Mikey Dread Interview

Exclusive Interview with Mikey Dread by ‘JumpUp’

conducted close to his passing…

How did you get the title ‘Dread at the Controls?’ Was this from your time with JBC radio in JA?

MD: Yes that was the beginning of that era at the radio controls at JBC when Rasta run it for the people and now the universe.

The track ‘Barber Saloon’ is one of my all time favorite Mikey Dread tracks, what was the inspiration behind it?

MD: My friend who went to college with me had his first appointment when he graduated to get a job. I came home to see all his locks in a bag; I said what a rude little dread like that!! And I tried to tell the story in the song.

You disappeared from the reggae scene for sometime during the late 90’s. I understand that you became disillusioned with the music industry? Can you tell me a little about this? What made you return with ‘Rasta in Control’?

MD: I had produced The Clash on ‘Bank Robber’, appeared on the version titled “Rockers Galore UK Tour” where I DJ’d. I co-wrote and produced some tracks on ‘Sandinista’ and also performed on them, yet I don’t get my publishing or even see my name attributed to the tracks I co-wrote and performed with them (The Clash), as if someone deliberately removed my name illegally to give The Clash all the credit and all the money to be earned. This is true and not acceptable but I am black they are white so I guess this is where it goes and where my regrets start.

I then did a deal with UB40 after I helped them with ‘Red Red Wine’ and the B-sides I produced for the singles ‘Red Red Wine’ and ‘Cherry Oh Baby’ .They signed me and then released “Pave The Way” in about 1984. I have never seen or heard from them, nor their company regarding honoring the signed agreement, or even providing royalty statements to this date- 22 years later!! How can you trust people like this?

If they do this to Mikey Dread then this is what they can do to others. Bite the hands that feed them.

Then I move to US, I get my music out on local independent labels who never paid up royalties, so I told myself this business is filled with crooks so I better look at something academic as learning never stops and I may now be better able to learn some new technology and use my skills to pass that on to other youths.

I had to sue those companies here (US) and after graduation my wife decided to re-release some of them (albums) and put them on my site to see what happens. She suggested I make another album; I brought Pro Tools, learnt it and recorded at my house, then took the sessions to another big studio to get mixed and overdubbed. I took the final mixes to England and got it mastered there, then took the masters back here and began manufacturing it. I am happy I did that, the CD is still selling well and Jah has given me another chance to put up my own money and manufacture my music, while still selling it for less than other bigger companies on my website.

Recently I gave a company called ‘Auralux’ my ‘African Anthem’ CD to release with bonus tracks, and even though they only got the rights to Ireland and the UK they distribute it in many other countries without legal permission, which started a constant problem with me and them for pirating my CD in territories that they were not given any legal permission to distribute or sell my music in. Auralux is crooked and untrustworthy and I say so publicly, my fans should know not to support them.

An agreement that says “UK and Ireland distribution” does not say “Worldwide distribution” they can try this with fools but not with the educated.

The same CD is on my website for less than they are selling it for, as I had to make sure they don’t rip my fans off any longer. When I get to the UK I will consult with the right solicitors to make sure they pay for distributing my music in Japan, EU countries and everywhere that they knew I did not give them a license to distribute.

You have returned with a new and improved production company, Dread at the controls productions, what is the concept behind this?

MD: We now are into visuals like music videos and TV style presentation.

I have always been searching for ways to preserve reggae in a visual format. I did a reggae documentary for radio at the National Broadcasting School in London (Greek St) in the 80’s and eventually it was filmed for the UK people ‘Deep Roots Music’ which Howard Johnson befriended me for, it showed me that my ideas are long lasting, if I may say that for myself.

I am making sure I document reggae a certain way, so that the truth lives and that someone like me can tell the story from a native Jamaican point of view. So ‘Dread At The Controls Inc’ is moving into video technology, production, merchandising and performances, not forgetting productions with other people & music genres.

You have produced many top reggae artists, from Rod Taylor, Earl 16, Sugar Minott, etc. Have you discovered any new and exciting artists recently?

MD: I have not been looking really but I know there are many out there. Seeing I was robbed on mostly all my albums distributed by other companies (independent record companies), I did not want to put out other productions with artists I recorded, as I don’t want any problems with them or accusations that I robbed them. So I still have a lot of tracks recorded with the Roots Radics, never released until I can put them out myself on my label. I am not going to put my music out on any independent label as I have the money to run my own label, so I don’t really need them. First I was attracted by their distribution but my website goes globally so I feel better selling them on the web as I can document all sales and prove what I sold and what is still left in the warehouse.

Many of your dubs are as famous as your songs, any plans to release a dub version of the new album?

MD: I have it mixed and ready and it shall come out. Our plan is to make it available for digital downloads as well.

It’s your 30th anniversary in Reggae music this year. I hear a rumor that you’re planning to release a box set to celebrate? Can you tell me anymore about this?

MD: Yes it will be like a Timeline of DATC featuring Mikey Dread, all my artists and some Scientist and King Tubby’s mixes and dub-plates from that era.

We have so many tracks to choose from its hurting my brains right now. We also have a Sly and Robbie and Roots Radics Set from between the 80’s- 90’s. We have some crucial Dub albums to come out too but its all under construction as I would say. We are creating the artworks and getting this ting out soon.

Where can fans buy your back catalog from? Is it all available from your website?

MD: Yes my fans from the UK are already supporting me and I thank them for this.

This is where to buy them http://www.mikeydread.com/shopx1.html

Please note that there are other albums that I have not printed up again, available at itunes.com for digital download. So a bigger DATC catalog is available for digital download.

And finally, do you have any plans to return to the UK for some live dates this year?

MD: I will tour the UK with my band in May and will play Poland in the first week of June. All this will be posted on my website in a month’s time.

I look forward to come play Europe, the UK and Ireland again as you all have been my supporters and friends for decades.

Biography

MIKEY DREAD, known as The Dread at the Controls, is one of the most influential performers and innovators in reggae music. MIKEY DREAD, as well as being a reggae artist and producer with International recognition may best be known as the pioneer of reggae broadcasting worldwide beginning in his hometown of Port Antonio, Jamaica as selector/DJ for his sound systems, Safari and Sounds of Music, he graduated from Jamaica’s College of Arts, Science and Technology before taking his landmark job at the Jamaica Broadcasting Corporation (JBC) radio and television network in 1976. It was here he developed his Dread at the Controls label and trademark.

His production expertise has helped launched many artists, from Earl 16, Edi Fitzroy, Rod Taylor, Sugar Minott, Junior Murvin and the Roots Radics Band to the Clash, Japanese rock band Anarchy , Izzy Stradlin (ex Guns N’ Roses) Six years ago, he produced songs on Izzy Stradlin and The Ju Ju Hounds, the first album from Guns ‘N’ Roses guitarist Izzy Stradlin and stretches through the late 70’s into the 80’s.

Throughout the 1980s and 1990s, Mikeys résumé grew to enviable proportions. In addition to his work with The Clash, he recorded with UB40 and helped produce the well-received Deep Roots documentary on Jamaican music for Channel Four TV in the United Kingdom.

Most recently MIKEY has collaborated with Seal on a song titled “Lips like Sugar” for the soundtrack of the Adam Sandler/ Drew Barrymore movie “50 First Dates”

Mikey is currently touring and promoting his recent release “Rasta in Control” This 18 track set has once again proven that Mikey Dread is still in Control. Many have commented that this is probably Mikey’s best work ever and well worth the wait!