Woods on Reggae mission in Uganda
REGGAE music has gone a lot of places since Bob Marley and Jim Cliff gave it to us — from subculture, to culture-warring dancehall. It is thriving in Uganda as well. Unfortunately for us, any critical ear will tell you this tropical beat remains uncharted music territory for many of our artistes.
By Joseph Batte
REGGAE music has gone a lot of places since Bob Marley and Jim Cliff gave it to us — from subculture, to culture-warring dancehall. It is thriving in Uganda as well. Unfortunately for us, any critical ear will tell you this tropical beat remains uncharted music territory for many of our artistes.
In most instances, the ‘reggae’ music they churn out comes across as bland version Afro pop music which is annoyingly remixed with reggaeton drum patterns in futile attempts to give it a hard edge.
Our reggae is not only fake, but also full of slack and boisterous statements like munene munene, bambala byambalemu and bomboclat, the latter being the Jamaican equivalent of the ‘f’ word. Ok.
If poorly produced, slack and violent dancehall is a cancer on the local reggae scene, then who would be the cure? Step forward Gareth Woods, a producer, music teacher, songwriter from England who is now living in Masindi town.
Woods has just proved so with a 12-track CD titled: Chillum Woods Roots. The Pearl in Reggae’s Crown. The art on the CD cover is the first pointer that you are onto something real and more honest!
When you reach out for the ‘play’ button that is when you also realize the reggae style of the album is fairly generic late 70s and 80s roots reggae.
Frankly, Woods is not Rasta man. But his loyalty to the music’s roots sound has not wavered since he got hooked to it after visiting Jamaica.
Musically, Woods, who wrote all the music, produced and arranged all the tracks, played trombone and Djembe on the CD, seems to be telling us: This is how they do it in Jamaica.
The artistes that ride his roots reggae train with a smooth lover’s rock flair, with vocals ranging from the tender croon to the more edgy are Akiiki Romeo, John Kahwa, Culture Man, Wildseeds and Bleced San.
That stylistic reggae fidelity shines through all the 12 tracks — You featuring Akiiki Romeo, A Little More Time (Akiiki Romeo), Salvation (John Kahwa), Fifty Shades of Green (Akiiki), I Will Survive (Wild Seeds), Problems (Akiiki), Mungu Ibariki Africa (Blessed San), Peace In Uganda (Blessed San) Kuc (Culture Man), Renta- Dread (Akiiki-Woods), and Omutima (Akiiki).
Akiiki Romeo singing reggae? You might wonder. Yes, he does. And very well. He sings with passion and there is a distinct, enjoyable soul edge that runs throughout his singing.
Practically every tune on the CD is a spirited reggae wonder and has its own appeal. The sound is lush and Woods weaves the magic with wellplaced brass refrains for his trombone, guitar notes, all which keep his old school reggae fresh and new in our ears.
There is also a nice cohesive sense of unity and wholeness to the sound because Woods picked the right tones that help make the music digestive. This is truly a work of art and a labour of love.
REGGAE music has gone a lot of places since Bob Marley and Jim Cliff gave it to us — from subculture, to culture-warring dancehall. It is thriving in Uganda as well. Unfortunately for us, any critical ear will tell you this tropical beat remains uncharted music territory for many of our artistes.
In most instances, the ‘reggae’ music they churn out comes across as bland version Afro pop music which is annoyingly remixed with reggaeton drum patterns in futile attempts to give it a hard edge.
Our reggae is not only fake, but also full of slack and boisterous statements like munene munene, bambala byambalemu and bomboclat, the latter being the Jamaican equivalent of the ‘f’ word. Ok.
If poorly produced, slack and violent dancehall is a cancer on the local reggae scene, then who would be the cure? Step forward Gareth Woods, a producer, music teacher, songwriter from England who is now living in Masindi town.
Woods has just proved so with a 12-track CD titled: Chillum Woods Roots. The Pearl in Reggae’s Crown. The art on the CD cover is the first pointer that you are onto something real and more honest!
When you reach out for the ‘play’ button that is when you also realize the reggae style of the album is fairly generic late 70s and 80s roots reggae.
Frankly, Woods is not Rasta man. But his loyalty to the music’s roots sound has not wavered since he got hooked to it after visiting Jamaica.
Musically, Woods, who wrote all the music, produced and arranged all the tracks, played trombone and Djembe on the CD, seems to be telling us: This is how they do it in Jamaica.
The artistes that ride his roots reggae train with a smooth lover’s rock flair, with vocals ranging from the tender croon to the more edgy are Akiiki Romeo, John Kahwa, Culture Man, Wildseeds and Bleced San.
That stylistic reggae fidelity shines through all the 12 tracks — You featuring Akiiki Romeo, A Little More Time (Akiiki Romeo), Salvation (John Kahwa), Fifty Shades of Green (Akiiki), I Will Survive (Wild Seeds), Problems (Akiiki), Mungu Ibariki Africa (Blessed San), Peace In Uganda (Blessed San) Kuc (Culture Man), Renta- Dread (Akiiki-Woods), and Omutima (Akiiki).
Akiiki Romeo singing reggae? You might wonder. Yes, he does. And very well. He sings with passion and there is a distinct, enjoyable soul edge that runs throughout his singing.
Practically every tune on the CD is a spirited reggae wonder and has its own appeal. The sound is lush and Woods weaves the magic with wellplaced brass refrains for his trombone, guitar notes, all which keep his old school reggae fresh and new in our ears.
There is also a nice cohesive sense of unity and wholeness to the sound because Woods picked the right tones that help make the music digestive. This is truly a work of art and a labour of love.