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STONE LOVE STANDS ALONE -THE FINAL INSTALMENT

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NEW STONE LOVE HIT THE ROAD

 

StarWhat I remember of Stone Love dem time deh, I always credit Stone Love with taking Stone Love to some uptown crowd as well as through House of Leo and I was at the first dance Stone Love play at Union (UWI) (About 1993). Place cork up. Tick. Would you see it that way as well, that Stone Love take dancehall uptown?

Wee Pow: Yes man! Without a doubt! And it all happen through Rory. In which, like me I’m from nowhere. Cause where me come from I wouldn’t call it uptown. Neither would I call it downtown. Rory was from uptown, so he was friendly with the guys from like Le Jeux and Ambassador. Dem was the first set a yute, dem was long before Renaissance. You were mentioning Spectrum. I remember when Colin Hines used to come a House of Leo. Never know what was his intention. We start play a Union now and …

 

S: Different vibe …

WP: Yeah. (He goes on to explain that the Students Union was an old music stomping ground, including the nearby community of August Town). The whole area musical. So with the whole youth them from Compound, plus student, plus the area people them …

 

S: Full up the place.

WP: Yeah man, massive man.

 

S: There were the UWI students who used to go to House of Leo (in the early 1990s). Them time dem jus’ a see Roses Crew and dem man deh. I remember the first time I heard Renaissance play at House of Leo.

WP: Hear wha gwaan wid Renaissance now. Renaissance came on the scene even before people really start seeing them. We were playing Renaissance them remix. I remember this particular one (the remix of Buju Banton’s Murderer on the ‘Natural Mystic’ rhythm). We use to play it an is always big forward from it, until Rory introduce them. Se de yute dem whe do dem song deh. Dem have a little system fe demself dat dem play at some uptown party, but now dem start play pon some big system, cause dem start play pon Stone Love. Dat help lif’ up everything.

 

S: Clashing thing was big one time, but Stone Love was juggling. Was it a deliberate thing at the time to stay away from the clashing?

WP: Yeah, definitely a deliberate thing in which I didn’t like it. I do one and two clashing in which it is not like now. Clashing first time carried violence. A lot of things come with clashing, from those days, tube amplifier days, man woulda push pin through you wire and from it bridge it short out you thing. I remember one time we play a Waltham with Little John sound name Romantic. We have one more column a box than them and the place was a two-part hall, front and back. We have a next set of box we put round the back. When the session done and we a roll up the wire, we realise the wire cut in two. A whole lot of things used to happen inna dance, sound clash. People use strength of support to get on top of the other sound, even if them a play better. It reach to a point now where it becomes personal, man a sey some hurtful tings whe no suppose to inna de ting.

 

S: A fighting ting dat a road.

WP: Right! So we jus’ decide sey it all boil back down to pure disrespect. We decide sey we never get to stardom by clashing, so we no see why we should a use it to maintain that level. Every now and then we do one, where we see it look like it clean, where we know sey professionally, it will execute in a good way. But aside from that we just stay whey from it.

 

S: Did you stop playing with certain sounds?

WP: Basically, from them disrespect me, a it that. Me nah play with you again.

 

S: You nah mek it happen again.

WP: No, there was no second chance. With we, we will never disrespect foundation or an elder, so give that back to we. From we come inna dance an we know who we is, we a de bigger boss then, me a give you a break an’ you a come dis me. You mention Bass Odyssey. Them time you have Squingy and Lenny. We no know whe dem come from, but them have no manners and no respect. And now we an Bass Odyssey play like how we and Metro used to play. Probably there is no given week now we and Bass Odyssey no play from St Elizabeth come right back round to St Mary. (We talk about sounds like Bodyguard, Inner City and Kilamanjaro, Wee Pow saying “every time we play with Jaro is a straight clash”.)

 

S: The case (at Stone Love’s Burlington Avenue, St Andrew, headquarters) full a trophy, everybody know Wee Pow as a icon inna de ting now. You did expect them tings here?

WP: No. Definitely not. We just take a day at a time, stay focused, stay current, nutten new nah come an we no with it.

 

S: The other night, at Asylum anniversary I hear Stone Love play Konshens Winner on special. Me sey wait, Stone Love up to date.

WP: We nah stop cut them. Stone Love will go on and carry on.

 

S: The edge is still there, you want the set to sound good.

WP: Definitely. I am in the process now to really come out with a new system which will be the next dimension. Is the longest it ever take me to really upgrade.

 

S: How long you running the current system for, couple years?

WP: Yeah man, couple years, other people upgrade, still them no gone roun’ me. Is just me now, have a thing on the drawing board about two years now, getting things bit by bit and making sure that what you are doing is right. Is not no experimentation time now. Anything we coming with is to last for couple years well. We coming real modernised. We going early next year, almost everything is in place already.

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