JA/TDOT: 2-LP re-press available now (w/ expanded booklet)

Lloyd Delpratt (RIP)

When I started down the path of helping to share vintage songs and stories that were still so vibrant and alive to me despite their recording dates and level of commercial success, little did I realize that I would encounter so much loss in the process. Even 20 years ago, when I began this journey professionally, artists like the late, great, keyboard king, Jackie Mittoo had already passed on, but since then we have lost so many more talented musicians who have enriched, not only their families, but communities, greater society, and the world at large. Fostering and celebrating these connections and sparks, between generations and cultures, is the pulse that runs through my work in-and-with music.

Other than knowing that he is no longer suffering, it is with great sadness that I have learnt of the passing of St. Thomas, Jamaican-born musician, vocalist, composer, and good friend, Lloyd Delpratt. Having spent this past summer producing a long overdue revive of the 2006 Jamaica to Toronto: Soul, Funk, & Reggae 1967-74 compilation for Light in the Attic Records, in which Lloyd’s original composition “Together” is featured, I had reached out yet again, as I often have, for clarity straight from the source, and to let him know that I had just started reading his recently published book, What Is Your Name? A Memoir, Lloyd's first. As a fellow writer, I was extremely proud of him for such a crucial accomplishment.

Since our first meeting, while working on a 2004 reissue of Wayne McGhie & The Sounds of Joy, an album on which he plays, Lloyd has been very supportive of my work: encouraging, affirming, not to mention helpful, while asking for nothing in return. His belief in my efforts will always mean the world to me. And to hear Lloyd play live along with many of his peers in front of an audience of thousands at the initial, landmark, Jamaica to Toronto Harbourfront Centre reunion concert in the Summer of 2006 was the thrill of a lifetime. Our last in-person meeting was in the Spring of 2022 when we journeyed together into the downtown core, after a stop at Voluntary In Nature HQ, to visit the Rhythms & Resistance exhibit at Friar's Music Museum (housed on the second floor of the Shoppers Drug Mart on the southeast corner of Sankofa Square). It was great to see an example of his work, a copy of Lloyd’s 1971 Summus label 7” single, present and in such good company. During a heathy lunch, and in cab rides across town, Lloyd told me of his younger days, experiencing the original Skatalites in Jamaica in the early 1960s with such vividness that I felt that I was in the room with them, his family, of which he always spoke of warmly, Wayne McGhie, his old Sounds of Joy bandmate, and his current creative initiatives and life in general.

Lloyd, our forthcoming Jamaica to Toronto re-release is dedicated to you. I will champion your sound forever… LOVE

The true story of Canada's reggae capital

Nardwuar's Video Vault: Kevin Howes on the Willie Dunn Anthology & More!

RIP Jimmy Wisdom

*Sending LOVE

Wayne McGhie (1946-2017)

This afternoon, I was notified that Jamaican-Canadian singer-songwriter and musician Wayne McGhie had passed away after a series of compounding health complications at his home in Toronto. I have been asked by his sister and care giver Merline to let the music world know of his physical death, an honour which I do not take lightly. Wayne is heavily responsible for my career in writing and music and I have been made to feel a part of his family since our initial meeting in 2003. At the time of its release in 1970, The Sounds Of Joy was ignored by the Canadian music industry and mass media and despite selling limited quantities, he pushed forward throughout the 1970s writing, producing, performing, and arranging. Confronted with serious mental health issues, Wayne went missing and retreated from playing music professionally in the early-to-mid-1980s. I first heard Wayne's music in the 1990s as a DJ in Vancouver, British Columbia. His Wayne McGhie & The Sounds Of Joy record had become sought after in the underground sample-based hip-hop world and celebrated by obscure funk and soul music collectors worldwide. Captivated by its quality, I longed to find an elusive copy. It took me years to find one. Along with Light in the Attic co-owner Matt Sullivan and fellow Montego Bay-born singer Jay Douglas, I connected with Wayne and his family in late 2003 during preparation for the first official reissue of his Wayne McGhie & The Sounds of Joy LP. Armed with a portable turntable and a stack of vinyl records, it was an emotional gathering for everyone in the room. Tears were shed (as they are today). A true pioneer of Jamaican and Canadian music has moved on. May your mind, body, and soul be free...

I love you Wayne, 

Kev

*Below is a post-script essay included in the ten year anniversary Light in the Attic re-release from 2014, and below that, a heavily condensed version of my Sounds Of Joy liner notes for further context.

May 21, 2014

Much has happened over the last 10 years, but the music and stature of Jamaican-Canadian singer-songwriter Wayne McGhie has only grown since Light in the Attic’s 2004 reissue of Wayne McGhie & The Sounds of Joy. Despite critical acclaim from the likes of the The New York Times, CBC, and plenty of street level props, it’s a shame that Wayne can’t fully join in on the celebration and much deserved notoriety. In early 2013, The Sounds of Joy, McGhie’s debut album and a landmark record of Black Canadian expression, was awarded with an eighth place honour in NOW Magazine’s, “The 50 Best Toronto Albums Ever” list. Appearing alongside Neil Young, Gordon Lightfoot, Rush, and fellow Jamaican and musical collaborator, Jackie Mittoo, McGhie was definitely in good company. It was a long overdue acknowledgement of the Caribbean musician’s immense contributions to our collective cultural fabric (whether the masses are aware of it or not), but also an ironic clash with his daily struggles to survive. McGhie lives with acute schizophrenia and no longer plays or writes music. His loving sister Merline helps take care of him, a true guardian angel if there ever was, while Wayne maintains a low profile. Though he was excited to hear of a renewed interest in his vintage material, which also helped McGhie to reconnect with his estranged daughter, Wayne lives a relatively solitary life, far removed from the recording studio or steady supply of gigs that once filled his calendar. Though unable to relish in the spotlight or reestablish his music career, McGhie’s legacy has reached far beyond its initial regional audiences in Montego Bay and Toronto. Since the rediscovery of The Sounds of Joy through DJ and sound system culture, Wayne’s music has been sampled by hip-hop producers looking to craft the perfect beat and keenly championed by selectors from New York to London to Paris and Tokyo. It was also a major catalyst in LITA’s six album Jamaica-Toronto series and subsequent live showcase revue tour featuring The Mighty Pope (Earle Heedram), Everton “Pablo” Paul, and Jay Douglas. Over the years, I’ve been blessed to break bread and spend some quality moments with Wayne and his family, but apart from meeting him for the first time in preparation for the Sounds of Joy and Jamaica to Toronto reissues, one instance still burns bright in my mind, a family anniversary party in an Etobicoke apartment basement. Merline, along with some relatives and friends, had made a lovely spread and there was a local sound system pumping out reggae tunes. I sat on a chair next to Wayne as the guests trickled in and looked to the ground to watch his feet tap away to the rhythm in perfect time. Clearly, the music is still running strong within McGhie whether we get to hear it or not. Thanks for the memories Wayne, you’ve changed my life for the better. Your music will never die. I will champion your sound forever!

Kevin Howes (aka Sipreano)

Voluntary in Nature

Unceded Coast Salish Territory/Vancouver

Wayne McGhie (with microphone, bottom right)

Wilfred (Wayne) McGhie was born in Montego Bay on October 15, 1946. He picked up music at a young age after learning a basic guitar scale from his sister Merline. Music came naturally to Wayne. He bought a guitar instruction book on a trip to Kingston and proceeded to master chords. He also began formal music training at Montego Bay Boys’ School. Throughout the 1960s, local talent shows at the Palladium Theatre in downtown Montego Bay were the place for up-and-coming musicians and singers to hone their craft in front of a live audience. Wayne, as he was now known, would bring the house down with American R&B tunes such as Billy Stewart’s 1962 “Reap What You Sow.” During these talent shows, Wayne's skill was noted by Kingston-born musician Jo-Jo Bennett, a prominent trumpet player and bandleader. Wayne was soon performing with Billy Vernon and the Celestials alongside piano/organ player Dizzy Barker and singers Jimmy Wisdom and Bob Williams. He played with this band, along with popular vocalist Keith Stewart, until his departure for Canada in 1967. 

In the 1960s, Toronto became a new home for many Caribbean immigrants thanks to immigration reforms. Toronto's West Indian Federation Club (WIF) and Club Jamaica were places where folks could converse, eat, listen to music, and sustain their heritage. Scouted by the club’s management back home in Jamaica, Bennett had moved to Toronto in 1967 to perform at the WIF and soon called for McGhie. Winter in Toronto was a shocking change from Montego Bay, but a steady diet of music made the shift smoother for Wayne, whose girlfriend soon joined him in Canada. They wasted no time starting a family; in 1968, their sole daughter, was born. Unfortunately, Wayne’s constant gigging and busy practice schedule put stress on the young family. By the tail end of the 1960s, Wayne had developed into a promising musician, singer, and songwriter. Wayne penned “Chips-Chicken–Banana Split”, the A-side of Jo-Jo and the Fugitives’ sole 45 on the minor Cobra label. Eventually, other avenues began to open up for the growing pool of young Caribbean musicians in Toronto, which now included Jamaican music legends Jackie Mittoo and Alton Ellis. 

While the Yorkville area nurtured the burgeoning folk-rock coffeehouse scene with performances from the likes of Neil Young, Gordon Lightfoot, and Joni Mitchell, Yonge Street was the place for the midnight movers and groovers. Frank Motley & the Bridge Crossings, King Herbert & The Knights, the Hitchikers (with Jackie Shane), Jack Harden & the Silhouettes, the Sheiks featuring the Mighty Pope, the Majestics, the Cougars, Jon and Lee & the Checkmates, Mandala, Eddie Spencer, and Grant Smith & the Power were just some of the groups and artists that played to mixed-race crowds at clubs like the notorious Le Coq d’Or, then the number-one R&B club in Toronto. 

Music was a breakfast, lunch, and dinner affair for these talented musicians. Band work, pickup gigs, and recording consumed most waking moments. Still, high-end studios were a luxury; the Canadian recording industry of the time was in its infancy and neither structured nor willing to support Black artists. Sessions for the Sounds of Joy album were self-funded and recorded during off-hours at Sound Canada studios in the winter of 1969. Wayne was 23 at the time. 

Possessed with an intensifed vision, Wayne assembled a stellar cast of musical friends. Many of the Jamaican-born instrumentalists involved had already developed solid recording pedigrees back on the island. Twelve musicians are listed on the LP sleeve; others, including Jackie Mittoo, are rumoured to have sat in. Of the 10 songs recorded, six were McGhie originals, and as the material moved from funk, to soul, to reggae/R&B crossover, it is Wayne’s pure and soulful voice that sets the tone. Look no further than his emotional take of the Friends of Distinction’s 1969 hit “Going in Circles” for proof. McGhie squeezes every possible ounce of soul out of his vocal while a haunting flute floats “round and round” in the background and the chain-gang rhythm reaches and pulls in equal measure.  Instrumentally, the contributions were economical, dynamic, and heartfelt. The musicians didn’t overplay. Everton Paul’s opening drum break on “Dirty Funk” is as badass as they come, and once the song kicks in you’d be forgiven for thinking the band came from New Orleans, not the Caribbean.

As Wayne finished the album, he decided to start a band of his own to capitalize on its coming release and make some money on the road. The band was dubbed the Sounds of Joy and lent its handle to the Wayne McGhie & The Sounds Of Joy LP released in the spring of 1970. Although the band had started to gig to support the album, Birchmount did nothing to promote it. Compound that with zero radio play, and the album sank without a trace. Apart from friends and family, people didn’t seem to care. Even some of the album’s players didn’t even receive a copy of the finished disc.

Months later, an accidental fire at the Quality warehouse destroyed all of the remaining copies of the record. Because of its poor sales up to that point, the album was lost in the label’s scheduling shuffle, never to be re-pressed. This extinguished any hopes of the Sounds of Joy as a recording and touring unit, and despite Wayne’s righteous aspirations for the group, the absence of label support meant it was only a matter of time until things fell apart.

Distraught, but with bills to pay, Wayne continued gigging as a singer and accompanist in Toronto and on the Ontario and Quebec club circuit (he even ventured south to the United States on occasion as well as returning to Jamaica to record “How Does it Feel” for Studio One). His next notable recording projects were with the Hitchikers featuring the Mighty Pope (“Mr. Fortune”) and Ram, a post-Hitchikers splinter group. Ram’s lone release was an infectious McGhie-penned and sung jam entitled “Love Is the Answer.” Released in 1972 on the Tuesday label, it also featured Studio One veteran Joe Isaacs on drums. Despite minor regional attention, the single never caught on and Ram, like the Sounds of Joy before them, disintegrated.

Although Wayne continued to be musically active with session work for Jackie Mittoo on the Canadian Talent Library label and an unreleased solo album from the mid-to-late 1970s, the musical climate and club scene were changing. The hard-funk feel of the late 1960s and early 1970s was morphing into the slicker and more polished sound of disco. Wayne worked predominantly in the reggae and gospel scenes during this period through recorded an unreleased album of original material.

Constant gigging throughout the 1970s took its toll on Wayne. Unable to balance career and family, his fast pace and financial uncertainty began to be a problem. Despite playing with American-born/Toronto-based jazz and pop musician Bill King, at the start of the 1980s, Wayne had all but abandoned hope of a stable music career and was experiencing mental health problems. Heavily medicated, he lost touch with friends and became a wandering vagabond—a shadow of the strong, confident, and talented man who tore up the scene only a handful of years before.

Lost and presumed dead by some, Wayne eked out an existence under the radar of even his closest friends. Merline was never too far away and was able to care for him, but Wayne was underground. Stone cold gone and missed by many, he turned his back on the music that had brought him so much happiness.

Wayne’s music had an underground resurgence in the mid-1990s through sample based hip-hop and DJ culture. The Sounds of Joy was was re-released by Seattle-based Light in the Attic Records in 2004 with assistance from Kevin Howes (aka Sipreano) and Montego Bay-born/Toronto-based vocalist Jay Douglas who helped to find Wayne.

He was prominently featured on the 2006 archival compilation Jamaica to Toronto: Soul, Funk, and Reggae 1967-1974, a project that was taken to the stage by Douglas, Everton “Pablo” Paul, Bob and Wisdom, Val Bent, Lloyd Delpratt, The Mighty Pope (Earle Heedram), Glen Ricketts, Noel Ellis, as well as other veteran players from the Jamaica-Toronto scene.

Wayne McGhie & The Sounds Of Joy was given a 10th anniversary re-release by Light in the Attic Records in 2014 and was his story was featured in the Jamaica Observer newspaper in 2015. 

With the full blessing and support of Wayne and his family, Voluntary In Nature is currently in production on its first release, a special tribute to the man from Montego Bay who has affected the world (and beyond) with his unique musical voice. Watch this space...

PEACE

(MOR) June + July hello

The Musical Pope (Earle Heedram, aka The Mighty Pope)

There are people that you meet who change your life forever. Earle Heedram, aka The Mighty Pope is one of those for me. Today, is Pope's 70th birthday and with Earle's blessing and support, I would like to share some of his musical history w/ you. Here's to many more happy years ahead my friend!!! I feel blessed to have have shared so many good times in your company. I am raising a toast from the coast!!!
Love,
Sipreano

The Mighty Pope (born Earle Heedram, October 23, 1945) is a Jamaican-Canadian singer, recording act, and one of the first black solo artists to release a major label soul music album in Canada.

Known for his vocal strength (hence the "Mighty" prefix in his stage handle) and sharp visual presentation (custom tailored suits, shirts, capes, and footwear), he was marketed as a "sex symbol" at the height of his recording career in the mid-to-late 1970s.

Early years
 
Pope (who received his nickname via a Vatican-shaped plot of land his father owned in their native Lucea, Jamaica) came to Canada in 1965 and after adjusting to the culture shock of his new surroundings (people, transportation, architecture, food, weather, media/advertising), wasted no time in immersing himself into the heart of Ontario's growing Jamaican musical landscape. Due to immigration reforms and the 1955-1960 West Indian Domestic Scheme, by the mid-sixties, Canada's Jamaican population was expanding significantly and there were already a handful of clubs (Club Jamaica, W.I.F. Club, Club Trinidad, etc.) catering to those immigrants who wished to celebrate their native culture through music, social events, and food. Although Pope had only seen fairly limited performing experience in his native Jamaica (performing with Byron Lee, see below, as well as other regional musicians on the local talent show scene), he quickly became the R&B commodity on Toronto's Yonge Street strip (Hawk's Nest, Le C'oq D'or) after reinvigorating The Sheiks, the house band at Club Jamaica (located where Eaton Centre now exists, managed by Mr. Fitz Riley), as lead singer.

 

The Sheiks

In 1964, The Sheiks (including vocalists Jackie Opel, Lynval "Eddie", Spencer, and singing MC Bobby Rousseau) were the first group of non-folk playing West Indian musicians who came to Canada, initially to promote the indigenous Jamaican sound of ska, yet never returning to the islands after seeing potential musical work opportunities in Canada (though notable Studio One vocalist Opel did venture back to Jamaica after his first taste of the Canadian winter). After Spencer's departure from the group to perform as a solo artist (where he saw early breakout success), the outfit was in dire straits. Pope's arrival on the scene in 1966 reignited the band and within the year, they were cutting their debut Canadian recording in the studio. The Sheiks (featuring The Mighty Pope) cut one R&B/soul single, released on the short-lived Toronto-based independent Raymond Records label called "Eternal Love" (b/w "Centennial Swing", 1967) (included on Seattle-based Light In The Attic Records' 2006 compilation, Jamaica To Toronto: Soul Funk & Reggae 1967-1974). The group also returned to Jamaica during this era for a brief tour.



The Hitch-Hikers

Along with Sheiks guitarist/co-song writer Rupert "Valentine" Bent, Studio One drummer Joe Isaacs, Pope was soon courted by American-born Rock and Roll legend Frank Motley (an innovator in the transition of rhythm & blues into rock and roll during the 50s with his dual trumpet technique) to front his Hitch-Hikers combo (another mainstay of Toronto's R&B community) replacing the popular singer Jackie Shane. The band's Grenada-born bass player, George Phillip, was already in Motley's fold (joining his then-"Motley Crew" after departing the 1964 incarnation of The Sheiks). The Pope fronted Hitch-Hikers kept a very active performance pace with constant dates all over Ontario and Quebec (routes already traveled by the Pope-fronted Sheiks). Recording their debut LP in 1970 with Canadian label Paragon, The Hitch-Hikers featuring The Mighty Pope combined a mix of Pope and Bent-penned originals and tough R&B/funk covers by the likes of Eddie Bo and The Meters. With no industry or much promotional support, the disc sank. After a series of line-up changes with The Hitch-Hikers (seeing Motley, Bent exit and the addition of Jamaican-Canadians Wayne McGhie on guitar and Jimmy Carver on keyboards and one-time Skatalites trumpet player, Johnny "Dizzy" Moore), the band released one more single, "Mr. Fortune" on the Heart label before packing it in for good. 

Solo career

After fronting minor combos Ram and the Wild Oats, Pope eventually went solo and saw even greater commercial success. With a rigorous schedule of non-stop touring, Pope continued to gain recognition and adoration. By the mid-seventies, his dynamic stage act caught the attention of management and subsequently RCA Records Canada, who released his self-titled The Mighty Pope LP in 1977 (notable for being one of the first major label soul music LPs recorded in Canada by a black solo artist, breaking down walls and barriers for future generations). It contained the single, "Heaven On The 7th Floor," a #14 hit single in Canada. Harry Hinde (Tundra, Charity Brown, Shania Twain) produced the disc with arrangements from Eric Robertson (The Majestics, Moe Koffman, Roger Whittaker) and perhaps most impressively, Motown and Detroit music legend David Van dePitte (Marvin Gaye's "What's Going On"). Four 7" singles from the long player were released altogether. "Heaven On The Seventh Floor" broke the Canadian Top 20, while "If You Want A Love Affair" received worship from the UK's dance-fuelled Northern Soul scene.

In 1978, Pope signed with Quality Records after sessions for a second RCA album were aborted (unreleased demos were recorded in Detroit throughout 1978 with Van dePitte). New producer John Driscoll surrounded Pope with top-notch talent for his next recording project, amongst them, Italian-Canadian disco icon Gino Soccio, for his second solo album, Sway. The album quickly shot up the club charts worldwide and was additionally picked up for American release by RFC Records. The first 12" single was a remake of the Bobby Rydell's 1960 hit "Sway" followed by dance floor smash "Sweet Blindness". Both songs were remixed by Jim Burgess and scored Top 40 placement on the U.S. disco charts assisted by promotional tours to Studio 54, national TV, media, and extended cross-Canadian touring.

With changing musical tides, Pope's induction to the world of disco was short-lived and by the early 80s, RFC Records had folded. Still, Pope continued to perform soul, R&B, and pop in bars and clubs across Canada until the early 90s when he decided to retire from the business and focus on family. With his musical career revived by 2006's Jamaica To Toronto archival reissue project, Pope was soon performing in Toronto, Montreal, Calgary, and Vancouver, BC to receptive audiences old and new. He is currently preparing for a nationally televised CBC performance as well as writing songs for a series of upcoming releases.

Native North America on Q (CBC)

In 2007, I appeared on CBC's Q (then hosted by Jian Ghomeshi) alongside Cougars' vocalist Jay Douglas to promote Light in the Attic Records' Jamaica to Toronto: Soul, Funk, and Reggae 1967-1974. Today, I will guest alongside James Bay Cree Lloyd Cheechoo (CNACA) in support of Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985. Q's current host is Wab Kinew and I look forward to hearing how the prerecorded piece was put together. During the course of our talk, Wab mentioned that his family had a Willie Dunn LP in his house growing up. I imagine that would've been very inspiring and thought provoking, no doubt, a real eye (and ear) opener! But of course, one comes to music when you do and all that matters is that it resonates within. While Wab and I are Canadians of different cultural backgrounds, we both have Willie Dunn in common and that, to me, represents part of what's great about this country, the opportunity for meaningful exchange and dialogue, learning from personal experience and from each other! PEACE

(MOR) Wayne McGhie/LITA/Cratery/Sipreano

Toronto-based Cratery was birthed in 2009 as a podcast/monthly dig diary. Five years later, selectors Arcee, Kaewonder, and DJ Serious have released 68 action packed episodes of musical madness into the vortex (available on cratery.com or via iTunes) with guests ranging from yours truly Sipreano to Seattle hip-hop mastermind Jake One, Canadian beat maker legend Mr. Attic to super producer Frank Dukes. Dig even deeper and you’ll find episodes featuring the mysterious MoSS (Strawberry Rain), Birdapres, 180 Proof Records’ Amir Abdullah (Kon and Amir), Jason Palma (Play De Record), Aki Abe from Cosmos Records, Skratch Bastid, and many more—a crate diggers who’s who for those in the know. Songs are played in a round robin style and range from funk, soul, rock and roll, reggae, Latin, and beyond. For any lucky souls who have attended one of the Cratery recording sessions, you’ll know that this event is simply another excuse for a good time. There is drink, there is smoke, there are definitely tunes, and sometimes, there’s even food. All this fun can tire a brother or sister out, ya hear? Well, sit back and give Cratery a spin!

On November 28, Cratery are joining forces with Light in the Attic and Sipreano to celebrate the 10 year anniversary of LITA’s Wayne McGhie and the Sounds of Joy reissue in the town of the original album’s creation. The occasion will coincide with a special gold vinyl expanded gatefold edition (the debut release in LITA’s six-album Jamaica-Toronto series) and available worldwide as part of Record Store Day (also on November 28). Originally released in 1970 on the minor Birchmount imprint, The Sounds of Joy was a trailblazing album by a recent Jamaican immigrant and his talented musical friends. While The Sounds of Joy fell to mostly deaf ears at the time of release, over the years, Studio One alumni McGhie has garnered respect for his work with the likes of keyboard king Jackie Mittoo, rock steady icon Alton Ellis, the Hitch-Hikers, and Jo-Jo Bennett (Byron Lee & the Dragonaires, Jo-Jo & the Fugitives), before falling on troubled times. In the early 1980s, Wayne went underground and was thought dead by many. During McGhie’s lost years, his debut album grew to legendary status and coveted by funk and soul hounds worldwide for it’s tough break beats and Island groove sound. NOW Magazine recently awarded the album as one of the top Toronto albums of all time and though McGhie no longer plays music, he is appreciative of all of the love and support he’s received since the 2004 reissue. We are honoured to host the following event in Wayne’s honour.

Wayne McGhie and the Sounds of Joy listening session

Featuring Cratery (Arcee, Kaewonder, DJ Serious) and Sipreano (Voluntary in Nature)

November 28, 2014

The Bristol

1087 Queen Street West, Toronto, Ontario

11 pm till late

Here’s a lil’ Q and A with Cratery to help set the mood:

Q: Toronto is one of the most diverse cities in the world. What’s it like living there?

Arcee: I grew up in the burbs, but I’ve spent a great deal of my adulthood in the city and I love it. Diversity is one of Toronto’s greatest gifts. You can see it in our restaurants, in our women and in the records. You only need to live somewhere else in Canada to appreciate the diversity of a place like T.O.

Kaewonder: *puts on Fela Kuti's "Expensive Shit"

DJ Serious: I love Toronto. It definitely is a diverse city and I think it’s best represented through its food. We have so many great food spots. Food from around the world. It’s amazing.

Q: Toronto has a massive Caribbean connection. Artists like Wayne McGhie and Jackie Mitoo moved from Jamaica to Toronto in the late 1960s as well as many others from different islands like Trinidad and Barbados (each area bringing their own culture into the mix). But as we all know, even musicians and DJs have to eat sometime, so what’s the best place in Toronto to hit for some tasty Caribbean food and what are you ordering?

A: My West Indian friends tend to argue more about Eglinton West versus Scarborough, but my first stop is always Ali’s Roti Shop in Parkdale. It’s an institution, and I’ve been hitting it since high school. I usually go for a boneless goat roti if I’m sitting down or 2 doubles if I’m on the go.

K: Ali's Roti. Hands down. It changes day to day, but sometimes I'm feeling for some oxtail, other days I want curry chicken on rice with extra pepper. I like my food SPICY.

D: This is a tough question; I can’t just lump Caribbean food all together (*very good point, Sip). For me, a Jamaican place may not be my first choice to get a roti from and like wise, I probably wouldn’t necessarily be craving Jerk from a Trinidadian Resto.  But some of my Top spots would be in no particular order, Ali’s Roti Shop, Roti Palace, The Jerk Spot, Drupatti’s, Pats Homestyle.  I don’t want to get into a fight here about which is the best, but there are a lot of great ones to choose from.

Q: What makes a good record store and does Toronto have any?

A: I used to think that the ideal store would be one that had all the records I was looking for. But then up pop boutiques like Cosmos Records in Toronto and although they’re great, it’s almost too easy, if that makes any sense. It kind of takes the fun out of digging when everything’s curated. You don’t have the same satisfaction finding a record at a boutique versus finding one at a thrift store or flea market. Then I thought my ideal store would be the kind of place where the owner is a Stones fanatic and doesn’t know anything about rare, soul, funk and jazz, so all the records are cheap. But I wouldn’t have much in common with the staff, so that would suck. Great selection, great staff and great prices are ideal, but I don’t think there’s a single record store in the world with all three. So I’d have to say my ideal record store is simply one that stays in business and doesn’t close.

K: I've always been of the mind that a good record store needs to have good stock, a dedicated buyer who stands behind said stock, and someone who's courageous enough to introduce people to new things, and be bold enough to usher in new ideas. I'm resisting the urge to go off on what makes a BAD store, but I digress.

D: There are definitely some good record stores in Toronto.  I like stores that have a good selection of random records.  I’m not into stores that seem over-curated.  Nothing beats that feeling of seeing records that you’ve never seen before or don’t see on the regular.

Q: What’s your favourite Light in the Attic release and why?

A: Selfishly, I have to say Jamaica to Toronto because it educated me on the history of my own city. I’ve always loved soul music, but I didn’t pay much attention to what was happening in my own backyard. Collections like that make you realize how foolish you can be by overlooking what’s right under your nose. And they make you respect the legacy of the locals who were recording that music at the time. Plus “Mr. Fortune” is such a banger. I still need an original copy of that!

K: Wheedle's Groove. Cause Kenny G was on it.

D: It’s gotta be Jamaica to Toronto.  It really helped open my eyes to my own city and the music coming out of here from that era.  Not only with the island sounds but with the funk too.  All lot of great tracks on that comp.

Q: What does “crate digging” mean to you in 2014?

A: Sadly, crate digging in 2014 is very much a dick show. In the last 10 years, it’s gone from a bunch of dudes talking about records on Soul Strut to showing off records on Instagram. I can’t point fingers, because I’m one of the worst offenders. But no one seems to be excited about finding anything that isn’t rare. Unless it’s a 45 of a super common hip-hop song. Which is also “rare” since it’s on 45. Going into 2015, I’m trying to deprogram myself a little bit. I have to remind myself that records aren’t interesting because they’re rare. Records are interesting because they’re interesting. I’m trying to return to the real reason I started buying music: discovery.

K: I guess in hindsight it seems like a bit of a limited mindset, not to say it's not a mindset I don't relate to or haven't subscribed to in the past, but I feel like it's an entry level set of ideals, if you stay there it's a bit regressive and counterintuitive. “Hey, let's look for records EVERYONE wants!” kind of translates to “Look ma, no brain/flavor originality.” I love seeing someone's collection that is completely and utterly ORIGINAL and THEM. Lot of cats lacking original crates, especially with eBay and Youtubes and the kids with the radio playin’ the raps on the boom box.

D: Keep copping that woogie

PEACE

WAYNE listening session (Toronto)

eternal love (RIP val bent)

I got to know Jamaican singer-songwriter and guitarist Val Bent (born Rupert Valentine Bent) while producing the Jamaica to Toronto: Soul Funk & Reggae 1967-1974 compilation for Light in the Attic around 2004-5. He was back in Jamaica after living in Canada for many years, where he laid down some of the toughest soul and funk records this country has ever produced. Bent came to Toronto, Ontario, as a musician with the Sheiks in 1964, and decided to stay despite our chilly winters, a far cry the Jamaican sun. He became an important musical member of the city’s growing Caribbean community and a mentor to many young players. The Sheiks became the house band for Club Jamaica on Toronto’s busy Yonge Street, which acted as a second home to Bent. Manager Fitz Riley would cook up curry chicken for the patrons and musicians, which reminded Bent of his Jamaican roots. It was here that he first met another young Jamaican immigrant, Earle Heedram (aka The Mighty Pope), who quickly became the new lead vocalist for the Sheiks. Bent was knocked away by Heedram’s powerful voice and commanding stage presence. Together, they wrote and recorded “Eternal Love,” which was released as a 7” single on the Raymond Records label in 1967 (and subsequently featured on Jamaica to Toronto). Regardless of the record’s deep soul and passionate performances—listen for Bent’s twanging guitar and back up vocals—the record sank fast without radio or media support. Despite a lack of record sales, the Sheiks were trailblazing Jamaican-Canadians who brought their music throughout the provinces of Ontario and Quebec, even in the face of racism, which the group unfortunately encountered on occasion. After returning to Jamaica in the late 1960s for a series of performances (replete with “psychedelic light show”), both Bent and Heedram (along with Studio One alumni, drummer Joe Isaacs, and organ player Chris Scasserra) linked up with American transplant and rock and roll pioneer Frank Motley as the Hitch-Hikers featuring the Mighty Pope. Motley was active on Toronto’s bustling Yonge Street strip, which was filled with nightclubs, strip bars, and record stores, and where Bob Dylan first heard the Band, then performing as Levon and the Hawks. The Hitch-Hikers not only performed popular funk, soul, and pop covers by the like of Eddie Bo and the Beatles, but a series of Bent originals as well: “A Stranger in your Own World,” “Memory Lane,” “Smile Maria Smile,” “You Got the Green Light,” and his namesake “Hell Bent.” After Motley fell ill, the group gradually went their separate ways. Bent and Heedram picked up a couple of hippie musicians and formed the short-lived Wild Oats, but the unit never recorded. Apart from a series of minor regional recordings, Bent focused on live work and performed in Canada throughout the 1970s and into the 1980s. After returning to Jamaica, Bent suffered a stroke and retired from the business. He returned to Toronto in 2006 for the now legendary Jamaica to Toronto reunion concert and once again sang back ups behind his musical brother Heedram on the mighty “Eternal Love.” Bent reportedly passed away in his sleep last week in Jamaica and he will be missed by many the world over. We send our best regards to his family and loved ones and count ourselves very lucky to have met his acquaintance. Val, we will miss your laughter and words over the coming years, but will champion your sound forever!

Eternal love,

Sipreano

wilfred mcghie by lloyd raphael delpratt

JA/TDOT (2007)

HEAR THIS: JAMAICA TO TORONTO
A blast from the past is the best way to describe the album Jamaica to Toronto. The album compiles the work and tells the story of reggae and funk artists who migrated from Jamaica to Toronto in the late 60’s and early 70’s. Matte Babel hooked up with a few of the lost legends of reggae, funk and soul and also talked to the man that compiled all these hidden gems.

MuchMusic:
Monday, March 19, 2007 @ 9:30pm & 1:30am ET, Monday, March 26, 2007 @ 12:30pm ET

Citytv:
Saturday, March 24, 2007 @ 1:30pm ET

bob & wisdom

love is the answer

the mighty pope

what can i say about the mighty pope that hasn't already been said? he lives his life to the fullest, has made some great music along the way (w/ the sheiks, hitch-hikers, ram, and as a solo artist), and continues to spread love everywhere he goes... hope to see and hear much more from this jamaican-canadian soul/R&B/disco legend in the not too distant future!@#$%!!! BIG ups to the musical pope!!!

val bent

you're so good to me baby

rewind (names)...

*the original JA/TDOT scene was a musical community. here's a few names of key players shouted out off the dome at henry's records in scarborough during the long winter of 2007... peep original soundbwoy deejay sureshot in the background digging up some 7"s!!!