an interview with Peter I

"Underrated" is a term commonly used for a lot of Jamaican singers. This is a term that could easily fall in place for a singer of Ronnie Davis´ calibre. His stint as harmony singer in the Itals has more or less obscured his deserved place among the elite of the finest of the finest vocalists Jamaica had and certainly still has to offer. Because once he was a true hitmaker and solo vocalist of real class and surely one that older Jamaicans and reggae fans will fondly remember for soulful interpretations of early reggae songs such as the Paragon's "Equality & Justice", done in a up-to-date late 70's rockers style. Delano Stewart's "That's Life" also springs to mind. A master of Lovers Rock, as well as rootsy originals like the brilliant "Beware of Evil Men", or his version of Phillip Mitchell's "The Same Folks", Davis showed a versatility that still bears repeated listening to this day. Ronnie had songs high on the Jamaican charts such as "Won´t You Come Home" for Lloyd Campbell and "Holding On" for his own On Top imprint, as well as some nice albums like the 1977 Bunny Lee-produced "Hard Time" for Count Shelley's Third World label and Ronnie's own production "The Incredible Ronnie Davis Sings For You & I" on Jamaica Sound. Both long out of print, unfortunately, just like much of Ronnie's best work. It keeps on being, somehow, locked away in the past, with only a few of the many gems he recorded floating around in today's revival market. Especially those albums deserve a reissue on CD for the first time - long, long overdue. Recommended also are his recordings with the Tennors the best of which can be found on Nighthawks CD "Rock Steady Classics" by that group. I spoke with Ronnie via link to Savanna La Mar, JA, in early November ´02.

Q: I know you´ve been based in Westmoreland parish of Jamaica for many years...were you born there too?

A: Yeah mon. I tell you...I was born just two blocks from where I am right now, in 1950.

Q: And where is this - in Sav La Mar?

A: Yes this is Sav La Mar...I am in Sav right now.

Q: Savanna La Mar...is that a small village?

A: No, it's a big enough village. Big, big, big...it's about a mile and a half long and another two miles cross it. It's a good size village, yeah.

Q: Did you grow up in a very musical environment or...? I suppose your family sang a lot in church just like a lot of other Jamaican families?

A: Yes, yes...yeah mon, my grandfather was a - what you call it - a deacon in a Methodist church we went to. But I really wasn´t all that a man to this church thing anyway. But I always sing because there were sound system in my area, y´know. In those days I used to make my own likkle sound deh, yunno? With the box and all that...

Q: What was the name of that sound?

A: Oh well, it was owned by a man name Mr Flack - Bobby Flack. It pursue (?) to me every night and we used to play music deh, yunno?

Q: Do you remember any of the other sounds in the neighbourhoods at that time?

A: Oh yes. You have Mr Mim (?), Pretties Downbeat. And you have Don One. This was in the 50s, early 60s times...

Q: Who are some of the other Westmoreland singers that got a breakthrough in the business?

A: Peter Tosh, Hopeton Lewis. And Bob Andy. Plus...you have Scotty.

Q: Were you in touch with anyone of those before they entered the music scene in Kingston?

A: Yeah man! Me and Scotty go to school together. But Hopeton was an older guy for me, and Bob Andy. But I did know them before I get involved in the recording sessions. And I knew Peter, from before...beca´ I start recordin´ in 1960s, yunno? In 1968.

Q: You were still in your teens when you joined the Tennors. But previous to that you sang with Keith Porter (later of the Itals) in a group called the Westmorlites?

A: Yea...me and Keith we used to sing as the Westmorlites and another guy name Lee White was the Westmorlites before Keith went an´ use some other guys (another member was Roy Smith, who Ronnie later came to work with in the mid 90s/P.). And do the song "Hitey Titey" (done for the Studio One label), you know that song? But I never recorded with the Westmorlites, no...

Q: I read that the Westmorlites did some early recordings on their own too?

A: Yeah, but I was never in that. But y´know it never last. They did a couple a recording and thats it...when them did those recording I was in the Tennors.

Q: So why did you leave the (Westmorlites) group for the Tennors then?

A: Well firstly the reason why I left the Westmorlites...I left and went to Kingston. And there I meet the Tennors. And there was an accident with one a the guy being killed - the lead singer. Then I joined them. His name was Maurice Johnson. After he died I meet Clive (Murphy) and we start recordin´. I was then doing the lead, y´know?

Q: Do you remember how you linked with Clive there?

A: Well firstly...they have a festival, a competition in Jamaica. 1967 it started. I entered and the guest artists was the Paragons, ok? With John Holt and Tyrone (the late "Don" Evans) and (Howard) Barrett y´ understan´ and when they heard me sing, Tyrone interes´ grown an´ him say him plan to get Derrick Harriott to have me recording probably in a couple of weeks time. But when I went to town I missed the session and didn´t get to record. So after I went there and didn´t get to record I met Clive. Clive now hear my singing - that was 1967. Him hear me sing and he was interested so I left town and come back to country. And then in ´68 now I went back to town. The guy died December ´67 and I went to town January ´68 and start recording with the Tennors then.

Q: Tennors had a hit with "Pressure & Slide" (Studio One) before you joined...how did you feel about their sound at the time?

A: Yeah, it was good! That was a big, big hit in Jamaica - huge! In ´67. And then in ´68 we did "Ride Yu Donkey". That was among the firs´ recording I do with Tennors. Yeah, that went all in the British charts, yunno...

Q: Apart from Clive, who else were in that group?

A: You have Nehemiah Reid, and myself and Clive. And there was another guy called Fats Brown at one time.

Q: A lot of the big Tennors records came out on your own Tennors label and at that time it must have been pretty unusual being independent among "the big three" - Federal, Dynamic and Studio One?

A: Yeah, but you still had some guys who were independent, y´know? Them would finally get to produce them own record. You could hire a studio same way like what's happening now, so...you would have people like Lloyd Charmers who would produce for himself too, y´know? And a whole heap a independent producer. Because even me...after being with the Tennors the next thing I do was to produce a lot of my record. You know the On Top label? Yes, that was my label. I produce most of those Ronnie Davis music.

Q : Did you get a lot of airplay at that time in the late 60's, early 70's?

A: Not like some guys but we could get enough to sell some records. But we can never get those big play like those other big producers. You know, that was one problem with us.

Q: What about tours, management and all that? Did the Tennors ever get that together?

A: No, shows was only in Jamaica. When "Ride Yu Donkey" come out we was supposed to come into England and we didn´t come because of some problem I...couldn´t even tell you right now. Ca´ I don´t recall what was the problem? We was supposed to come to England in 1968 but...it never happen.

Q: You recorded much later, in the 70's, for Treasure Isle and Duke Reid?

A. Yeah. That "Weather Report" was from like ´70.

Q: If you compare working with Coxsone and Duke Reid...what was the difference between them?

A: Well, you know...I couldn´t see the difference. No difference. With I mean production...all we know them never pay the money for the work, y´know? We never get no pay. We get lunch, but no pay, yunno?

Q: But like...participation in production of the songs, what was the input there?

A: Well, for me I think Coxsone was more in it, yunno? More in the production. Because for instance Jackie Mittoo used to play keyboards there (at Studio One) and he used to take care of the session and the arrangement. All Coxsone might do is to mix it. Take out all the quality songs and all that. With Duke Reid he never really there in the production neither. He was just there as the money man and the guys play it and mek all the arrangement. Away from in my case weh him no like an´ him waan change it dem never have much (to) do with it. An´ if you sing a song and him want to change a word or so...but that's all them used to do. Jackie Mittoo was the man at Studio One and Tommy McCook was the man at Treasure Isle. Them tek care of production, y´understan´?

Q: Yes. Do you remember the rhythm section who played at that time?

A: Yeah, I remember...you have Jackie Jackson (bass). And sometimes it could be Hugh Malcolm (drums), mainly. And you have a likkle guy - I feget him name..."Tin Lettah"? Is a likkle drummer...

Q: You mean "Tin Leg" (Lloyd Adams)?

A: "Tin Leg" - yeah!! (laughs). Him play a lot. I haven´t seen that guy for years now...for some 20 long years I no see him.

Q: Last I heard he was based in the Bay Area, San Francisco or some of those places.

A: Oh...yeah, not seen him for years and years.

Q: Those you mentioned, that's at Treasure Isle...the Treasure Chest studio. And at Coxsone´s apart from Mittoo you have (Leroy) Sibbles on bass?

A: Yeh, Leroy him play a lot of the bass. And drummer would be like the guy that played in the Skatalites...Lloyd Knibbs. Him played a lot of drum there.

Q: What you always hear about is the small payment most artists got in those days. So being "independent" what would that do for the group financially?

A: Well...I must tell you, I wasn´t really "in charge". It was Clive (Murphy) who was producer for the Tennors. I was just singin´, really. It was really just the same t´ing as with Coxsone and Duke Reid. He (Clive) was the producer and he nuh pay anyt´ing neither. But thru we might get a show and that's where you could get a money. But not on sales...a record - you wouldn´t "know"! They never say nothing yet. And after them send it up to England and release it and all that you still never know nutten ´ bout them kinda deal, y´know? So it was the same t´ing. But after I start produce my own record for On Top, thats when I start see some money. When I start do it for myself ! Beca´ then you know you tek care of production and after day done you see a profit...but you know I never use to see any money singin´ for people. Even when I sing for Bunny Lee and all them man I never get no money. Is just praise, y´know?

Q: So Clive took care of business for your own stuff, releasing songs on UK labels like Crab, Pama, Bullet...but you never got anything for those releases? He never share with the group that much?

A: No, I couldn´t say that. I don´t get nothing! I don´t get nutten from anything from England. Never! Only time I do was when I-man start produce my own record now when something start to come in, y´know?

Q: One of those UK releases is the great "Baff Boom" (on Crab). Whats that one about?

A: "Baff Boom"? ´Take that a joker´! ´You are a joker´. That song was written by Clive. Is really a song tellin´ you about some people wicked and all that. So him tell you seh "bidiff baff - baff boom!" and just like you would be fightin´ yunno. Is that ´take that a joker, ´cause you are a traitor!´

Q: What's the favorite Tennors recording you have to this day?

A: You have "The Stage", "Hopeful Village", "Ride The Donkey". And you have "The Sufferer" (sings) "you weren´t born to be a sufferer...and I´m not joking no-o..." Yeah, and you have "Give Me Bread" (sings) "give me bread, ´cause I want bread".

Q: There's "My World". Was that a Tennors song?

A: "My World"? No, that was Ronnie Davis. "I´m living in a world I created for myself". I did that after leaving the Tennors.

Q: When did you decide to finally leave the Tennors? That was sometime after songs like "Weather Report"?

A: Yeah, hear what happ´n. Clive migrated to America to live. And so then I started to record for Lloyd Campbell - the guy who we did "In A Dis Ya Time" for with the Itals. I did firs´ of all on that riddim "Won´t You Come Home" and worked for a couple other people and after that I start produce my own record. So the reason is that Clive went on to live in America so I have no option other than to start a solo career. Normally I would be doin´ solo for if it wasn´t that I meet these guys an´ those was the opportunity to get in the group and start recording. But normally I would be a solo singer. I always loved doing that. But I like group singin´ too...And that's why I formed the Itals after leaving the Tennors and go back to a group t´ing, y´know? Ca´ I like when the voices blend.

Q: OK. Among the first producers you went to for solo work...who was that, Spiderman?

A: Lloyd Campbell. That was around ´73 - 74.

Q: "Won´t You Come Home" - what did that record do for you?

A: Yeah...that one open the way. That really open the way.

Q: How did you meet Lloyd Campbell in the first place?

Q: How much did you record with Lloyd Campbell at that time?

A: I have about twelve songs with Lloydie. I think we have one "Equality & Justice (Stands For All)" (Joe Frasier label) and "Stay A Little Bit Longer". "Hold On I´m Coming", "Please Stop Your Lying Girl" - all dem song I did for Lloydie.

Q: Twelve songs...did you intend to release an album?

A: Well, that was always in the bag but them always try to release them on 45 firs´ and we never have agreement ´ bout an album. But I thought him would have done so. After having so much...but him never. And I release another music but him still don´t put out an album with me. I know him have enough songs to make an album. Them songs did well for me still. Even in America dem did well for me ca´ him use to have Randy's up there who did the distribution. They did well in America and in Jamaica. And I see a couple clutch a dem a come out on some CD with different artists but him never put out a solo album with me but him have dem all...tracks ´pon various albums, y´know?

Q: About "Won´t You Come Home" - do you remember how much that one sold?

A: Well, in Jamaica that sell over...without promotion about twenty thousand copies.

Q: And that's the biggest solo hit you had - up to now, yeah?

A: Well, you ever hear "Holding On"? (sings) "baby you are the one that I´m thinking of..." Yeah, that was the biggest really. Ca´ it come after "Won´t You Come Home" and...everybody did love that. That was my own production on the On Top label.

Q: What about this (early solo) Philip Mitchell song "The Same Folks"?

A: Yeah, I did that for GG's. Is a cover. An american guy. It was Mel & Tim - a duet. I think it was Mel & Tim who did that originally.

Q: "Beware of Evil Men" came out on the War imprint. You had that label set up before you formed On Top?

A: No, it was in that time we did that. So we didn´t want to put them ´pon the same label. We had a brethren named Pat Scabba, you ever see that on the records? Yeh...him was the man who was in charge of the War label and On Top was my creation. So him did that and jus´ say "War"...and it's like a competition now (between these labels).

Q: So who is this "Pat Scabba"...or Patrick Sutherland?

A: Well, is my co-producer, y´know? Me and him produce the record.

Q: How did you link with Scabba?

A: Well, he is a Kingstonian and then...him definitely ask me to do some recording for him. And then I said "bwoy, is like...how much yu a give me fe do dat?" Him never have no money fe give me. So me say "alright, me work but this gonna be a 50-50 t´ ing and me have to be a part in a it". And him get the musicians and I sing the song and thats how we come. But I wouldn´t do it if it wasn´t a agreement like that, y´know? Ca´ you jus´ sing fe nuttin´ otherwise so me seh "alright a 50-50 wha yu a sell..."! So that was just generous still beca´ him still had another deal. But him want me, so him haffe settle with that. And him waan give me a 25 per cent and him tek 75 but me seh "no - a 50-50!". Ca´ a so dem do it, yunno! Producer want all! So eventually when the musician dem wouldn´t work for him neither. Them willing fe work...thru me dem a go work. So the whole expense an´ t´ing goes right back to me same way beca´ the man dem wouldn´t work fe do any amount a song ca´ them would probably do like two song an´ me seh "no, we a go do half a dozen song fe start". And then the musician them do it thru me, so...that's how we really mek a 50-50 deal and then him become dat co-producer with me.

Q: For how long did that partnership last between you and Scabba?

A: From...let me see? We start working from like ´72-73. Or about ´74? And we would be working. Even since we formed the Itals (in ´76) me and him we still do a lotta recording. We still move same way. We´re not...no animosity or anything. But then thru I´m living in Sav and him deh a town that's why we cyaan get to communicate as much as we want, y´know?

Q: What did he (Pat Scabba) do in the business before he met you...singin´ or recording other people?

A: Him jus´ involved in producing. Well, he was a salesman, really. Carry the record to sell to the shops and all that. But him eventually turn a producer when he get the artist to do something good for him so...but he had other artists singing for him too - before, y´know? But them did not...there was no headway. Until I come.

Q: You have a vast catalog of releases on a lot of different labels throughout the 70's, apart from On Top and those for Bunny Lee.

A: Yeh, I do a lotta recording for Bunny Lee. And JA Man...you know JA Man? Yes. Tunes like "Fever" (sings the chorus)...yeah, that was for JA Man. And songs fe Bunny Lee, Lloyd Campbell. Several more producers me work for but some a dem nah release some of the songs deh. I did record for Phil Pratt too.

Q: Let me know more of your work for Bunny Lee? You had some hits for him, like "Power of Love"? Was that a hit for you?

A: "Power of Love", yeah. But that wasn´t for Bunny it was for a guy name Lloydie Slim. Him was the producer for that. And "Jah Jah Jahoviah" (Micron, on the "Drum Song" riddim). Yeah, that was for that guy deh (Slim). Well, you see, to meet them guys it wasn´t hard, yunno? Ca´ once you claim that you can sing them always want you to work for them. It wasn´t hard...I even do recordin´ for Lee Perry. Song name "Hard To Believe"- a Tennors song. That came on the Upsetter label.

Q: When I spoke to Keith Poppin he didn´t have much good to say about Lloyd Campbell. What about you, Ronnie - how was the treatment at Spiderman?

A: Well, I don´t know? I mean...Lloydie is not the worst! Him did deal with me fairly well, better than most a dem! Beca´ me always have some money. I get some money from him...not the right amount but I get some. You know I prefer to jus´ leave a man to him own condemnation more than use to say t´ings to spoil him. I don´t want to say anything bad if it hurt dem really! But Keith have all him reason to say wha he said because he knows what him deserve out of him work, y´know?

Q: Your connection with Bunny Lee - tell me about that?

A: Yeah man, I waan tell yu...me know Bunny Lee beca´ me used to live near Bunny in Greenwich Farm. Him know me a long while and as I tell you from them know you can sing dem waan check you, y´know? So him jus´ check me to come do some recording and at the time we just do it beca´ we need fe get meself out there - established, y´know? So me ´ave no option other than fe seh to di bwoy "a 20 000 or weh we a go work an´ jus´ record, vibes up!". And when dem come a England and do wha dem haffe do an´ dem come back dem nuh remember ´ bout you. And dem seh me time money dun an´ yu a get nutten, y´understan´?

Q: You did one album for Bunny Lee, yeah?

A: I did two actually! "Hard Time" (on Third World, UK) and another one. Then there's my album - a On Top production of "The Incredible Ronnie Davis (Sings For You & I)". And I went to England and give this guy to release and since then I hear nuttin´ from them guys! A guy name Larry Sevitt (the Jamaica Sound label, ex Klik Records man), you know about him? Yeah, him used to deal with Dillinger. Him produce Dillinger an´... him have a big soul here mon and him hair white, named Larry Sevitt and a guy name Eddie was him co-producer. Edward or somet´ing, I feget him name. And from then I get nothing from them guys, t´was about 1978 or somet´ing? I get nutten more and I go America and I see it and I call about it and nobody nuh hear about it again! It jus´ a hard deal yu hear sah!?

Q: Yes. My copy of "The Incredible Ronnie Davis (Sings For You & I)" is on the Vista Sounds imprint - did you know ´ bout that? Reissued around 1983-84?

A: Eh? No sir. I don´t know a thing! I never know it reissued an´ t´ing...you ever hear ´bout "Presenting The Beautiful People of Jamaica"? You know Enos McLeod? Yes, he produced that album for me and from him tek it and come to England I don´t see him again. I received a copy of it but somebody took it away an´ now I can´t find it again. You know the one with "Ronnie Davis Meets Gregory Isaacs" (released on the UK Plant label, circa 1979)?

Q: Yes.

A: Yeah, some guys wrote to me about it from France I think? You know, I couldn´t read that letter anyway but this guy was interested in my side of the album. But I don´t hear nothing about it again. See, it's like when you don´t have a manager and a man haffe jus´ tek care of business everything get a fall down, y´know?

Q: Theres another album called "Wheel of Life" (Upstairs label)?

A: Yeah, that was for a guy name Danny Breakenridge. That was in the early 80's.

Q: Speaking about the early 80s; what about those tunes on the Heartbeat "Togetherness" album of Gregory Isaacs productions? "Writing On the Wall" and "No More Darling" are your songs on that compilation - was that on 7"? Did you record anything else for Gregory?

A: No, it's (only) on that album. Me have a CD with that.

Q: You had an LP called "Crucial" too?

A: Yeah..."Crucial Ronnie Davis". Yes, that was my production. Early 80's too.

Q: You never stopped recording solo while being in the Itals?

A: No, no...you know, dem never get release. While I´m in the Itals if I used to get them released then I would be better off today but dem didn´t release them, so...that's one of the pain I´m feeling now, y´know? Ca´ I´m not in the Itals again, yunno?

Q: Yes, I know. But what did you mean that you didn´t release "them" at that time?

A: I mean...it never release (the albums) in Jamaica. You know - to know the sales or what it would bring on a 45 but it was an album and it jus´...y´know? We give this guy in Canada that album and everybody just messin´ up and take them things and you no see them again. At the time you give them fe say dem fi get a break ca´ it (the market) flooded with all kinda different artists. So you haffe sacrifice fe make a headway, you know dem way deh? But being in the Itals all t´ings get kinda tied up and me lose the tapes and all that, y´understand? We research it now an´ me can claim them and get them back too, yunno? Everyt´ing get kinda quiet now so me nuh know but...have to check about it again.

Q: What was the idea to sing under this pseudonym "Romey Pickett" (several singles have that name)?

A: Oh (laughs)! It's like when I did them songs them was contemplated...and all that. So I used to sing a lot of (Wilson) Pickett song, y´know? A man used to jus´ come in a the studio and say "wha´appen Romie Pickett?". And then Bunny Lee just put that ´pon it. Some guy call me that name, yunno, and seh "we could name that to you, Ronnie!" At the same time my name is "Romey". My pet-name is Romey so a man just come in and say "Romie Pickett", and Bunny just use it. It come out so with "My World" and "Woman A Bad Weed". That how dem song come out ´pon firs´. But now him ´ave dem out on a CD "Ronnie Davis Sings Rock Steady" on Studio One - you ever see that album?

Q: No.

A: Twenty five songs on it. It have on it "Kaya" and all them song. It named "Ronnie Davis Sings Classics From Studio One" or somet´ing like that. It's for Bunny Lee. Some of the songs on "Hard Time" is on it.

Q: Are you aware of the pretty recent Trojan compilations (boxed sets) which contains several of the tracks from "The Incredible..." album, like "False Leaders" and "No Weak Heart"?

A: Yeah? No, I don´t know nothing ´ bout that. Ca´ those were my t´ing, yunno? So me nuh know how anybody could a really do that ca´ me never give nobody no "separation" fe use dem!

Q: You should check with those who register the songs in England about that?

A: Like PRS? Yeah, ca´ all dem song me write dem, yunno! Most a the song like "False Leaders" and "No Weak Heart" are my tracks. And then hear what happen now: me used to get some money from them but about four years now me nuh get no money from PRS - I dunno wha ´appen? Me get to find out them have a...what yu call a publishing t´ing? Me get a man fe look about the publishing and find seh through that dem stop send the money to me!

Q: "No Weak Heart" on the On Top label is actually Ossie Hibberts cut or update of the Studio One/Alexander Henry "Please Be True" riddim. Often wondered how that "exchange" of riddims in the old days worked?

A: Is just like a man weh you have a riddim and some man say him would like a cut on it. And him probably give you to put it out on a single but then him have it fe carry all over the world. And then him not supposed to...him give me a cut with my voice and him can only carry him rhythm weh him put somebody else ´pon it but he not suppose to do that way deh beca´ it not part a the deal. But so dem do it, y´know?

Q: I suppose you carry the mastertapes for that "Incredible..." album still? What about remastering it and putting it out on CD for the first time?

A: Yeah man...me t´ink ´bout it, y´know? Me a work ´pon it still.

Q: Must have been a lot of On Top recordings over the years that never came out?

A: Yeah man, we have a lot of songs. And I waan tell you that most a dem when we probably take out the first 100 copies of them we never go further with it. Like probably say we have a 500 and come a England and it nah release a Jamaica. So its like it no popular in a di chart. So we jus´ mek it and send it up there, y´know?

Q: You never licensed the On Top stuff in the States at that time?

A: Nah. We just went to England with it and give this guy that use to manage Dillinger (Sevitt). Him have it released there and before me come home me get a 100 copy and carry a Jamaica. So that's all me get. Nuh hear from them again and me call them ´til me sick and dem number change and me hear nutten more about dem...but right now, Peter, me plannin´ on coming to England to tek care of some a dem t´ing deh beca´ me always in Jamaica and me hear about these things and me no get nothing from it, so...

Q: Ever spoken with, say, Nighthawk or someone to get some of the best 70's tracks licensed for a "Ronnie Davis Retrospective", or such - from your work with Bunny Lee, Spiderman, Micron, Lloydie Slim, etc?

A: Yeah, all that should come. Lloydie Slim call me regularly, y´know? Him call me some two months ago. Him tell me that him waan go a England. Don´t know if him gone or how it go? Wanted to release some old music - that was his intention...him tell me that.

Q: Always felt to me like an artist in Jamaica easily becomes the public´s target for singing something critical against authorities. You had things like "False Leaders" out in the tense late 70's era of political gang wars and all that. Were you ever threatened in any way at that time?

A: Yeah, yeah...but that's why that never release (on a 45). When we do it in the studio man start come hear it and dem start label me, y´know? That time Michael Manley was the Prime Minister in Jamaica. And I did that song and them start label me and thats why that one never release on single. It was a suggestive song but it was not politically made. But when man hear it them start believe seh you point ´pon somebody specially, but it wasn´t really so! Me just talk ´ bout the truth and sing about the truth. And then the unwise Jamaican tek it in a way deh, y´know? It was not specifically Michael Manley - it was generally. But it was Michael who was Prime Minister so the guys would think that was for him, but it was fe all "false leaders"! Like, we have one now! Its the right time now to release that one!! But I wasn´t really "threatened" beca´ that one ("False Leaders") wasn´t popular. We did it at Channel One in Maxfield Avenue. Channel One now is a place weh remote, y´know? Very dangerous. All kinda people come there - gunman, badman and all dem way deh! So them come hear the song and some like it - some don´t. Ca´ some was a follower of Michael Manley an´ dem never like it and them would a pass a search on (?), but not really a threat. A man seh "bwoy don´t release that yunno Ronnie beca´ the man would a do so and so..." Me get scared and no bother release it...

Q: What's your opinion on why the 70's era of consciousness changed to slackness and nonsense at the turn of that decade?

A: Well, mainly these t´ing happen through producers, y´know? If you cyaan produce yourself and a guy want to produce you him produce in a way weh him feel that can make money. You go a dancehall and you hear these guys a talk ´pon the sound system and dem jus´...change the system. A dem do it, yunno? It was kinda new stuff to people so them grasp it. But them no last! For a lifetime. Beca´ the discjockey them - you can talk about U Roy. You can talk about Big Youth. That's about it! The rest a dem...those two you can still talk about from dem days deh.

Q: You must have, more or less, stopped recording solo after ´85 or so and focused entirely on the Itals - how come?

A: Well, you know, these guys was my friend and them did balance, so...we like when the voices blend, y´know? But after a while I found out seh the guy Keith (Porter) was not a good guy and so I made a mistake. And when I went to England last year them tell me that I made the biggest mistake to sit back with the Itals and never pursuit my solo career. That hurt me a lot, yunno?

Q: Personally, I always felt it was a waste of a strong talent, with your voice being "hidden" as the harmony singer in the Itals?

A: Beca´ the love me have fe dem as ´Sav La Meres´ like meself - we could do a t´ing. Put everything in one bag and sell it. But I didn´t know that guy (Keith) was that kinda person.

Q: What was the main reason with you leaving the Itals...when was it - ´95?

A: Yeah...in ´96. Money! The guy just a rob you, rob you! A theif, man! That's it...money was the cause. And jealousy. Him want to sing all the lead song - him nuh want no-one else to sing lead, yunno? So I couldn´t bother sittin´ behind him. And him come back again the other day and he want we gwaan again. And a same t´ing him a do so me jus´ fed up and no bother with it. Not a good guy, man! I could a never recommend nobody with him. Could not do it...

Q: The first solo recording after the break up of the Itals was "Come Straight" (Nighthawk) and you had Roy Smith & Robert Doctor as the "Idren" there?

A: Yeah, well, the "Idren" t´ings deh now is jus´ that me really want some harmony and me say bwoi me would a work with some guys and call them - the band - "Idren", y´know? But them guys them nah work right so me can´t work neither with them so me jus´ feget ´ bout them. So me just solo now. Me alone, yeah...

Q: So what are you working on right now?

A: Well, you know right now I´m working on a gospel album - me and a friend, a Christian here from Sav - like a duet t´ing, yunno? The ones that we do already is him carry the lead and I do the harmony fe him. Yeah, we done half of it already and do the rest next week, with me doing the lead. We do about twelve song on it. And that's suppose to release ´ bout January. We don´t know what company yet for it, but doing the recordings actually, so...and then I have another (reggae) album fe do already, after we finish this. A man call me from New York (Carl Jarrett) and he want me to do this. So me do it and send it to give the man...

Since this conversation took place, Ronnie informs me of his current work: the gospel album is titled "Oh Lord Why Lord" and is out now through Carl Jarrett in New York. The LP has proved to be quite a success and is selling well. According to Carl, additonal tracks are currently being laid down for a future CD release. The reggae album has no title as yet, but is awaiting a final release; this recording was done for a Sav La Mar local called Garth Brown. He has been doing shows in Sav in his own name over the past year as well as with the Itals, but there are no plans for a reunion, Ronnie tells me. He is trying to get some shows for the States this year. A concert appearance in England was cancelled, but there is a possibility that a show will come off pretty soon in the UK. In late 2003, a compilation by the name of "Take Heed" was released by Bunny Lee on the Justice label. He is also now working with Tapper Zukie´s brother Blackbeard on some new tracks, as well as looking about to bring out the long unavailable "The Incredible Ronnie Davis Sings For You and I" album on CD for the first time. This is in the works currently, and a Ronnie Davis website is also possibly in the pipeline. There is also word that Upstairs Records is currently considering a CD release of Ronnie's 1983 "Wheel of Life" LP later this year.

Many thanks to revival stalwarts Bob and Mike for assistance in getting this interview done, finally. Thanks also to Johan and Ron for their help with additional discographical information and label scans, Penny Reel for his Ronnie Davis top ten list, and Nighthawk Records for the Tennors, Itals, and Idren material.

Copyright ©2004 Peter I

For additonal interviews from Peter I:

Soon come: Watty Burnett and Winston McAnuff

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