18th Annual Reggae on the River

Rave, Worldbeat, and Reggae Cultures Unite

By Joe Aytch
Photos by Ina May Haggard

(click on images to zoom in)

200 miles north of San Francisco, or 75 miles south of Eureka, or from anywhere in the world, all roads led to Reggae on the River 2001 on the first weekend of August for the 18th IRIE year.

Arising from the ashes of the arsonned Mateel Community Center, originally located in Garberville, the first ROR drew a mere 1200 people, and lost approximately $500. The second year drew 3000. In 2001 the 10,000 plus tickets sold out in record time.

"…From the very beginning it was just different from a lot of things that were happening," says Carol Bruno of Peoples Production, the company contracted by the Mateel Community Center to produce the festival. "It was a manifestation of all the community working together. I’ve always believed it was a special gift. Every year when we do it, I know I can feel that it is just so powerful."

Paul Bassis, also of Peoples Productions added, "The vibe here at ROR is tangible, all you have to do is be here. Without the festival or the freeway, this place is a very significant place."

Nestled on the banks of the Eel river, a stones throw from California State Hwy 101, engulfed by California’s ancient Redwood forest, ROR has become an irie iconoclast — utterly destroying the societal barriers that divide us, allowing us one weekend where color, class, politics, or religion is shelved for the better good, as we congregate in brotherhood to the musical beats of the world.

Said Carol, "I’ve done a lot of traveling and seen a lot of places, but I haven’t seen anyplace that I like better as a site for ROR."

All the food booths are reserved for local non-profit groups and schools. As much work as possible is contracted out to local vendors. It is estimated that ROR brings six to seven million dollars to the local economy.

It is also the main source of funds for the Mateel Community Center, which is still paying off the debt of its new building as well as the land it’s located on.

2001 Line-Up

It never fails — Each of the 12 years I have attended ROR, someone complains about the lineup, and this year was no exception.

I quickly point out that ROR is easily about more than just the lineup. My eyes inevitably moisten as I talk about camping with my reggae posse, the river, the all night raves, the redwoods, the ROR staff, backstage, meeting the artists, and more.

When asked about the lineup during a press conference, Peoples Production reiterated their commitment to the youth, citing the influx of sound systems geared towards the Rave culture.

"Like the evolution of any community, culture or civilization there is a balance," said Carol Bruno, "This year we invited the Sound Systems, we wanted to bring more ambiance. The Rave culture and ROR are playing a role in bridging the two worlds, looking towards the future."

How anyone could complain about the 2001 lineup is beyond me.

FRIDAY

Friday night ROR kicked off with an opening prayer invocation by Charlie Thom Karuk Ceremonial Leader and Frank Kanawa Lake, Karuk Restoration Biologist.

Tchiya Amet followed with her blend of Native American roots and Rastafarian faith-inspired reggae. East LA Sabor Factory’s exhilarating salsa. The internationally acclaimed Legendary African Musician Shungu Wembadio Pene Kikumba, better known as Papa Wemba of Zaire. Friday night was climaxed by the incredible Lost at Last. Their musical style sounded exactly as it has been described, "tribal world music blended with the super-hot dance grooves of a Madonna club remix, then overlay equal parts of a Grateful Dead style concert adventure and the techno-shamanic fashion aesthetic of the Burning Man festival."

SATURDAY

Saturday day found Barbadian Rasta David Kirton opening the festivities with his awesome songwriting skills, showmanship and music that bridges his Caribbean and African heritage. He was followed by Upstream. A band founded in Trinidad by Haile and Dereck Blackman, sons of the late Ras Shorty I, considered by many to be the pioneer of modern Soca, Upstream built on their very successful performance the week before at The Afribbean Festival held in Mountain View, California. Their music and energy was a wake up call that let the people know that Saturday was about to be a day to remember.

Moving away from the Caribbean Islands, Ociania Makahiki began a tribute to the Aloha Islands of Hawaii, led by the Spirit of Polynesia dance review, whose colorful traditional Hawaiian costume changes and traditional dances kept us entertained.

We were then ushered into a program featuring some of the best of the islands featuring bands Crazy Fingers [Lahaina], Shilo Pa [Kauai] www.poiboyrecords.com, Kapena [Hawaii] and Marty Dread [Maui]. Marty Dread was found later that night chanting down Babylon at one of the many rave parties held after the main stage shut down. Jamaican born Maacho [Hawaii] considered one of the most influential reggae musicians in the islands, and the increasingly popular Humble Soul [Oahu] who continues to win over fans with his conscious lyrics, enchanting melodies and humble soul.

Then the little island with the big music took center stage as a cross section of Jamaica’s best took to the stage beginning early evening with the incomparable Diana King.

Diana King unloaded on the poor unsuspecting souls gathered beneath the stage. She tore it up with a soulful voice backed by an energy that clearly placed her at the top of Jamaican female vocalists past & present. She is a walking, singing dictionary showing the definitive influence of R&B on reggae, and vice versa.

"When I first heard R&B I had goose bumps. I felt it in my soul," said Diana, "There wasn’t anyone singing reggae with an R&B voice. It just wasn’t done. So I did it," and all of us at the river were awestruck at how well she does it as she sang her hit "Shy Guy" as songs off her new CD "Think Like A Girl."

Then up came Moses "Beenie Man" Davis, preceded by his brother, hard working crooner Kirk Davis, and Silver Cat for a shortened set that did not quite allow Moses to part the sea of faces turned his way. But based on sheer charisma and confidence alone, Beenie Man made his presence known as he let go a flow of his latest and greatest hits.

Soon came Toots and the Maytals. Every time I think I’ve seen Toots at his best, he digs down deep, and comes up with a performance that is second to none, proving once again that his place in reggae, from ska to rocky steady, to R&B, and reggae is undeniable. I don’t think many of us are aware of the number of hits that Toots Herbert has strung together until we catch him on stage.

"This is a most unusual festival," says Toots. "You couldn’t find a better place for reggae music… they show such love for my music and they are enjoying themselves fully." And to show his love for ROR he pulled out some of his best from the early years. I can still hear him belting out "Sweet and Dandy" "Pressure Drop" and more.

I must admit, having missed this year’s Sierra Nevada World Music Festival, I remember thinking Ex-Centric who? Let the record show it’s Ex-Centric Sound System, and after their ROR performance, many of us will never forget.

Carol Bruno sees this group as an intricate part of the bridging of musical cultures. She cites their unique blend of driving traditional African rhythms, techno beats and contemporary music creating a sound all their own. Led by bassist Yossi Fine, and drummer Nana Daddzie this band closed ROR after Toots and had the place rocking. They put on a show that should go down as one of the most memorable of ROR 2001. Their instruments alone were enough to capture one’s undivided attention, as they pounded out a sound that was a blend of traditional African music "reinterpreted for the present generation."

They fired up the crowd, and I left Saturday night to dance the night away at the rave like parties that lasted till sunrise.

SUNDAY

Sunday morning, mostly a sleep deprived blur, began with the alternative music of Common Sense, followed by the lovely Sylvia Tella of the UK, backed by the Fully Fullwood Band, featuring the ever cool bassist Fully Fullwood, and Kingston born Tony Chin on guitar, the busiest backing band in Cali.

Mr. Vegas will nigh forget his ROR appearance. It was hard to tell if he was more upset at the sound crew for having problems with his taped music, or his record company for not seeing fit to send him on tour with a band. In either case, once he offended the sound crew, I knew he was in for a fright. He did manage a couple attitude-laced songs before he (and the people) gave up and called it a day. Damn right!

Ricardo Lemvo & Makina Loca brought some sanity back to the day with their blend of Salsa and Congolese music, and 21 year old singer/guitarist Afro-German Patrice proved he belonged on main stage, leaving no doubt he is headed for the top.

South African "Muso" and DJ, Oscar, Bongo Maffin was up next with his South African World urban reggae sound that defies categorization. In 1999 they won the South African Music Award for "Best Kwaito Artist."

Taking the stage with his usual modest flair, yet with an almost regal presence, Everton Blender brings it every time as he belts out righteous songs professing his strong beliefs and Rasta convictions. "We just keep doing the good thing because we started out early doing it," said Blender about his steady string of hits, "What you do come around to you and we don’t want to do sub-standard."

During his post-performance press conference, accompanied by Blend Dem Production artists and brothers Spanner Banner and Richie Spice, Blender seriously expounded on several topics from the nature of the Rasta Man, the nature of mankind, and the natural resources [beaches & minerals] of Jamaica. He ended by saying "If I’m ever requested, Everton Blender is here." The proud father also shared that his daughter Isha Blender has recorded two songs, and once she finishes school will tour with Dad to get a taste of the business.

Marcia Griffiths, Jamaica’s Nightingale, was one of Bob Marley’s original I-Threes along with Rita Marley and Judy Mowatt. Her voice has led her to many Awards and Honors. She came to the River with a smile on her face and a Nightingale in her throat as she led us on a chronology of her hits dating back to the 70’s.

Luciano’s new album, "A New Day," was almost prophetic. He arrived at ROR with his new band, and without the Firehouse Crew or Dean Fraser. "Sometimes in life we have to accept change, because that is the only thing constant in life," said Luciano about the apparent breakup between him and the Firehouse Crew. He seemed sincere when he stated the breakup could have been handled better, citing his need for a band that understood what he stood for.

"As a Rasta man I require a certain standard," said Luciano about his singers, "To me they were not willing to go the extra mile to make me happy. I need people who see what I live and what I sing for. I’m all about spreading the word of God. I’m willing to work along with those that have the same depth."

Mikey General stood by Luciano when he left the Xterminator Crew, and they have become a formidable team.

Mikey opened for Luciano, and Luci went on to capture the hearts and irie souls of the crowd with an enchanting performance. He took us to church, with his own form of Rasta Gospel. At one point, climbing over 25 feet up the stage scaffolding, Jamaican flag in hand, fully clad in his trademark fatigues, adorned in Ethiopian paraphernalia, Luciano kneeled and led us in prayer then sang "Its Me Again Jah".

In closing he again stated his mantra, "If you want to save the world, you must first save the children."

Sadly heading back to Babylon’s lair, after a swim at "The Whole In The Wall," I reflected on three days of incredible performances, One Love networking and Rasta reasoning, and realized that all 12 of my trips up Hwy 101 resulted in totally unique experiences. My advice to Peoples Production about the future of ROR, "If it ain’t broke, don’t fix it!" It’s a magical place.

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Joe Aytch is a San Francisco Bay Area Photo Journalist whose writing and photos have appeared in various publications throughout the United States, including The Reggae Calendar International, Exodus, The Buffalo Soldier, Forward, Dub Missive, The African Voice, The Guardsman, The Bayview Heritage and more. He is currently an Editor/Writer for CityFlight Newsmagazine and was formerly an editor for the Reggae Review. He appears on several web pages, and has been a featured MC at the Afribbean and One Root Festivals. He can be reached at jtaytch@aol.com or at P.O. box 90384, San Jose, CA 95109-3384.