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Interview: Flabba Holt in Kingston (Part 3)

Interview: Flabba Holt in Kingston (Part 3)

Interview: Flabba Holt in Kingston (Part 3)

By on - Photos by Veronique Skelsey - 4 comments

"Style Scott was like my son"

Sampler

Read part 2 of this interview here.

In part three of our exclusive interview with Flabba Holt, he describes how he played a crucial role in Gregory IsaacsNight Nurse because of some disparaging remarks that he took to heart, why Steely left the band and started the computer age, and how he coped with the recent death of Style Scott

Flabba Holt

There was a 1984 Linval produced Freddie McKay album, Tribal Inna Yard, that was recently re-issued by Iroko Records. It credits Radics on the reissue but on a recent dub album of the same rhythms released by Hot Milk it credits Revolutionaries.

Yeeees. Well in those days, let me show you something now. Sometimes some war would go on there now. Because Revolutionaries would find they didn’t get any work. Sometimes the man would just put their name upon the thing to make it look like they worked. Radics licked the Revolutionaries out of the thing. It no matter still because that’s how music goes. Enough times I played on a tune and when I looked I saw another bass man’s name on it. Like on most of Gregory Isaacs’ songs there.

A man would say “Bwoy, Radics a two chord musician and blah blah blah” but I never paid it no mind. They wanted we to play the tunes with no heap of chords and I didn’t want to bust up my brain there. Two chord tunes like on Gunman – because the bass would run from F to F sharp to G to G flat and go out. That’s three notes. So we started playing a couple of tunes for Gregory Isaacs and touring for Gregory Isaacs and Gregory Isaacs started putting them out on African Museum when he had a cash and carry upon Orange Street. He used Sly and used Robbie. But then we became resident band now and he used us.

A man would say “Radics a two chord musician” but I never paid it no mind

Now, I don’t know who started passing remarks but I have ears boss. I have the wickedest ears in Jamaica and the wickedest ideas because I can do enough things. So we’d hear certain words they talk because if Gregory had an LP it would sell. There was a certain musician there who I won’t call his name boss. Saying it was just through how their name was upon the music was why it sold. So they said “Radics a two chord musician” and how we can’t play music and blah blah blah.

Hear this now. When Island signed Gregory Isaacs, Gregory got some time up at Tuff Gong Studio, at Bob Marley’s place up at 56 Hope Road and we did an LP. So I said “Gregory, what we ago play upon the LP?” Because you see I voiced Gregory Isaacs on a whole heap of tunes boss. I sat down and told him how to sing because I know Gregory’s sound. For GG and a whole heap of tunes – too many tunes. So I looked upon him and said “Gregory, you see me, Bingy Bunny, Dwight, Steely, we’re going to go up to Tuff Gong, do the LP, all Radics doing the LP”.

This was Night Nurse.

The LP he hadn’t named it yet. We just did the tracks, no vocals, just empty tracks. I don’t think there was any rough voice. We just laid the rhythms at Tuff Gong. One day, I got a call saying they wanted me to go to Compass Point. I said “Which Compass Point?” they said “A foreign” and I said “Mi nah go a foreign because mi nah ago left mi musicians” but they said “You haffi go a Compass Point”. I said “Where that then?” and they said “Nassau” and I said “Mi never go Nassau yet” and they said “Alright”.

They booked me tickets to fly out to Nassau. I sat down. In Nassau, boss, they have two studios – Studio A upstairs and Studio B downstairs. When I went up to Studio A I heard up there a brother named Stephen Stanley with (sings) “CHILL OUT CHILL OUT CHILL OUT NEW YORK” and he’s mixing and mixing. That studio was clean and nice now boss. But I don’t know what I’m doing yet. I’m there for one week – nothing to do. I say “Wha Gwaan?” and they say Gregory is supposed to come and do voicing. I say “I never knew, they never told me that”. Two weeks – no Gregory Isaacs. I’m there for one month and I say “I go back home” but they say “No man, Gregory a come next week”. So I start to listen to the tracks and they dubbed on enough percussion on all the tracks, all eight tracks.

Gregory comes and boss, they had an old time mic, a rock ‘n’ roll mic, a big mic. At Compass Point that mic caught my eye because my pickney would love that mic there! You know the regular mic – the long one? I said we didn’t want to voice with that mic and I said “Gregory, a this mic we ago use” and he said “Alright then Flabba, anything you seh”. He voiced eight tunes in seconds – zap zap zap – because he’s great here, Gregory. Because Gregory, man, sometimes his mouth was out of key. And boss, enough things I know about the business that people don’t know. You’re getting an exclusive interview. Gregory Isaacs was often out of key and I made him straight upon key. He was a singer where I’d tell him “Yes, Gregory, go up deh a little more”. We have a song that me and Gregory sing that people don’t know (sings) “IF YOU WANT TO BE MY NUMBER ONE” Me and Gregory sang that song. And after we voiced eight songs the LP was not named yet.

When he’d done voicing the songs Gregory Isaacs left leaving me in Nassau. I thought “Gregory, what kind of thing that?” I didn’t know what to do. I sat down and started talking to myself. They say a man who talks to himself is a madman. I’m a madman now so I started talking to myself. My mind just flashed back to when the man said how because he’d put on certain man’s name like Robbie and Sly Dunbar, a Gregory Isaacs LP would sell and I don’t know who passed those remarks. I knew what to do. I thought “Radics alone are on this LP so mi ago do my best”.

So what happened next?

Then a keyboard man came from England called Wally Badarou. I thought “The keyboard man has come. I have an idea”. He said “Wha gwaan Flabba? What we ago do?” I said “Gregory has gone and I don’t really know. But tomorrow we’ll do something because my head no ready yet”. So I went to rest and slept the night and did some thinking. Tomorrow I was ready for him. The first thing upon the tape was Night Nurse and I said “Just cool man. Just play this” (sings iconic keyboard three note motif) and he just dubbed on that. He said “Wicked idea, Flabba” and I just said “No mi just think and it come in my head quick”.

Then I thought “We need one more tone to go with it” and I started in my head (whistles, slowly moderating into the iconic three note response) and I said play this now (sings entire phrase). Because enough man have to play that on a stage show and they have to have two different keyboards because they have two tones. Two different tones I used but enough people don’t know that boss! It’s like with ProTools now, where it’s a loop. It’s a one finger thing – no drop down. And for Cool Down The Pace I did the (sings descending motif) and he said “Flabba you good. You done the work. Go home”. One day that was boss, in one day.

Mixing time came now, boss. That’s where I would prove myself. The engineer came and said “Flabba, you ready now?” I said “No, no, tomorrow”. It was a Saturday night and I said “I’m going to mix Sunday morning, man”. So I came to wake him up at five o’clock in the morning (knocks on table) saying “Come, boss, we ago mix now because I want to go back Jamaica now”. We come down at six o’clock. Now, boss, the studio they gave me? I don’t know if you know about this, but in Jamaica they have two classes – the A Class if you are a bright boy and the B Class if you are a dunce boy. If you are in the B Class you know nothing – you are a dunce. You have to will yourself to go to the A Class.

That studio was so clean and pretty. It’s where I heard (sings) “CHILL OUT CHILL OUT CHILL OUT NEW YORK” and in the booth I saw Grace Jones with her long fingernails and she looked like a man. All muscly and everything. They did their voicing and I didn’t want to hear that because she couldn’t sing – she was all out of key and everything – so I went to sit down and meditate. Because that’s not the studio they gave me to mix the LP. The studio they gave me. The rug in there was dirty man. But I said “Alright, music a music”. The engineer came and we started to mix.

Who was the engineer?

Godwin Logie from London.

I know him.

I said “That tune is the first song – where him sing about Night Nurse”. We mixed it and he said “Flabba, we ago take a next cut?” and I said “No man, we no do the two cut thing, only one cut”. Because it was going complicated for me. Because if we had two cuts they’d have to say “I want this or that?” We mix and mix and mix and it’s done. The man listened and he listened and he said “Flabba, where you get your head from? You say no more cuts?” I said “No, no, no”.

Monday morning I drop asleep and I hear (knocks on table) on my door. I said “Who dat?” “Chris Blackwell. Flabba – how the LP a come?” I said “We done man”. They said “Done? No man it can’t done. You take one day to mix all the tunes? We ago listen this”. They put on the two track tapes and played the tunes and they played and played and played. They must have played for one whole day. They said “What’s the LP name?” and I said “Me a call it Night Nurse”. They said “No man”. They wanted to call the LP Cool Down The Pace. I said “Nothing like that. We ago name Night Nurse because that’s the big tune upon the LP. Cool Down The Pace a good tune but Night Nurse a more catchy.” They said “Where the next cut? You know you must mix a spare cut?” I said “That’s it boss, every tune a one cut”. They looked upon me and said “That’s impossible”. It took me one day – not even a whole day – half a day to mix eight tunes and it sounded so good.

So did you get any royalties from that?

I got nothing boss. I got no royalties boss. Up till now. Gregory Isaacs died in 2010.

From Channel One days Style Scott was so stubborn

How did you feel when the digital thing came in? Because Steely was a big part of that.

Well, when the digital thing came in it was like Style Scott caused that problem. Because Steely was my little student. Everything I told him, he’d do it. We toured with Bunny Wailer and this brother I knew, a big producer from Miami, Skengdon, came to the soundcheck. I don’t know if he knew Steely, I think him and Steely were like family, but he went to Steely and he didn’t want to talk to me. Because in those times you could put money on your plane ticket and stay over so he said “Go tell tell Flabba when him done no haffi fly out, come to the hotel and come deal with me because mi want him play some tune”.

I don’t know if you know that one time me and Gregory were supposed to go to England and do an LP with a brother called Reggie Lock called Freelance. You hear a song (sings) “EVERYTHING YOU SAY EARSAY” where I was talking on the intro and telling Style Scott “That’s not the right roll”? I never knew the guy was taping that – everything! I say “Whappen that? The wrong roll that! Bomboclot!” I say a bad word. If you listen to that song it’s like Style Scott sometimes was ready to outroll we. I said “No Style, more come with the bass in a particular way” and he went (drums on table) and I said “No man, if you listen again, the wrong roll that, alright now”.

Now Bunny Wailer was supposed to pay me. He flew out and left me. Gil Scott Heron was on the show as well. Anyway Skengdon was rich so we were in good hands so I thought “we when we go Jamaica we will deal with Bunny Wailer but we don’t know if Bunny Wailer will deal with the thing”. Steely called Skengdon up and he came in a pretty car.

The session went nice but Steely was like he wanted to give it a swing like – t-t-t-t-t-t-t – drum machine kind of swing. But Style Scott was so stubborn. From Channel One days Style Scott was so stubborn. Enough songs Style Scott played, sometimes the tempo would drop. I’d say “Watch the tempo Rotodom, what you a deal with?” so he’d play good. But that day there – him and Steely got off! Badman style like him and Steely want to fight or something. I watched my two students and said “Rotodom, Steely was the last man to join the band but if Steely feel a thing – play it now man”. “No, no, no” and one bag of talking! They didn’t really want to fight but they didn’t want to lose face. Steely was stubborn too, “Style Scott, why you nah play the drum that way deh? Swing it!” Style Scott was determined, saying “Nah play it so”. So I said “Rotodom” and he play, play, play, play and Steely said “Mi like it” and we played the song but Steely never approved of it. Skengdon said “Rotodom, if Steely says play a lickle thing then try a lickle thing brethren. If Steely feel something – play it now man.”

Steely said “Flabba, me nah play no more tune with Style Scott. Mi ago form Steely and Clevie”

Half of it was done when – this is the first time you get this in an interview – my student came to me and said “Flabba, me nah play no more tune with Style Scott. Mi ago form Steely and Clevie”. That’s how Steely and Clevie formed. When Steely died and went to Dovecot I said “Clevie, how Steely and Clevie form?” and he said because Steely was a 12 Tribes and Clevie was a 12 Tribes. I said “No man, one day I will tell you man”. But you are the first man who got this. Up to now he doesn’t know. That’s how Steely left Radics. I don’t tell lies about music. Long time Style Scott had a problem. If you listen to Freelance LP you’ll hear me a curse that same drum roll.

But when the thing went digital – what did you do? How did you survive?

Flabba HoltWell, when the thing went digital, we said “Rahtid come” and took a stop and Steely started acting up too. Just because he got all the work. He had a little keyboard and my friend Leggo Beast in England gave it to him - a little Yamaha. Because he can play his keyboards he got wicked now. Because I taught him enough things. He started playing bass now. He had a keyboard tone like my old bass. He started going up to Jammys. When he played for Jammys I’d go up there and show him certain little things too and he made the bass sound like my own – my tone. We are friends and I’m not vexed with him because they got the work and Radics got no work now. We did the same, we did the same.

So they started to create something now and I looked upon it and said “Rahtid come, the music business”. By this time everybody was gone and it was me and Style Scott. Bingy Bunny was dead. The music business changed upon us now. So I said “What we ago do? Pure Steely everybody a use now”. Style Scott had a drum machine but he couldn’t play it. I didn’t know the drum machine thing. I never liked the sound. Steely and Clevie started to mash up the place and I said “We dead fi hungry now” and they were at Jammys and his tunes were going on with the people.

The music business started to change and so we started to tour

So we said “Alright, then, them a play that”. Because in the time when we were done touring with Itals in those days RAS Records said “You have to come and do an LP with Israel Vibration”. So that’s how we did the first album Strength of My Life. So we started to play and play and play and play. They had gone to some bands in a foreign, Israel Vibration, but it didn’t sound so. So they said “Better use Flabba dem”. That’s how come we started to survive now, boss. The music business started to change and so we started to tour now. Because Steely and them did not tour. They were session men. So we started to tour and spread the name Radics more. That’s how come when the computer thing came we knew how to survive – we started to tour with Israel Vibration. Steely and Clevie did not do any tour. We let them build up their little name and we started to tour, tour, tour. Then Steely came to me and said “Gimme a tour now, man” and I said “Gwaan play session”.

Because we had musicians – we were bringing a keyboard, bringing T Bird. All of them did not give me any work. Radics ran the place for about 11 years boss – from 1981 to about 91. When Steely and them came they didn’t lick us out but the sound changed and the people liked that sound. Then Steely discovered the session thing wasn’t going on too good so everybody discovered the touring. He offered and I said “No, you and Clevie have to go tour”. They couldn’t get a tour. It was just Radics and Israel Vibration on a tour, on a tour, on a tour. Enough times still I would go to play with Steely when they stopped playing with Jammys and they built their own studio. I would come and play bass for him because he came to find the computer bass would get annoying now. He couldn’t play the strings so enough heap of tunes I played for him.

Radics ran the place for about 11 years boss

By the 90s you’d been doing your own productions for a while…

It was Dennis Brown you know? Dennis Brown saw me and I said “D Brown I want you come sing some songs yunno”. Sometimes I waited till three or four o’clock for him because he was doing his little things. When he came sometimes and he couldn’t sing I’d say “D Brown, go back a your yard man. Your throat mash up”. Yeah man, we put on the Ras but Ras sold out to RAS Records and they gave me nothing – up to today they did the same thing. You see in the business now boss, I’m clean in music but people take advantage of me. Especially the Radics man. Because none of we got anything boss. You see how everybody’s dead. Their pickney should eat food because Radics played so many songs. No man collected any money, boss. I can’t collect any money to give the family or anything.

Style Scott died and my money had to bury Style Scott. Because when Style Scott died the last session we did was up at Harry J studio. This guy from France named Irie Ites records, we played some songs for him and one day he called me and said “Flabba I want you come pass the song for me”. We went up to Mixing Lab on the Tuesday and I said “Scotty, what you do up town? What you a deal with?” He said man and man gone to the country to Ochi. He was supposed to come to Irie FM that day but I never knew because nobody ever told me. He left his yard and said he’d gone to the country. I said “Scotty, when you and the other man go a country take care of yourself”. That’s it. They went to the country.

My money had to bury Style Scott

And that was the last you heard from Style?

A little Japanese brethren wanted me to play a song for him so I went down to Tuff Gong and did a wicked bassline. I heard my phone ring and said “Who this?” “Leggo. Anybody call you?” I said “No man, been doing a session”. “You hear what happen to Style?” I put down the guitar and said “What happen to him?” Because Style Scott is like my son. Boss, I talk about him and I want to cry. If Style Scott wanted money it was me he’d call. Session? Me he’d call. Nobody knew he’d gone to the country. Sometimes people didn’t want to use Style Scott because of the way he’d shark it over money. I’d say “Scotty, ease yourself, when the money a come the money come. That’s how we struggle.” When the man told me “They chopped him up last night and him dead” I flung my phone and my phone mashed up. I told Mr Chin “Mi nah feel so good”. He said “Flabba, what about the session man?” I said “I nah feel good” and the Chinaman knew nothing. I told him nothing man. I said “Style Scott dead. Mi ago dub on the bass for you” but when I dubbed on the bass it was me alone left at Tuff Gong. I sat down. I wondered, because I had a car and said “Style Scott dead? Is it really true?”

So I drove to the country but I couldn’t find Style Scott man. I drove outside of Mandeville where he lived and I couldn’t find his yard. I never knew Style Scott moved from Williamsfield. I never knew. You know Williamsfield right? It’s like when you’re going through Porus, that roundabout that carries you to Mandeville. When you go round that way you find Williamsfield Police Station and that left, Style Scott lived on that corner called Russell Place. I drove and drove my car and went back home.

Style Scott’s death is a mystery, boss

To me, up to now, Style Scott’s death is a mystery, boss. Up till now they don’t hold anybody because nothing is solved. Style Scott’s death feels like a set up to me. Because Style Scott would kick you know? When he came upon the drum he’d get wicked boss. Up to now, I still don’t believe he’s dead. (laughs) Trust me, I can’t believe the man dead. Like, when Bingy Bunny died I’d just come from Israel. A man told me “Bingy Bunny sick”. I said “Sick? Whappen to him?” I went up there (knocks on the table) and knocked on his gate. No Bingy Bunny. The man said “Him in there” and I said “C’mon answer me!” You see I lost all of my students then. I formed the band in 1978. Bingy Bunny died first, then Steely Johnson died, then Sowell Bailey died, Style Scott. I am the last founder member. That’s how life is set. That’s how life goes sometimes.

You’ve recently been playing on tunes for Winta James who is the main producer of the current new reggae movement. What do you think of how it has come back round again?

Well, as I said, sometimes the music changes and you have to just go with it. Just go with the flow. Remember ska came in? Ska tunes were the tunes I grew up on. I loved ska. Up until this morning I dance and lick it off like competition. The music business changed when ska came in. It’s like when Steely came in with the Poco thing (drums Poco rhythm on the table), Steely’s mother and grandmother were Poco women. Because in those days in those long, long times in western Kingston we would play the same drum – the two stick drum. The same Poco (drums rhythm) the same Jonkanu. That style the brethren got was a different style. When I played for Junjo, Junjo got a good style from me. When we played for Jah Thomas he got a different style. When you listen to Jah Thomas and Linval they really got some good tunes out of Radics. Every time we played for a man we tried to create something different.

The music changes and you have to just go with it

Listening to the music today they are making now? I don’t know but when we used to record on four and 16 and 24 track tape, every studio we would record at would sound different. Duke Reid and Coxsone wouldn’t rent his studio so he just kept his sound as his sound – but you could record at Randy’s, Harry J, Channel One and Joe Gibbs studio who would rent their place.

And every song we did sounded different. If Joe Gibbs got his musicians in there his sound was different. If Channel One got the Revolutionaries to play there, his sound was different. Randy’s studio was kind of out of date so we would be talking about Joe Gibbs, Channel One and Harry J. Although Harry J’s studio wasn’t a revolutionary sound. Most of Bob Marley’s hits came out of there, not even Tuff Gong, 56 Hope Road, Harry J. And you notice the two studios where most of the hits came out were Joe Gibbs and Channel One. So when people took stock they mostly started to use Channel One only. Joe Gibbs started to not get work. When Radics were playing people lined up outside there, boss. When we did one session, we couldn’t come out of there. Next session, Radics. Revolutionaries too. We in we out, they in they out. Sly would go in and we’d wait saying “Why the session take long man?” because sometimes the session would go over. We’d do the same thing too. “Time done deh!” Time done you have to come out.

So brethren, every man got their different sound. But one thing I’d say about the music business right now, and even Errol Brown said to me one time, is that ProTools or whatever they want to call it, it sounds heavy but to me it takes too long, it’s a headache. To me, ProTools, I call it “TV Music”, it is not music to listen to. It’s music for looking on a screen. It’s a wave man. One time Steely called me down to play bass for him. You know when you play the bass and in our time you’d watch the needle – it would go in the red but not distort? I would play the bass for Steely, boss, and they’d see the TV screen and the wave and say “It too heavy up here so”.

Because of how it looks.

Yes! He told me to play it so the wave is straight! So I play and I look and I play soft and he says “Yeah man, see it deh deh – that’s it”. The music nowadays is like, to me, everything sounds the same way, boss, because everybody uses the same program. If I listen to music on the radio everything sounds the same way. If a man comes with a bass line it’s just set to one way. Every time I hear back on old time Coxsone or an old time Treasure Isle it sounds like it was just made. The tunes they made nowadays everything sounds one way – no man, something’s wrong. The music business is wrong - too much of a one way thing.

The tunes they made nowadays everything sounds one way

Is that why you favour a specific bass?

Yeah, man. Most of my songs I use a Fender Jazz. Night Nurse and those songs. But I tone it different. The music nowadays it sounds not nice. Every day they talk about going back to live thing and live this but it’s just talk they talk. The first time certain songs were recorded they beat it down “That no fit for airplay”. I’m a long, long, long time coming from Idlers Rest in the early 80s – man started doing rude tunes, adult tunes and they didn’t want that to play. You see now? They talk about the same thing upon the radio. Those tunes there mashed up the business a long time boss. Before Randy’s locked down we told them “We no want them tune fi play”.

We suffer in the music business now boss. Some little man would see me and some other people and say “Why the man deh a walk – have no car?” The vanity of the thing, boss. Music we deal with. We don’t talk about cars and big life. They’re all just very lucky that people come with some little fool thing and people love it. I see some man who walk in ten pairs of shoes and not even sing one tune. We suffered in the 80s to build the thing and now a man comes and mashes it down? I don’t love that.

We suffer in the music business now boss

Do you hear any new roots reggae artists you like?

I’ll tell you the truth. To me, I hear people boost up some artists. They are not ready yet. The only artist that really came that I really play tunes for is Beres Hammond. I love his tune that goes (sings “EVERY TIME I THINK OF SAYING GOODBYE”). Beres Hammond I tell him, he can’t die. He has to keep current every time. Every time Beres Hammond sings upon a rhythm it busts. Because Beres Hammond has some wicked rhythms and when Beres writes I play different from Israel and keep him current because he is my singer and I don’t want him to drop off. Because I love him.

To me the only artist that really comes different from Tenor Saw was Garnett Silk. I didn’t hear any more artists coming after Garnett Silk. They talk about this and that but they’re not ready yet. They may sing a little one tune or two tunes but they need to have a catalogue of tunes. You can’t come and sing one tune or two tunes and be a big singer. I won’t rate you. Gregory had a catalogue. Garnett Silk had a catalogue. Tenor Saw had a catalogue. Beres Hammond had a catalogue.

So those artists they big up. The whole of them sound one way. Put the whole of them together and they sing nothing. Every one of their melodies sounds the same way. They sing off key. Enough of them use autotune and they don’t know about singing. It’s just [because] ProTools came that some of them may sound good. Because you can fix up their voice but if they sang upon a tape machine they’d sound like? I haven’t heard any youth since Garnett Silk that can sing. Who are born to sing. You have certain man who are born to sing and then they put certain things on their voice like autotune and all those things and sound one way. I don’t hear any singers right now. I tell you the truth from my heart.

Decades after you first started singing, you’re working on a new vocal solo album. What other things are you working on right now?

Well, I’m just going to write some songs. Because you have a brethren now how I want to really push out there still. He’s named Junior Sinclair. He has a little touch like Gregory Isaacs. Because we did some shows with him and the man, boss, trust me, he moves like Gregory Isaacs. I took him up to the place for a stage show and last night I saw him singing on some tape and boss he was singing some foreign song and I said “I want get some show with him”. Even Gregory Isaacs’ son, Kevin Isaacs, I grew him but he doesn’t have it like this man.

PLEASE NOTE: THE VIEWS EXPRESSED HERE ARE THOSE OF FLABBA HOLT AND DO NOT NECESSARILY REFLECT THOSE OF ANGUS TAYLOR OR UNITED REGGAE.

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Read comments (4)


Posted by Joakim on 01.05.2016
Great interview. Been like a child before Christmas waiting for the final part to come up. :) Thank you Angus and UR!

Posted by Kimo on 01.05.2016
Fantastic interview! Incredibly insightful. Heavy musings by the Jackie Mittoo of the 80's, Flabba Holt. Big Mahalo to Angus Taylor from Wahiawa, Hawaii!

Posted by rrr on 01.08.2016
Fantastic interview! Incredibly insightful. Heavy musings by the Jackie Mittoo of the 80's, Flabba Holt. Big Mahalo to Angus Taylor from Wahiawa, Hawaii!

Posted by Ernest on 01.08.2016
BIG UP TO THE AXE MAN WELL DONE INTERVIEW. GOT KNOWLEDGE TO UNDERSTANDING HOW THE RADICS CAME ABOUT.ONE OF MY FAVORITE GROUP. RESPECT FLABBA HOLT.

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