Come We Go Down

*LISTEN/SUPPORT (in full) at Bandcamp... PEACE

Episode 594-Voluntary In Nature releases-The Stunt Man's Radio Show

*It's not everyday that you get interviewed by a Recording Academy / GRAMMYs-nominated Engineer on his long running radio show, 594 episodes weekly and still going strong... Episode 594 is a deep dive into Voluntary In Nature and its first releases, with Kevin James Howes, that's me, interviewed by the man himself (that's Greg Michael of Suite Sound Labs in Vancouver FYI) who helps to make the music sing again, technically speaking, and soulfully, of course... Most importantly, we offer some of our favourite songs to the listeners from VIN, "an outlet for sharing"... PEACE

Wayne McGhie - Talk To Me (Wayne '76) (VIN 001)

Kevin Howes (Voluntary In Nature) 2022 bio + press photo

Kevin Howes is a two-time GRAMMY®-nominated producer, journalist, DJ, filmmaker, musician, and artist of settler/immigrant heritage, humbly and respectfully working out of Toronto, Ontario (Tkaronto). His most recent initiative is the grassroots/independent launch of Voluntary In Nature—birthed as an early online streaming mix for SNDNST/2Step, Tokyo, in 2006—as an “outlet for sharing” and artist-to-artist collaboration, fully conscious of the exploitation fuelling the music industry and striving for positive change, great equity, celebration, and awareness.

Contributing to and quietly influencing the Canadian music scene since the late 1990s, Howes has played a major role in shaping the extensive catalogue of well-respected US-based reissue label Light in the Attic Records on over 25 internationally acclaimed archival music projects. Jamaica to Toronto: Soul, Funk, and Reggae 1967-1974, Our Lives Are Shaped By What We Love: Motown’s Mowest Story, Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985, and Creation Never Sleeps, Creation Never Dies: The Willie Dunn Anthology are key examples of his vision and dedication, realized through decades of travel, research, and connection. 

Howes' book deep liner notes accompany Sixto Rodriguez's landmark Cold Fact and Coming From Reality reissues and those of rock giants Thin Lizzy. He has also helped to provide stages for artists at everything from side door after-hours parties to nationally broadcast events like the Native North America Gathering at Trinity-St. Paul's in 2017 and the 2 Rivers Remix/Native North America livestream gathering from the fall of 2021. As a DJ performing under the Sipreano moniker, Howes has lovingly supported the likes of Lee Perry (RIP), Paul Weller, Black Mountain, Destroyer, and Jennifer Castle, and had the immense privilege to play a handpicked selection of vintage vinyl records from his collection before the final concert by the 13th Floor Elevators at Levitation 2015 in Austin, Texas. Often compared to folklorist Alan Lomax and eccentric collector/curator Harry Smith, Kevin's work has been featured in The Guardian, Rolling Stone, CBC, NPR, and The New York Times. 

Soldiering on through another year of the global pandemic, Howes is focused on Voluntary In Nature and the release of Wayne ’76 (VIN 001), Indian/Inuit Country (VIN 002), and Catseye (VIN 003), by Wayne McGhie, Willie Thrasher, and Catseye respectively, with more to follow…

LISTEN/SUPPORT: https://voluntaryinnature.bandcamp.com/

"You introduced me to a whole new world of records." - Nardwuar the Human Serviette

"Howes knows what people want, before they do." - Discorder Magazine

"The world in general, and Canadians in particular, owe an immense debt of gratitude to Kevin Howes." - Vancouver Folk Music Festival

VIN 001 002 003 (Out today)

*Now available on Bandcamp. Listen... Learn... Share... PEACE

 

Joseph "Jo-Jo" Bennett RIP (1940-2021)

It's safe to say that the world will never host another gem of a person quite like Kingston, Jamaica-born Joseph "Jo-Jo" Bennett, who, according to family, passed away in his sleep on August 3rd. Jo-Jo was a musician, teacher, family man, Rasta man, bandleader, connector, entertainer, and a true force of nature. With help from the man himself, I pieced together the following bio of Jo-Jo's musical migration for 2004's Jamaica to Toronto compilation. There is a very good reason why "Fugitive Song" was the album's first track... Bennett will always lead the way...

"Joseph “Jo-Jo” Bennett began his musical career at the esteemed Alpha Boys’ School in Kingston, Jamaica, over sixty-five years ago. His mastery of the trumpet, jubilant stage presence, and eagle eye soon caught the attention of prominent bandleader Byron Lee who quickly snapped up the young player for his busy group, The Dragonaires. Performing all over the Caribbean, it wasn’t long before Lee offered Bennett and long-time friend, lyricist, and business partner Owen “Bunny” Stone an opportunity that they couldn't refuse, a small label of their own where the duo could develop talent and release their own material. The label was named Fugitive in tribute to the popular American television show starring actor David Janssen which aired from 1963-1967.

The original “Fugitive Song”—there are two separate recording sessions of the song released on vinyl—was captured in 1967 with Stone and members of The Dragonaires during the same sessions that produced “The Lecture” and a rocksteady version of Herbie Hancock’s “Cantaloupe Island” dubbed “Cantelope Rock.” “I came up with the lyrics inside of the studio,” explained Stone. “They go, ‘All over the country I work and I live and that's why, that’s why they call Jo-Jo, the Fugitive.’ That was describing a lifestyle which was his and partially mine.” Leaving Jamaica to travel with The Dragonaires to Montreal for Expo 67, the trumpet dynamo decided to remain in Canada after the world’s fair. He sought out potential work in Toronto (542 kilometers south-west), and immediately befriended Kermit and Kingsley Lyn of the West Indian Federation [W.I.F] Club. After a short stint with The Cougars, Bennett was given the challenge to assemble his own group, and he drafted in a gang of players from Montego Bay, including guitarist and songwriter Wayne McGhie, who all shared a house on Temple Avenue in Toronto while getting acclimatized to life in a new country.

By 1968, the Fugitives had also recorded McGhie’s “Chips-Chicken-Banana Split,” which was released on the Cobra label. “Chips and chicken go together, and the dessert was banana split,” explained Bennett with his trademark laughter. As for the flavour-filled sound, the song is a wildly animated R&B shouter with utterly raw vocals by McGhie and the unique brand of contagious playing that typified the explosive energy that the crew delivered on-stage. Jo-Jo And The Fugitives pushed in along in Toronto until their namesake leader’s short-lived return to Jamaica in 1969 where he recorded the Groovy Joe LP for producer Harry A. Mudie, which included the all-time classic "Leaving Rome." Under heavy pressure and without solid guidance from Bennett, the Fugitives collapsed and its members pursued other avenues."

Of course, this was just the beginning of Jo-Jo's life in Canada, which later saw him launch a music school w/ drummer Joe Isaacs (The Soul Brothers, Sound Dimension, Lynn Taitt & the Jets, Frank Motley and the Hitch-Hikers, Risco Connections), launch his own Bunjo record label, and help to form the Canadian reggae institution The Sattalites ("Wild," "Easier Said Than Done," "Gimme Some Kinda Sign" to name a few) along w/ veteran Canadian singer-songwriter Fergus Hambleton, winning two Juno Awards in the process. 

In the early 1990s, The Sattalites were showcased in an hour-long MuchMusic special entitled "10 Years of Roots, Reality & Culture," celebrating the band's many achievements up until that point. As a music loving and playing teenager with my own roots in Toronto, I cherished the program, which I recorded onto a VHS tape, as well as the songs and warm personalities of Hambleton and Bennett, who took us back to Sister Mary Ignatius Davies [1921-2003] and the Alpha Boy's School in Jamaica and recapped their legendary Reggae Sunsplash performance. In other words, it influenced me greatly. 

A decade later, it was such an honour to connect w/ Jo-Jo (and Fergus) while producing the Jamaica to Toronto compilation. Both were very kind to me and I will cherish the moments that we connected. Included below are a photo of Jo-Jo (right) blowing his trumpet alongside Bobby Gaynair (left) courtesy of the Mullings family, Jo-Jo's "Fugitive Song," Jo-Jo hanging out w/ Noel Ellis at a gathering to honour Wayne McGhie at the Aura Club in Toronto in 2003, and a clip from MuchMusic's 1990s Sattalites special... 

Though Jo-Jo wasn't the first to make the trip from Jamaica to Toronto, the legacy of his trailblazing journey and life should be celebrated FOREVER... PEACE, VIN

GIVING THANKS FOR THE INCREDIBLE JO-JO BENNETT

 

And so it begins...

The WORLD PREMIERE of Voluntary In Nature, an outlet for sharing, on the Nardwuar the Human Serviette Radio Show, "rocking UNIVERSALLY," this afternoon (2:55 PM, PST) on CITR 101.9 FM or citr.ca ***TWO-PART SPECIAL*** including VIN pre-release exclusives by Wayne McGhie (WAYNE '76), Willie Thrasher (Indian/Inuit Country), and Catseye (self-titled) along with a selection of songs selected from VIN Archives and plenty of recovery rap conversation. BIG ups to the Grammy-nominated The Stunt Man Greg and Suite Sound Labs on the VIN audio tip and Phototechnica.ca on the graphic design tip, and thanks again Nard! Stay safe everyone... PEACE and LOVE, Voluntary In Nature

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) 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)

wilfred mcghie by lloyd raphael delpratt

birdapres...

owns a wayne mcghie!!!

wayne on studio one

did you know that jamaican-canadian singer songwriter wayne mcghie cut a side for coxsone dodd's infamous studio one label? "how does it feel" is a touching personal number w/ plenty of grit and soul... def one of wayne's best...

my god(s) #5/6

http://lightintheattic.net/artists/11-wayne-mcghie-the-sounds-of-joy

cool it

from yard to yonge - wayne mcghie

i first met jamaican-canadian singer/songwriter/musician wayne mghie w/ light in the attic records co-owner matt sullivan in the winter of 2004. mghie had been "missing" for years and even feared dead by close friends. while plagued with health problems, we broke bread and were brought to tears by his then undocumented story. it's a day i will never forget...

last month, i traveled to toronto once again to shoot footage of wayne w/ from yard to yonge (jamaica to toronto) with darby wheeler (CBC). while we've been working on this documentary project for over four years, this is a time sensitive story that needs to be told now. we can't loose this crucial canadian history...

*here's an excerpt from my liner notes to LITA's 2004 reissue of wayne mcghie and the sounds of joy:

"After three months of extensive searching, we had run out of clues. Promising lead after lead had been exhausted, leaving us with little hope that unsung Canadian music pioneer and beat-digger icon Wayne McGhie would be found. Local collectors drew blanks, phone listings came up nil, and tax and hospital records were inconclusive. Friends from Jamaica to Toronto had all lost touch years ago. Wayne was truly missing in action.

Still, just as we had given up all hope, a chance meeting with singer Jay Douglas at a wedding changed everything. Not only was Jay an old friend of Wayne’s, but he was as interested as we were in finding his old spar. His persistent and cunning detective work soon proved successful. Within weeks, the phone rang with the call we’d been anxiously waiting for…

Toronto, Ontario. January 26, 2004

We arrived in Toronto trailed by the worst blizzard the city had seen in recent memory. It was a relief to be welcomed into the warm apartment of Wayne’s sister Merline. Accompanied by Jay, we were greeted by the smell of some fine home cooking. Any nervous energy soon dispersed as Wayne stood by the door and shook our hands. He was quiet, yet alert, perhaps a little puzzled by the sudden burst of attention after all these years. Small talk ensued and long forgotten records were played. The sounds of Jo-Jo & the Fugitives, The Hitchikers, Sounds of Joy, and RAM filled the air. We were shocked to hear that Wayne hadn’t played a guitar since 1979. Emotion weighed deep.

The next evening, Jay Douglas organized a gathering at the Aura Club on Yonge Street for us to meet folks like the one and only Joseph (Jo-Jo) Bennett, drummer Everton Paul, and singer Noel Ellis. Henry from Henry’s Records played sweet soul, ballads, ska, and even a 45 by a convincing Elvis impersonator in the background. It was pure class across the board. Nuff conversation, food, drinks, and dancing made it an unforgettable night. Gaining so much insight into a virtually undocumented scene was like finding the missing pieces needed of a complicated puzzle. We said our goodbyes and trotted through the snow to catch the last subway downtown."