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classic dancehall book reissue still for sale

Posted by Ras_Adam 
classic dancehall book reissue still for sale
August 28, 2018 10:53PM
Whocorkthedance Jayman wrote:

In 1984 Tero Kaski and Pekka Vuorinen first published their book “Reggae Inna Dancehall Style”, a musical journey to Jamaica in 1983 which documented the rise of the dancehall music as told by the grass roots artists of the day. They met up with the then ruling Volcano sound system and talked to all the main players including the boss Henry “Junjo” Lawes, Little John, Barrington Levy, Toyan, Buro Banton, Josey Wales and many more. The original 98 page book was nigh on impossible to find in recent years so this revised and expanded edition should more than satisfy demand.

Quite simply this new edition, now 208 pages long, comes highly recommended. All the original interviews are here, together with never before published interviews of other recording artists of the day. Most photographs are now in colour with revamped graphics, even owners of the first edition should investigate.

We are very proud that Pekka included the reviews from our Volcano special from last year. You can still download all of the dances featured and listen to the sound in session while immersing yourself in this fantastic read HERE

“Volcano Revisited” stands as one of the finest documentations of the Jamaican dancehall scene.

The book, written in English, is available by mail-order from [www.dubjazzsalsa.com]

The publisher and distributor Pekka Eronen can be contacted at eronen@dubjazzsalsa.com

Here is a short interview we did with Pekka last year

WCTD: First of all, Pekka, can you tell us about how and when were you introduced to Jamaican music?

PEKKA: It all started in late sixties with the blues: urban blues, pre-war blues, gospel, doo wop, r&b…. When Bob Marley & The Wailers hit the market in 1973 I was curious. And got hooked on Jamaican music and started ordering records from U.K. I visited London every now and then: saw Gregory Isaacs when he first toured in London, was the only white man in Fred Locks concert when seven miles of Black Star Liners appeared in the horizon.
Black Music magazine started selling in local stores from September 1974 – I still have the magazine - and Carl Gayle’s reports from Jamaica gave the first hand information what was really happening.
In 1975 the first reggae records were for sale in local stores – U Roy’s Dread In A Babylon was the first. Maybe Finland is a civilized country after all, I thought.

WCTD: When did you meet up with Tero Kaski?

PEKKA: One day in 1975-76 a Rank Xerox salesman – blue jacket, white shirt, clean face – appeared on my door. He was not selling copy machines though. He had started the first reggae radio program in Finland and had heard that I have reggae records.
He was Tero Kaski, and there started our friendship.
We ordered records together and also travelled to concerts abroad together. Tero played the latest reggae records on his radio show, and after a while started a mail order service to supply the records the listeners were asking for.
After a while Tero quitt his day job, threw away his Xerox jacket, and started a reggae shop and let his beard grow!

WCTD: Can you tell us about the Reggae scene in Finland and publishing of the Cool Runnings magazine?

PEKKA: The reggae record selling business was slow. The few customers were always asking the same old Jimmy Cliff and Toots & The Maytals records. For some reason the Finnish audience didn’t understand what was happening in Jamaica in the late seventies! What should be done? Well, at least we could try to educate the interested. So we started the magazine.
Cool Runnings was an appropriate name, were we not cool guys from a cold part of the globe! Soon we had a very talented staff of writers – like Studio One specialists Juha Vaahtera and Tapani Piirainen – and a loyal circuit of readers, usually around 300 subscribers!
I thought Tero – and maybe myself too – were born in a wrong country. Then the Finnish Broadcasting corporation said to Tero that he is too commercial! He must either stop his record selling ‘business’ or quit the weekly show in the radio. They – at the time – could not see the extraordinary opportunity they had when the Finnish audience every week heard the latest Jamaican stuff at home.
Many of today’s reggae aficionados started listening Tero’s programs.

WCTD: When you planned your trip to Jamaica in 1983 did you specifically go with the intention of compiling a book or just to discover the dancehall culture?
Did you have a guide during your time there; and where did you get to visit (places, studios, venues etc)?

PEKKA: Finnish radio bureaucrats didn’t bother us for long, we started to plan our first trip to Jamaica. The music was in a very interesting phase, the dancehall style had started with Barrington Levy and others, and we wanted to check what really was happening at the moment.
When we arrived there we had some kind of cultural shock. First of all the dancehalls were unbelievable: the sound systems, the atmosphere, the artist, the massive… We had listened to the music in a very different environment, and now we heard and saw the genuine stuff. It was amazing, a revelation! And at the same time it was quite depressing: so many talents and so few real opportunities.
But we were very lucky. We got acquainted with the leading sound system Volcano, and Burro Banton’s kid brother Lickle Burro was our guide in the ghettoes.
Producer Roy Cousins – very nice and civilized person – took us under his wings: to the artists, to the studios, to his cottage. We had interviewed many artists in London and elsewhere – Yabby You, Prince Lincoln, Sly & Robbie, Michael Rose and many others – so we were used to it.
Usually Tero interviewed and I took photos and suggested new topics to discuss. Sometimes Tero took the photos if I wasn’t around, and sometimes I made the interviews. Real combination style.
We interviewed and took photos of ‘everybody’. Soon we noticed the ‘new’ dancehall interviews could make a nice book of a new phenomenon, while the other stuff was more suited to the magazine. And so it was done after we came back.

WCTD: What are your enduring memories of that trip?

PEKKA: I had always wondered about the driving forces behind Jamaican music. There I understood the central role of the dancehalls. Every night you can test and develop your music and musical ideas before a very experienced and critical audience who ruthlessly would tell you what they like and what they don’t like, it’s really ingenious!
When you first visit Channel One where the riddims are laid, then travel to Harry J to voice it, then to King Tubby’s where the dubs and dubplates are made, and then hear it in a dancehall where deejays and singers use it as a platform for their songs and chants – and then the audience decides if it’s any good – then it maybe gets pressed and to the shops worldwide.
That’s amazing.

WCTD: It was an exciting time for dancehall music at this time. I presume you got to go to some dances in Kingston. Which sounds did you get to see?

PEKKA: We were at Spanish Town Prison Oval when Barrington Levy was improvising his “Prison Oval Rock”. ‘Here I am singing, the crowd is dancing, and the prisoners are listening… and now the prisoners are trying to escape, and the wardens are trying to stop them…’ And the prisoners were really listening, banging the bars and shouting loudly.

Once in a Killamanjaro night at 82 Chisholm Avenue I tried to take photographs. Usually it was very dark when a sound was playing, but Killamanjaro – a bad man sound – played in complete darkness, the small light was always turned off when the record started to play. After a few flashlight shot I was surrounded by very big and mean looking blokes who asked what I thought I was doing, was I a policeman or something? Well I was just a pale tourist trying to take snapshots as souvenirs.
You better stop it. Yes, it was better. So no snapshots from Killamanjaro, but some were taken at Gemini Club where Metromedia was playing and Robert Ffrench singing.

WCTD: It must have been great mixing with all these grass roots artist. Can you recall any memorable encounters?

PEKKA: I was very lucky to meet King Tubby at his studio, and hear his ambitious plans, such a nice and gentle person as he was. Jackie Mittoo was very enthusiastic too, he had hit with Musical Youth and was starting anew with the Skatalites – and chatted with us of many things past and planned.
The murder of Prince Far I was very tragic, especially for Reggae George whom we met the next morning, he was very upset because Prince Far I was both his friend and employer.
All people we met were most friendly and co-operative. Pure niceness! Now – after over quarter of a century – the difference between ‘old stuff’ and ‘new dancehall thing’ seems not to be so big as we thought. Like Brent Dowe put it, Jamaican music has always been dancehall music.

It was also amazing to watch when Sassa drew a dancehall poster. No sketches, no mistakes. Starting from the left upper corner and ending at the bottom right corner with ‘security nuff’ it was always a perfect artwork. Amazing talent!

What struck me maybe the most was the imbalance between the vast amount of talents and the very limited opportunities to make a career or living in music business. Many artists were almost starving, trying to sell their 45’s to everybody in sight. It was really depressing.

WCTD: A lot has happened since your book, the classic “Reggae Inna Dancehall Style” appeared in 1984. Can you fill in what has gone on for you in the ensuing years?

PEKKA: After the trip we published the book on Volcano, and the other interviews in Finnish in Cool – And Deadly - Runnings magazine, as it now was called after a then popular dancing style. The deadly also referred to our feelings, it wasn’t just fun, it was also a real struggle for the artists back there. So the magazine faded after the interviews were published. Tero had a new radio program ‘Roots and Culture’ on the local radio station and later back to nationwide when the atmosphere in Finnish Broadcasting Company had become more modern.
Tero’s Black Star company was still alive selling records, but eventually the shop was closed down, but the post order business was alive and well. Tero visited Jamaica a couple of times, but I was busy elsewhere. Cool Runnings International was started anew in 1996 with old and new writers.
It was published a couple of years after Tero’s untimely death of heart attack in 2001, only 50 years old
WCTD: With the original book being long out of print, its great to see this updated and expanded edition coming out in 2011. Can you to tell us what is new about the book?

PEKKA: We published the old Cool Runnings magazines as a nearly 500 page book in 2008. Our graphic designer Petri Aarnio suggested that we should also give a facelift to the old Dancehall book. Good idea, but why not enlarge the book with the other interviews, which complete the picture of the situation in Jamaican music scene at the time. So I scanned all the nearly thousand photos – not all masterpieces though – and scanned the articles of the old book, translated the Finnish articles into English with the addition of some not yet published interviews.
Volcano Revisited is of the same size but twice the pages of Reggae Inna Dancehall Style, has totally different outlook and illustration, and as a special appendix a nice list of Volcano sound system tapes courtesy of Who Cork The Dance!

Sound system tapes are the best way to understand what was happening in the dancehalls at the time.

To celebrate the reissue of this great book we have put together a massive 4 hour selection of Music that was played by Volcano, artists that appeared on the sound & in the book plus some choice slices of the sound playing live....

This selection is dedicated to Tero Kaski R.I.P


01 Mash it already – Al Campbell (dubplate cut, live in session)
02 Be like a soldier – Barrington Levy
03 Mash it already – Al Campbell & Little John
04 Jah made them that way – Cocoa Tea
05 Fraid of you – Charlie Chaplin
06 Top form – Yellowman
07 Creamy corner – Toyan
08 Prison Oval rock – Barrington Levy
09 Bobo dread – Josey Wales
10 Society party – Yellowman
11 Pass the ball – Tony Tuff
12 Nobody like you – Tony Tuff
13 Calypso – Toyan
14 Woola woop – Josey Wales
15 What are you feeling – Tony Tuff
16 Come home – Josey Wales
17 Want to go home – Winston Hussey
18 Come fi mash it – Tony Tuff
19 Slim thing – Little John
20 Who can make the dance Ram – Yellowman
21 Dancehall Style – Little John
22 Stumbling block – Burro
23 Jamaica 21 – Shadowman
24 Dances are changing – Barrington Levy (live & direct)
25 Woman no use me – Shadowman (live & direct)
26 Children, children – Billy Boyo
27 100 weight of collie weed – Carlton Livingston
28 Pain a back – Scion ‘Sashay’ Success
29 Can’t leave Jah - Scion ‘Sashay’ Success
30 Have fi get you – Josey Wales
31 Strictly Bubbling – Yellowman
32 We hot – Charlie Chaplin
33 It a go done – Sammy Levi
34 Burro go America/ Volcano take over – Burro (live & direct)
35 Leggo me queen – Burro (live & direct)
36 Spin your roll/ Form a line – Little John (live & direct)
37 Sonia – Cocoa Tea
38 Gateman – Josey Wales
39 Stylee – Toyan
40 Zungguzungguguzungguzeng – Winston Foster Yellowman



01 Chalice Nuh Fi Ramp With – Cocoa Tea
02 Bubbling Chalice – Charlie Chaplin
03 It a fi bun – Josey Wales
04 All who gone – Little John
05 Ganga pipe – Lee Van Cleef
06 Evenning time – Cocoa Tea
07 Belly move – Barry Brown
08 International Robbery – Charlie Chaplin
09 Wreck a pum pum – Yellowman
10 Different fashion – Lee Van Cleef
11 Thank you Mamma – Barry Brown
12 Some a holla – Linval Thompson
13 Weh dem a go do – Josey Wales
14 Why the world stay so – Charlie Chaplin
15 It no right – Yellowman
16 The world is like a mirror – Josey Wales
17 Jamaica me country – Lui Lepke
18 Billy Boyo in the area – Billy Boyo
19 Little Harry on the go – Little Harry
20 Sweetie come brush me – John Holt
21 Bank clerk – Lui Lepke
22 Love I can feel – John Holt
23 Love I want – Josey Wales
24 Rub and go down – Yellowman
25 Form a line – Little John
26 I am the Don – Leroy Smart
27 Music diseases – Josey Wales
28 Pass the tu sheng peng - Frankie Paul
29 Face to face – Charlie Chaplin
30 War is in the dance – Frankie Paul
31 Getting Married/ Divorced – Yellowman
32 Them a talk ‘bout – Frankie Paul
33 Informer – Cocoa Tea
34 Positive Conversation – Lui Lepke
35 Water gone – Lee Van Cleef
36 Modulla – Burro
37 Asking for love – Josey Wales
38 Crying for love – Yellowman
39 Pon me bike back – Toyan
40 Black roses – Barrington Levy
41 On the telephone – Barrington Levy (Live gun salute style)
42 Java – Prince Psalms (live & direct)
43 Look a gal fe mind me – Billy Boyo (live & direct)
44 Under me sensi – Barrington Levy


Edited 1 time(s). Last edit at 09/08/2018 11:19AM by Ras_Adam.
Re: classic dancehall book reissue
August 30, 2018 12:00AM
this was reissued a few years ago, they just posted about it again
its a GREAT book though, I Haile recommend it

Respect Same Way
Re: classic dancehall book reissue
September 07, 2018 08:33PM
I'm really enjoying both of the mixes. I know it may not be what the youth want to hear in the Dancehall at night at SNWMF, but to have a sound system come in one night and give us some pure 80's niceness, that would be great. Like a history lesson for this slice of time in reggae.
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