INTERVIEW : STEPHEN MCGREGOR
Interview by : Cyril le Tallec
Pictures by : Marlène Boulad
on Tuesday, July 08th 2008 - 9 788 views
At just 18, Stephen McGregor is one of the most in-demand producers in Kingston. The son of Freddie McGregor, from whom he inherited his musical precocity, Stephen McGregor started out singing before crossing to the other side of the microphone. Now at the head of his father's studio, Big Ship, Stephen McGregor is one of those who have brought fresh blood to Jamaican music and stands on the threshold of a prolific career.
Reggaefrance / Your father started his musical career very young, at the age of 7. You followed the same path.
Stephen McGregor / I started as a deejay, at the age of five. The first track I recorded was a collaboration with the artist Tiger. Then I made a track called School Done Rule, released on the compilation “Reggae for Kids”, distributed by Ras Records. I started by recording tracks, but as I grew up, I realised I was much more at ease on the other side of the studio glass.
What was the turning point?
I had this little Roland keyboard and I tried to reproduce what I heard on the radio. All the hits you hear on repeat, I told myself I could replay them. I had fun like that, it was a passion but one I didn’t take really seriously, I wasn’t making riddims yet.
Growing up in your father’s Big Ship studio, you came of age among big names of Jamaican music…
That’s the kind of session that has always interested me… When I saw them working, for example Sly and Robbie and all the other big names who passed through there, I watched them and learned, I observed them playing instruments and as soon as they left, I went back and tried to reproduce the movements I’d seen them make (laughs). Same with Dalton Brownie, my father’s guitarist: I remember that every time he came to the studio for recording sessions, I would admire him playing the guitar. As soon as it was over, I would try to reproduce what he had just recorded.
One of the keys to your success is that you make tailor-made arrangements for each track you produce, even on your juggling riddims.
When I do that, I’m just trying to give a different colour to each tune, to make the music I feel. Generally, I listen to the vocals for a long time before releasing them, I get used to them and I try several arrangements. I bring a bit of excitement to it.
How long does it take you to build a series on a juggling riddim?
It depends… You have series that are wrapped up in two weeks. For the Powercut riddim, I recorded 12 tracks in 3 days, it was crazy! I started with Aidonia; while he was recording, Kartel was sitting there writing… And when he started recording, Elephant Man arrived at the studio. It depends on how much time I feel like taking. Most of the artists are family to me, they drop by the studio and ask if I have new riddims to let them hear, that’s the kind of vibe.
How do you keep a cool head with this daily parade of stars?
It’s very easy actually, it’s in my personality. I’m more of a person who stays in the background so it’s not really a concern. As I told you, we work with the artists like a family, it’s an exchange of vibes.
You’re the youngest producer on the Jamaican market and yet everybody wants to work with you; how do you handle this flow of requests?
The easiest solution for me is to make more music. That way, every time an artist comes to see me, I have more sounds to offer. That’s why I make a point of creating new versions every night, which I store on my hard drive. When an artist comes to see me for instrumentals, I go through my folder of riddims and choose by instinct.
Who have you worked with recently?
I’ve collaborated with Collie Buddz, I’ve also done a few tracks for Sean Paul’s next album, we made some really good tracks together, really good. It should come out in the autumn. There’s also the Israeli artist Matisyahu, Ms. Dynamite... I have a lot of work at the moment, I’m also collaborating with songwriters from EMI (Stephen signed a publishing deal with the record company a few months ago, editor’s note).
How does the competition work with the other producers of the moment in Kingston (Daseca, Birch, Don Corleon, Juke Boxx…): is it rivalry or healthy emulation?
I make my own music. I don’t see it as a competition, more as a team, each of us brings our ideas to move this music forward, take dancehall to another level. When I hear productions by other producers and I like them, I make sure to let them know. I know them all a bit and when I run into one in the street, I tell him I like his track, that one’s mine… I don’t see it as a competition, really.
Vybz Kartel and Mavado are working with you more and more; what kind of relationship do you have with them?
It’s family. Most of them, Kartel, Mavado, Elephant Man, Aidonia.... Family! Usually we’re out there, not even in the studio, chatting or sometimes cooking. They’re not business relationships where the artist comes to record and leaves as soon as he’s finished.
What are your influences in hip-hop?
Timbaland… Everyone who follows my music knows it, he’s one of my main influences in the music I compose. Dr Dre too.
How do you blend all your influences for your productions on your label, Big Ship?
It depends on the feeling of the moment. When you hear the Work Out, it’s not the same vibe as the Daybreak. Right now it’s summer, so I imagined a summery riddim with the Work Out.
Which production are you proudest of?
Honestly, when I made the Tremor riddim, I was particularly proud… There were lots of hits on it, and when Sean Paul later came to record, the riddim got even more exposure.
You released a compilation, “Shaddowz”, distributed by VP Records, in December 2007. What are your next projects?
I’ve just released the Work Out and the Daybreak riddim, I have loads of new riddims and singles to release before the end of the year… My hard drive is filled to the brim, I don’t even know how I’m going to find the time to deal with all of it! There’s plenty coming up, compilations and artist albums. Vybz Kartel has an album coming which should be called “The Teacher Is Back” or something like that, with 18 exclusive tracks nobody has heard yet, none taken from my juggling riddims. We released an album by my brother Chino in Japan and we’re working on its release in the American territory. There’s also an album by Aidonia, and another by Jim Laden.
Your music is very dark; do you think you’ll find the light one day?
(Laughs) It’s just music… I’m just trying to do different things. When I started, all the riddims were cheerful, they were songs for dancing and having fun at parties. It’s just my way of standing out. I made the music I wanted to hear and the result is dark. It’s also a way for me to be recognised: so when people hear a riddim with dark moods, they say “that’s Stephen!”
What do you think of the censorship of the violent content of some dancehall artists’ lyrics in Jamaica and around the world? What message do you want to deliver with your music?
In Jamaica, reggae is sometimes ahead of dancehall and vice versa… It’s a cycle. A few years ago, the themes developed in hip-hop revolved a lot around guns and street violence. It was already controversial, and they went back to something softer by moving towards R&B. It’s just cyclical.
How do you handle conflicts between artists?
Some attitudes are banned here. We’re a family, it’s a home… Even if some artists are at war outside, they know that here it doesn’t work like that, they make the effort to control themselves.
Any final words?
Keep listening to my music, because I have plenty more ideas in my head (laughs).
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