yeah.
Oh yeah, you know nothing my love you know. Yeah,
I mean a Rugby soul.
Speaker 1 (44:40):
Yeah.
Speaker 2 (44:42):
Yeah, you know what I mean. What I should say,
you know what I should say? What I love most
black music.
Speaker 1 (44:49):
Okay, so that covers a lot, because I mean black
music could be country, jazz.
Speaker 2 (44:56):
Yeah, yeah, but everything beep a bleaster you know.
Speaker 1 (45:01):
Well that's true. Yeah, that is true.
Speaker 2 (45:04):
That's so white people have some good news to you know.
But some of them is when when them, when them
coupled the black music style that them say you know, ah,
you know some white people play with love.
Speaker 1 (45:20):
Yeah what song.
Speaker 2 (45:25):
Hotel California? Oh?
Speaker 1 (45:27):
Is that the Eagles, the Vegles.
Speaker 2 (45:31):
Yeah you know that, So that that's the stuff.
Speaker 1 (45:38):
You know, know that you say it. It's yeah, I
never really thought about it, but now that you say that,
thinking about.
Speaker 4 (45:45):
Her that there were touring whatever group when they when
they when they need that sound. Well, that makes sense
to me because it's so it's Rega influenced. You know
about that song again?
Speaker 2 (45:59):
Yeah? That that solo.
Speaker 1 (46:01):
Jesus really I got to play it again. I don't
remember the solo part. I wonder if the reggae band
was touts on the Metals because my dad toured with them. Yeah,
could be, yes, it just could be my girl, yeah,
(46:26):
because I remember him telling me that they toured with
the Eagles and the Who.
Speaker 5 (46:31):
All right there, yeah, that is it.
Speaker 1 (46:35):
Yeah, so it must have been them.
Speaker 4 (46:36):
That is it.
Speaker 1 (46:43):
See you We're learning all kinds of new things there.
All right. Three more questions? What is or where is
one place in Jamaica that always makes you feel inspired?
Speaker 2 (46:59):
Once? What up time that you know?
Speaker 4 (47:03):
Oh?
Speaker 1 (47:03):
Yeah, I missed Hellshare back in the day when it
was the actual Beach Global destroyer destroyed. It's unbelievable. More Beach,
No more Beach. I can't believe it.
Speaker 2 (47:18):
Believe that's that's sad.
Speaker 1 (47:23):
But yeah, Hellshare is a good one. Okay, name a
musician that you would love to collaborate with. Uh, it
could be a singer, actual musician, anyone.
Speaker 2 (47:41):
Oh okay, I.
Speaker 1 (47:45):
Know, No anyone in like, anyone of like the younger
artists that maybe would love to collaborate with you. I'm sure.
Speaker 4 (47:58):
I can't think that in the name right now, Okay,
I will. I will work with any and and and
and any any any good singer got you?
Speaker 2 (48:10):
That depends on the project, you know.
Speaker 4 (48:11):
What I mean?
Speaker 1 (48:12):
Okay, okay, so you're open to working with Yes, I'm
a person love that. Love that okay. And last, but
not least, fifty years from now, when a child discovers
your music, what do you hope he or she learns
about you? Leroy Sibyls Yeah.
Speaker 2 (48:35):
I want when I'm listener said, what do you know?
This one was a genius?
Speaker 1 (48:39):
I love it. I'm sure they will say that I don't.
Speaker 4 (48:45):
Because these lines man that I create many Oh yes,
something about that about magic, you know?
Speaker 2 (48:54):
And that's I think I should I should say before.
Speaker 4 (48:57):
I leave here, is that my base lines have made
a lot of singers and DJs.
Speaker 1 (49:06):
Mm hmm.
Speaker 4 (49:07):
You know my lines are responsible for a lot of
singers and dj is from from the said most yeah, yeah,
almost almost almost.
Speaker 2 (49:22):
All. Right, let's let's figure on it. Mm hmm of
reggae DJs and singers' baseline. That's the show.
Speaker 1 (49:35):
WHOA, Yeah, that's amazing. That's amazing, and that's sounds very
accurate based on what you've shared with us today. So
I think that's a good, good number that you chose.
Well this part of the show, I usually do my
(49:57):
thank you. It's kind of my thing, and I tell people, well,
no cry crying, because me love cry. So yes, I'm passionate.
Speaker 2 (50:07):
I like that.
Speaker 1 (50:11):
So, Uncle Roy, it has been an honor to sit
with you and to listen to you and learn from you.
And I hope you leave this conversation knowing, truly, knowing
how deeply your work has shaped our culture, or sound
and our sense of who we are. I think that
you have put your heart, your voice, and your bass
(50:32):
into songs that became the heartbeat of many generations. And
beyond that, you gave young musicians and are continuing to
give young musicians something internal, the idea that rhythm can
be legacy and not just sound. Your voice, your basslines,
your harmonies. They're not just part of reggae's history, they're
(50:54):
a part of its heartbeat. And hearing you reflect on
your journey, the discipline had to have the joy, the faith.
It really brings a new understanding of what legacy really means.
So as you move forward making new music that I
also love, and continuing to mentor you know, young people
(51:15):
that are interested in following your path, I hope you
know that your gift is not fleeting. It's woven into
the harmony, the memory, and the soul of Jamaica's musical landscape.
So thank you again for coming to talk to things
with me. And it's been an absolute honor having you.
Speaker 2 (51:33):
It's my total pleasure, my love, you know, definitely thank you.
It was so pleasure to it to you.
Speaker 1 (51:42):
There is no problem
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