BIG YOUTH

While most artists seem to lose their edge in the latter part of their careers, Iggy Pop aside, Reggae legend Big Youth comes across with enough passion and fire in his belly to put most of his contemporizes to shame. It’s been over thirty years since the jeweled toothed rebel cut his first single in 1972 and while his career hasn’t been all smooth sailing, Beat asks, why has it taken all these years for him to reach Australian shores?

“Nobody wanted to pay me!,” He laughs down the phone from his home in Jamaica “ It comes down to promoters and record companies. If you don’t have the support of a big record label behind you promoters are less willing to take chances, you know? It’s very difficult for independent artists at this time because corporations have such a monopoly on the music industry. It’s all about making quick money.”

Born Manley Augustus Buchanan, the name Big Youth was given to him by his co-workers at the Kingston Sheraton Hotel when he was still in his teens. He started to pick up the mike at parties; initially toasting without a DJ and by the late 60’s he had developed a loyal following. In the early 70’s he was DJing with Lord Tipperton’s sound system, which finally led to him cutting singles. It wasn’t until after he had recorded numerous singles with a variety of different producers
(including Lee ‘Scratch’ Perry) that Big Youth found chart success. Tracks like The Killer and S.90 Skank vaulted him to the top of the Jamaican charts where he has been many number of times throughout his colourful career. This also led to success in England in the mid to late 70’s where he was even photographed sharing a spliff with Sex Pistol John Lydon.

“I’d worked with a lot of different people and it helped me develop my sound. The music community in Jamaica is quite small and people tend to follow what only a few people are doing. When Lee Perry left Jamaica people didn’t know what to do because they would copy his sound and ideas. People think he’s crazy but I think he’s just unique. There is no one else like him.”
“Do you know the reason he left Jamaica?”
“(laughs) That’s something you’d have to ask him yourself.”

What Big Youth is predominantly known for is bringing Rastafarianism to the forefront of Jamaican music, heavily influencing Bob Marley and countless other acts by sporting dreadlocks in his shows and on his album covers and spreading the message of Jah and love through his music years before it came to represent the sound.
“I always try and make music for the people. It’s important for me to have conscious lyrics. I am inspired by life and struggle and the desire to educate people. That’s where me words come from. Bob understood suffering and you can hear it in his music. He has a special place in my heart.”

The cult movie Rockers seemed to encapsulate the Jamaican music scene of the late 70’s, showcasing a number of legendary artists including Pete Tosh, Gregory Issacs and a cameo by Big Youth himself decked out as what looks to be a flashy pimp. It paints a picture of a laidback Kingston with parties every night and everyone having a good time. Life couldn’t really have been that good, right?
“Ok. Rockers is just entertainment but it’s not life. It really doesn’t represent what was happening at the time. It’s just a fantasy. It was fun to be part of but it doesn’t represent history.”

With the advent of technology providing cheaper equipment and global communication, the Jamaican music scene has opened up and become more accessible than before. Dancehall is now more popular than ever thanks to the likes of Beenie Man, Bounty Killer and Sean Paul. 1000’s of unknown artists can now get the exposure than would’ve once been impossible. Has life become easier on independent talent?

“It’s easier to promote yourself now but there is also a lot of pressure. Everyone has to have a video for their song. A lot of artists sing and dance with shit eating grins but there is no substance. There’s a lot of disposable music with no message. Everyone simmers down. They’re afraid to say anything important. Now everyone needs to be on the web. Even though there are many Big Youth Websites we hope to have Big Youth Web sometime in 2006 so I can share me music and message.”

Touring with Big Youth in February are the ‘Ambassadors of Reggae’ Third World and lead vocalist Bunny Rugs has seen the industry open up for the reggae underground.
“There’s a lot of amazing music coming out of Jamaica now and it’s really turned into a global movement. The world no.1 Dancehall dancer is from Japan and Jamaican music is very popular there. I’m a big fan of Elephant Man, Bounty Killer and Ky-Mani Marley and there are a lot of innovative producers that are pushing the boundaries.”

Third World have also had an amazing impact on reggae music. After opening for Bob Marley and the Wailers in 1974, they have had a string of hits that have made then one of the most successful Jamaican acts in history, despite purists branding them as more of a pop act then authentic reggae. Blending together Pop, Rock, Dub and, in later releases Rap, They helped launch Jamaican music into an international force.

These days Big Youth releases fewer albums and has even fewer shows but the ferocity and intelligence that showed through on records like Natty Cultural Dread and Screaming Target still remains intact.
“I still make me music because I want to spread the message. It’s hard bein an independent artist but you have to continue and try and connect with the people.
I hope everyone who comes to the shows in Australia can learn something, feel something and enjoy.”