At no other time in the history of reggae has it been so widely accepted as the present. People from cultures all over the world look to the music and message for their sustenance and a common understanding of what it means to be a human. Artists tour continents filling stadiums and selling out festivals dedicated to this revolutionary art form.
Many of the finest musicians in reggae are found on these stages as "backing bands" for touring artists. What this has meant is a dearth of live music in the homeland of Jamaica or "Jamrock" as it is known.
Musicians assemble in order to record music or back other artists, or perform recording session work for popular rhythms that multiple artists record over. The vacuum created by this tendency set the stage for the rise of Rootz Underground a band whose originals present a fresh sound for the future of Jamaican music and popular music as a whole.
Like the founders of reggae who fused elements of traditional African, Latin and Ska with the sounds from R&B, Jazz, Latin, Rock and who helped spawn the Punk movement, Rootz Underground use elements of revolutionary Rasta-influenced Reggae, Trance, Hip Hop, and Dub to forge a modern Reggae rock sound.
Reggae afficianados, critics, promoters and DJ's agree that Rootz Underground is a group that can make an impact as large as their predecessors, inviting comparisons to bands such as Steel Pulse, Black Uhuru, Third World, The Wailers and Chalice. With engaging messages and and compelling stage shows, Rootz Underground goes beyond a niche definition - reaching across reggae boundaries into Pop music realms.
The band comes equipped with business sense, marketing knowledge and practical experience. They have actually had careers in marketing and design, and now devote their time to band runnings, releasing music on their Riverstone label. They operate as an in house production team with each member taking on roles of website and social media maintanance, merchandise development, production and negotiations.
Rootz Underground two studio albums MOVEMENT and GRAVITY, the latter of which was released in 2010.
They also released ALIVE a free download [get it here] of a live show from a U.S. tour date. After a few grueling U.S. tours under their belts, the band is now taking on the coveted European market touring with France's Danakil reggae band. I caught up with Charles Lazarus lead guitarist from Rootz Underground while the band had a day off during their tour. What he offered was an inside glimpse of the gleeful energy surrounding the band's first lengthy tour in Europe.
Justine Ketola:
What's it like touring France?
Charles Lazarus: They really take care of musicians over here, there is actually a tax that promoters are exposed to for each musician onstage, the funds from which support various performance theaters around the entire country. Most of the clubs are very well equipped especially with sound and lighting beyond what you would find in privately owned clubs in America. They are extremely well-staffed and thorough in their layout including showers, kitchens, beds - everything to ease the stress of life on the road for the musician. This program to support French musicians and music industry personnel must fall under “Culture” I would imagine, it is all like really top notch vibrations. I would imagine that if French artists can make a living by singing in their own language and avoid the Pop trap of English then it naturally would preserve culture. It is the most impressive system I’ve seen and I wish Jamaica had something like it. Hats off. Then there’s the whole issue of food. I almost always lose weight on tour because food takes up too much time when you’re rushing from soundcheck to the hotel to shower to head back for the show or just too pumped up after the show to sit still and eat. It’s been completely different here, there’s always food provided, its always delicious and everyone is conscious about the variety offered. This is the best I’ve ever been fed on tour, I’m almost a month in and I still feel healthy, I could keep going if it wasn’t for missing home.
Everything is provided for the artists. I will go this far, I spent money today, I think I spent money in Amsterdam as well when we had some off days and I paid for the gym in Paris.But in the whole time I have been here, I have spent less then three days of my per diem. Everything is taken care of, and that is not the (booking) agency that is the government, it is impressive, they really think about the musicians.
And how does this tax affect Danakil as a French band?
Promoters have to pay on their behalf as well, it is not just an external thing. My understanding of it, is that this month, Danakil wont get money from the program as they are working heavily. Funds would more be directed to supporting other musicians and music industry personnel that are not gigging heavily. Perhaps at another time if the band had a lull in gigs they would once again benefit directly even though everyone benefits indirectly through the venues and opportunities it creates to perform.
A lot of your fans have downloaded ALIVE for free and that has made a huge difference hasn't it? It is probably one the biggest things we’ve done promotionally. We did the "Victims" video in Jamaica, and that transformed the perception of the band at the time. Long after we released ALIVE and that significantly affected the way we have been received in places we have never played before. We are now professionally recording all the shows on this tour of France and plan to produce and release another live album to document this tour.
How many people have downloaded ALIVE now? Upwards of about 50-60,0000.
And how long do you plan to keep going with it?
We are going to leave it freely available. As for the upcoming performance album of this tour, well, we may initially make it only available to the people of France through physical copies that will be included with the tickets for our next intense club tour here in April 2010. Selecting different songs from the extended set for most of the cities along the tour; for instance “Herb Fields” in Lille or “Unknown Soldier” in Paris and so forth. It will have a really nice mix between MOVEMENT and GRAVITY also as we’ve been playing songs from both. We’re hoping that the album will be released before the tour, perhaps as soon as February. After the tour the live album will be made available to everybody through our website and social networks via download, but patrons of the shows will have an actual physical CD to commemorate their experience with the band. We are still playing with the idea and working out the kinks.
What has it been like touring with another band?
It has been an extremely positive experience sharing this tour with Danakil, our respect for them as musicians is very high and after this short time we are happy to call them friends. They are a special group and at a great point in their journey along the path every bands sets out on so it’s a privilege to be here experiencing their breakthrough first hand. They play from the heart with passion. The songs are in French and regrettably I don’t speak that language but when translated its touching the power of the their lyrics and message, regardless of what language you speak though their melodies will stay with you. I’ve been dreaming lately with Danakil as the soundtrack.
The agency, Music Action, placed us together thinking we would be a good fit and I’m happy to report it was just one of their many wise decisions. We have been sharing the headlining spot depending on what zone we are in, for instance if we’re in Paris its obvious Danakil rules there among their fans but then in cities such as Amsterdam we will have the honour and so forth. We’re at the point now where by the end of the show no matter who is closing we feature both bands in an explosive jam. I imagine by the end Stephen will be singing in French, perhaps SonSon (Leon) is drumming and Boris (Danakil’s bass player) is keeping the groove. It’s a great treat for the fans of both bands to see the solidarity and get that little extra something that makes coming out worthwhile.
We’re hoping to have some spontaneous collaboration on stage develop between Rootz and Danakil for the live performance CD, maybe catch something magical for the release but who knows, you can’t plan these things just hope for them.
Danakil will also be in Jamaica in January, they are there doing some recordings there as well as just enjoying a vibes retreat. Its going to be great to be able to show them our Jamaica while they are there and repay the cultural depth they have given to us with France. Hills, beach, chillin, herb smoke, Red Stripe, etcetera. Its safe to say that though we have toured with many other bands its undeniable that there is a strong connection here, we are direct bredrens now.
Do you think that's partially because of the tour bus, being on the bus together?
I think it is partially because of them, mostly their attitude, on the tour bus everybody is really thinking about everybody else. They are some real roots people. There are also a lot of rules, everybody is following the rules.
Your band is good about doing that, having a system for everything...
System yes, victims no!
Justine Ketola: So how many people are on the bus?
Charles Lazarus: According to Scubi (keyboard player for RU) it’s bigger than the US bus, this one is double decker. It sleeps 18 comfortably, just the bunks alone and then there are hotels every day as well. Only when we are driving through the night are we really sleeping on the tour bus. It’s the best we have been taken care of ever, all I do is play guitar, I don't even load in my effects, its amazing.
Do you just use one drum kit, the same back line?
It is the same back line which goes in the trailer so we know exactly what we are using all the time and the settings of everything. It takes away the stress of promoters who don’t bother to even look at the rider and you know you will be able to deliver the show the way you worked so hard to prepare it.
How many people are on the tour? There are nine people in Danakil and six people in Rootz Underground plus management which makes us seven. There is a tour manager, Arnaud who is amazing, Luic the driver, Max the lighting technician and Damien sound engineer; oh and I almost forgot to mention Max’s dog ‘Jungo. Then there is a next, Jean-Pierre that handles merchandise but he drives in a car separate, also works as a runner, it is great, there are no roadies with us but every venue has an amazing support staff.
The driver of the tour bus is a rock and roll fan... that's genius. Why that is genius is because when the reggae show after party is going on, him can't bother with that rass, him wanna get some sleep! They thought of everything!
Are you getting everyone's email address, as far as the fans go?
Music Action passes that on to us, they get that in the merchandise booth, they control that area. We just hang around the booth after the show and continue that connection with fans and friends.
The way Music Action handles their business is so impressive that I can’t help but wonder what it would have been like to have that support when we started touring in America. I’m guessing that the support from the State through the music culture program makes it more feasible to operate a company like this. I spoke to one of the guys and I was saying to him that he's got a really cool job, and he said, only in France can I have this job, the only country on earth that I can have this job. When I asked why he said, 'I wouldn't be able to make enough money to make it all work if it was elsewhere.'
Musically lets talk about the new album GRAVITY.
We are all feeling like proud fathers about GRAVITY.The album has been completed and we’re at the stage now where we are just doing little touch ups and developing ideas for segues, intro’s and outro’s, mix variations, etc. We are planning to release it early next year as there needs to be a fair amount of press work to make sure everyone knows its coming. So far we have already released one single along with a video to support, “Power to The People.” .. We will be releasing other material from the album soon and as I said before we have been performing material from it for some time now as some songs were even developed as we toured America last year.
What do you characterize the album to be for the band at this time? You should never compare one album to another really because an album is a snapshot of where an artist or a band is at that time in there progression. For a fan to say I prefer one body of work to another is fine but I can't do that, because this is where I am right now. The difference is that as a group we have been all sharing so many experiences, challenges and life scenarios together over the recording and development of this album so its very focused. This is a gritty album in my opinion and when I listen to it I feel the massive changes that have made us who we are at present.
Are there versions of the songs, like alternatives to reggae versions?
There are radio versions of some of the songs, for everything there is an album mix and of course the 45 might be the radio version. There are remixes that will be coming out on a house music record label called Worship Records that is based in Philadelphia. A lot of them will come out mainly in the electronic world, reggae fans will probably have to search for that. And as we are all fans of dub it would be unheard of to not have a translation of the whole album in dub, that would be fun.
So Rory from Stone Love has produced the whole album?
Yes, which has been a great experience. Rory has been key in unlocking this sound from Rootz, he sees a lot of potential in the band and he has given us a lot of creative support in a way that wehaven’t really experienced since working with Wayne Armond in particular.
Rory has been coming to Rootz shows since we used to play at little spots in Kingston so he can relate to the progression which is crucial to us. It’s a unique relationship between a band and a producer, you can easily get all hype on what you’ve written and arranged and having another perspective that you can trust with fresh ears and who is not afraid to tell you that the music isn’t “poppin” is paramount. Rory doesn’t mind hurting your ego so long as its in a funny joke and he’s smiling while he does it, I like that about him.
And we are going to go back into the studio very soon, in fact almost immediately to record other material. We would like to work with Wayne Armond again, I want to re-explore guitar because GRAVITY is not a heavy guitar album. Its not like, guitar is everywhere, but whereas MOVEMENT had layers and layers of guitar, we wanted to have the tunes be easily represented live. So when there are like three layers of guitar performed, we have Jeff and I going back and forth in the live setting to create melodies.
When I listen to this album it gives me the same feeling I would have had from a classic rock album when I was 15, that’s a feeling though and not a sound.
What would you compare it to? Its like Zeppelin, it doesn't sound like (Led) Zeppelin, it has thatlarger than life, big sound. And there is one tune on it, that is straight up classic rock, it don't have much to do with reggae other than Stevie's articulation of words.
That is sort of what is happening in Jamaica anyway, because reggae artists are making songs that sound like R&B songs or rap songs.
This is where the college kids can burn up the highest. If I wasn't in Rootz Underground and I heard Rootz Underground, I would like Rootz Underground. Their music would reach me, and that is how I know that I would not be telling a lie.
How is the French language going there?
It is going really well for the rest of the band. Jeff accused me yesterday of not even trying, he was like 'you don't even try do you?' And I said 'but I do, I don't know what you are talking about.' We were at a laundry mat and instead of saying thank you I said something like, 'ya man, respect, bless.' and walked out the door. I didn't realize what had happened and I wasn't thinking. Also, I speak very poor Spanish so whenever I am in a country where the language is different my brain switches and a lot of the times the Spanish phrase comes to mind. I can however kiss in French fluently and eloquently.
Justine Ketola: How have you enjoyed seeing other parts of France that you have never seen?
Charles Lazarus: Its been lovely. I traveled here for the first time when Jamaica was in the World Cup in 1998 and then several other times chasing parties but obviously never in this depth where I’m seeing the youth and how they love to dance, smoke, eat and drink. A priceless opportunity. Its sad that I only kiss in French when you think how long I’ve been coming here.
So how do you see this experience as broadening your fanbase, don't you think its going to mean that Rootz Underground will come back and tour further?
We’re delivering the music in a profound manner night after night because its so easy when you’re greeted with such power energy that these audiences bring. Just going off the response online I would say for sure we have made a massive impact. It’s a different segment to what we’ve had before in respect to fans.
Today we were walking on the road in Marseille and there was a kid wearing a Rootz Underground shirt skateboarding through the place. We go on the train and a girl comes over and she is taking autographs. and they are all between 14 and 21, at the rebel age where in other places our fans our older, but over here they are young and pumped up, such loving vibes.
What do you think has turned them on to Rootz Underground?
The promotion has been thorough. You see there is another trick to how this tour is going and that is that the band we are on tour with, Danakil of course is a very popular French band. Being with them allows us to play in venues that are not normally on the reggae tour route or for international acts and as a result we are really getting that crossover audience.
Now that you have brought it to my attention, its all crossover. It is not just because you have a strong presence in Jamaica, it doesn't mean that this audience is curious who you are. They love reggae, but it doesn't necessarily mean that there are like reggae historians, which is a type of person that is into collecting '45's and remembers the good old days of Tosh.
Its not those, it some young kids and they skateboard and they love graffiti, and they love fun clothes and they are discovering music and it is the age when they are discovering their own identity and they are rebelling against their parents. Those are the type of age I findout that we are appealing to.
A more universal appeal you have....as opposed to those that are hardcore reggae people.
Its making me feel more comfortable about our decisions.
Your experience is making you more comfortable with your decisions. That has always been a part of your band's appeal and songwriting is that you have that Steel Pulse, Marley, Spear, universal quality that can bring you to a wider range of people. So that you are in venues that normally reggae artists wouldn't play at, you are going to get more airplay and exposure to people who would not think when they hear your music that it is what a typical reggae song sounds like.
I am extremely glad that decided to tour America extensively first, I am very glad because I can remember coming home to Jamaica and lots of reggae artists would say: 'You just coming from tour? Where you play?' and I would say in America and they would say: 'Ok, why you go there?' 'How come unnu no go Europe?' And we say that we are going go to Europe soon and they say, 'OK.' And I realize now that they went to Europe and they never ever had to leave, the reception is really strong, the respect is high, and there are so many places that they are playing.
I am glad Rootz Underground never necessarily came to just one market, serviced it and got popular there and just never managed to make the time for other zones. We have already done that rough stuff, in that likkle van driving up and down. Playing shows and then starving on shows and coming out with no money or worse owing money, which we have done many times. We have done that and we have earned our rights to play shows in the markets that we invested energy building.
I love playing for example on the West Coast of America, definitely even when compared to anywhere else we have played. I love the vibes over there, and I love that we have there to play, that there are people there that want to hear us. I’ve been able to experience the mountains and the trees and the vibration of the people.
I mean, I think that the West Coast of America is a very special place, so much so that, I would love it to influence in some magical way my two children. There are very few places on earth that I can say that about, other than Jamaica. So that is to put it in perspective how important I am glad that we have it still.
And what is also very great now, is the demand that has grown on the West Coast in particular, and you know being able to plan with Europe because the thing is firing hot like nuclear in Europe right now. I got an email today about a show in April 2010 on the West Coast and I had to tell the person that we cant do it because we will be touring in France and what that really translates to is, if you need to book the band, you need to book the band well in advance right now.
It also a great pleasure to watch the changes and growth I see from the analytics of our website, to see what countries visit and how its spilling from France to Africa or from Poland to Russia, etc. Its so hard in this modern time to make music work that its obvious you have to grow the thing larger than life to be able to live from it in the way that other people could from a regular office job somewhere.
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