Vinyl Notes

The 28th Annual Ragga Muffins Festival in Long Beach drew a smaller crowd – could be the economy, or not enough mainstream artists to draw the parade of hipsters, pretty people and meat-heads so prevalent three years ago. In keeping with the festival’s oft spoken of return to its roots, this year’s line-up was about uplifting your spirits, not just shaking your booty.

In our preview we touched on the contributions of Lee “Scratch” Perry and Tony Rebel. On Sunday we got a history lesson on Leroy Sibbles…given by Sibbles himself.  A legend by most standards, Sibbles is not attributed for his contributions to reggae (most notably his famed baseline popularized in “Pass the Dutchie”).

Well, we can give Sibbles credit for injecting the day with energy and establishing a collective desire for communion. As he repeated the refrain, “love is in air” we could see it was, as strangers danced together and refreshments were shared freely.

Sibbles set left the audience well primed for Pressure, a performer who may lack wrinkles but does not lack depth. It was obvious he enjoyed performing as much as the crowd was feeling him. When the crowd started singing his lyrics, Pressure couldn’t resist a smile and wink, reveling in their energy.

Great performances abounded, but this Bob Marley Day clearly belonged to Stephen Marley. The acoustic gig had an ethereal power, commanding the crowd’s attention from a seat in center stage. The crowd was enraptured and reverent, receiving his music like an offering. Festival goer Addison Alkire said it best, “this feels like church.” While Marley’s rendition of his father’s songs were true to form, his use of flute & sax imparted his own resonance.

At the end of the set Ziggy and Julian joined their brother onstage. The audience responded with exuberance, appreciative to have so many Marley’s back.

It wasn’t all roses though. Introduced as “the son of a legend”, it seemed the Marley name got Julian a better time slot than he merited. Tanya even speculated that dubious intro might be foreshadowing. The audience was not impressed with his lineage and zoned out after the second song, missing repetitive melodies and gratuitous face grabbing.

By contrast, up-and-comer E-Dee’s energetic exhibition would have benefited from better placement; his was the first set on Sunday. He delivered songs heavy on bass with danceable beats, but it was like trying to light a wet match. After the set E-Dee acknowledged his attempts to draw audience, saying “If you don’t get hype the audience won’t.”

Another notable, Etana, also had a lackluster response, though for entirely different reasons. She blamed inadequate time for failing to get her message across; we humbly submit our own hypothesis. The instrumentation overpowered her voice from the start. As time went the strain on her voice was evident, perhaps from the effort of singing over the music. Even so, we must bear witness, she sings with grace, free of superfluous vibrato. And onstage she is regal.

Onto non-musical details. There were fewer vendors this year, but that was not a bad thing. Gone were the mass produced Bob Marley onesies sold at a dozen booths. When asked about the improved quality of the cultural wares, festival organizer Barbara Barabino said, “I was tired of the crap too.” She went on to say that she prioritized vendor selection this year, personally inviting real artists to “bring it back.”

Despite lower attendance, the 28th Annual Ragga Muffins Festival was a success. Buju Banton, Saturday’s headliner, said he makes music “to uplift, educate and eradicate negativity from the minds of the people.” That charge may well be applied to the real purpose of reggae music. This weekend that promise was fulfilled.

The 2008 Ragga Muffins festival was an improvement on several fronts from festivals past. The increased presence of “earthy” people combined with the decrease in the poser/wannabe crowd (Matisyahu fans…grrrrr) was refreshing. This trend was reflected in the make-up of the vendors; homogeny and commercialization reigned but there were a few bright spots of individuality.

Speaking of the vendors, there was quite a dichotomy present in their sales approaches and wares. This year real artisans finally returned. A local artist named Jimothy, sold handmade leather purses and cuffs returned for his 3^rd consecutive year. New to the mix was a gifted metalworker from Jamaica, whose copper jewelry was intricate, unique and lovely. Though this artisan was reluctant to be interviewed we hope he returns.

In sharp contrast to the artists were several booths featuring scantily dressed booth babes hawking everything from medical marijuana to tawdry and cheap clothing. The medical mary jane babes, dressed as naughty nurses, reminded passersby that “weed is medicine.” Taking the ticky-tacky prize were the women at an undisclosed clothing vendor who were not only dressed as two-bit prostitutes but also acted like them, bending over and licking their lips copiously when men passed. These women seemed intent on selling themselves in order to sell clothes.

Switching gears, the line-up did not disappoint. There are always a few artists whose lack of experience makes for a lackluster set. However as Barbara Barabino co-founder of Ragga Muffins Productions noted, these artists are often hand picked for their potential and should not be discounted. Our highlights this year were Anthony B, Gentleman, Sly & Robbie and Capleton. Aside: While Beanie Man was a headliner, the crowd enjoyed his show with a certain detachment, but more on that later.

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Some music moves you to dance, or takes you back to an emotional moment in time…And then there’s music that simply stirs the soul. It’s hard to define and hard to describe in words (although I will try) what exactly the music made you feel, but when you soul has been touched, you just know it. The great thing about Reggae is that often compels all of these emotions with pulse and rhythm like few other forms of music can do.

As you know, I am covering the Ragga Muffins Festival with Tanya Payne, my friend and writing partner, this weekend. Although Tanya is not writing this article with me, I just wanted to share something about a particularly surprising and interesting moment last night. I should probably mention that we only like to spend enough time in the press box to be on time to take pictures. We’re almost constantly on the move unless we are interviewing someone, or until we’re too tired to move anymore (which does happen). But our preference is to sit, listen, take notes and really experience the music.

I was really looking forward to seeing Anthony B, especially since the incident in 2005 when the Matisyaho fans came and left, leaving a very intimate crowd for Anthony B to entertain. His performance was phenomenal and I thought it a shame that more people hadn’t stayed to watch. This year was different…but I don’t want to talk about Anthony B right now. I want to talk about the group that went on after Anthony B: Sly & Robbie.

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The 27^th annual Ragga Muffins Festival is this weekend, one of the largest reggae festivals in the US and quite possibly one of my favorite events of the year. For nearly 10 years I have been a festival regular, and this year will be no different…except, I will be sharing the experience with you, dear readers.

When the festival started in 1981 it was shortly after the death of Bob Marley, one of the most prolific reggae stars of all time. Back then it was named for Bob Marley and was a way for those who were close to him and the music to honor Marley and recover from the loss. Over time it evolved beyond the catharsis and became a way to showcase reggae artists from around the world.

Last year’s festival marked a return to the festival roots with Barbara Baribino, the leading lady of Ragga Muffins Productions, remarking that she remembered why it had all started in the first place. She had begun noticing that the changing demographic and the craft fair lacking cultural wares. So frustrated was she in the commercialization of reggae culture, last year’s crafts fair was much smaller than in previous years.

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