INTERVIEW : GENERAL DEGREE
Interview by : Irie Nation
Pictures by : Rick De Blick
on Saturday, March 07th 2015 - 5 568 views
Humour, sex and music: such is the founding triptych of General Degree's discography. Back last year with a dancehall album, Degree made his mark this year on a reggae register. Carried by its title track Feeling Irie on a riddim by Germaica Austria, this 100% reggae EP "for [his] European fans" brings him back to the Old Continent. A chance to look back on the high points of a career that began in the late 80s.
Reggaefrance / Can you introduce your new EP to us?
General Degree / The EP is called “Feeling Irie”, which is also the title of the single we've taken from it. I'm getting really good feedback on this song. I've sung it at several concerts and I see people singing along with me. That pleases me because it's proof that it's a catchy song and title melody. That's not bad for a track that came out just a few weeks ago. The EP is 100% “feel good music”. I'm not coming to conquer the reggae or dancehall scene, that's not what I want. I'm simply continuing to do what I started in music: I want to keep making good music, the way it was made in the old days. I also want to put music back on the right path because at the moment in Jamaica, part of the reggae and dancehall tradition is being lost.
You're known as a dancehall artist. Why did you decide to switch to reggae for this new production?
Throughout my career, I've always done reggae, I'm thinking in particular of tracks like Almighty God, It No Matter, Must Run Away… I'm an artist who has been doing one-drop reggae for a very long time. I was already doing it before I was known, in fact. So I have the ability to make hardcore reggae. And since last year I put out a dancehall album with some tracks that did very well, like Nuh Fraid or Bambalam, I wanted to do something different. And so, Tom Hype and Max Hustle of Germaica Austria sent me this riddim, on which I recorded Feeling Irie. I loved the feeling of this song so much that it motivated me to dive back into reggae again. And I should also say that I've noticed that the massives in Europe like roots and rub-a-dub, far more than some of the latest dancehall trends from Jamaica. And so I decided to record this reggae EP mainly for my European fans.
Which producers and musicians are involved in your EP?
I was lucky enough to have a few legends work on “Feeling Irie”. Fatta of Anchor Studios produced several of the riddims. And these were played by musicians like Firehouse Crew or Danny Bassie. Lenky was also involved, on a riddim that he had Sly & Robbie play. For his part, Steelie (of the duo Steelie & Cleevie) produced the track Massive.
 Si cela n’avait tenu qu’à moi, la chanson Granny ne serait jamais sortie 
The EP is coming out on your label Size8…
I've done quite a lot of production in the past. But after putting out riddims like the Hot Milk/Quick Sand, the Mutton Snappa or the Poison Gropper, in the early 2000s, I had rather put my label Size8 aside. I've only relaunched it for the special occasion of my EP's release.
Since the 90s, you've consistently managed to release hits. What's your recipe?
I prefer to avoid asking myself that question! I believe that music found me, more than I went out to meet music. When I hear a riddim somewhere, the riddim speaks to me, I hear something. I'm also very quick at creating melodies, it can even happen instantly, which is why I always prefer to have something on me to record my ideas.
I'm also a producer and I can hear things that many people don't hear. It's just a talent that I possess and for which I'm very grateful. It lets me come up with ideas constantly. For example, the song Bambalam, which had worldwide success with zumba dancers. I was in Panama for a concert and I was introduced to this producer who only spoke Spanish. He played me his riddim and straight away I had an idea that fitted the beat. We recorded the song right there. And boom, it was a smash. Currently, on YouTube, you can find more than 200 videos of choreographies and girls dancing to the song. These videos come from countries as different as Russia, Israel, Mexico or the United States… So I really thank the Creator for giving me this ability to constantly stay current.
How did you start your career?
When I was young, my main activity was tailoring. Then I started taking the mic at sound systems like One Love or Conquering Lion, the sound that Garnett Silk was also part of… That was in the late 80s. I must have been about 17 or 18. There's even a cassette of a session where Garnett sings and I'm in deejay mode. Unfortunately I don't know who still has a copy of it. Later, I started recording for Bobby Digital, Steelie & Cleevie, Penthouse Records, Danny Brownie… I did it mainly for the pleasure of making music. And I gained plenty of experience working with these seasoned producers. Even if at the start my music wasn't making waves, I didn't worry. Just hearing one of my tunes on the radio made me happy.
Which artists inspired you?
The generation just before mine fascinated me. As role models, I took deejays like Supercat, Papa San, Lt Stitchie or Professor Nuts…
The song that made your name is Granny, a very funny track… In what circumstances did you record it?
I was about 20 at the time. It was just recorded for fun during a session with Danny Brownie. If it had been up to me, the song Granny would never have come out. Because it wasn't really General Degree singing. It was just joking around and gimmicks, not serious work. But Danny was thrilled. I told him I didn't want the song to leave the studio but he begged me, saying “Please, let me press this track. We've got a number one, I guarantee you. Give me a chance!” And so he did it. I wasn't really convinced. When it came out, I first heard it at Halfway Tree. People were hanging around there and the track was playing. They seemed excited. As I wasn't known, I acted as if nothing was happening and carried on my way… to hear the tune a bit further along again… Motorists were listening to it in their cars. I went home that night and the next day when I got up, Granny was playing on a loop everywhere. I became a trending artist in a single night!
And the track that gave you greater international renown, Traffic Blocking, what's its story?
There isn't really a story about motorists or anything behind this song. I just wanted to create a vibe. So I started the song with a “Yeah, Yeah, Yeah…” because I know people would like singing that part… And then I played with words as usual and as I was looking for a rhyme with “tights and stockings”, I came up with “Traffick Blocking”, which is in fact not a word that exists in English, normally you say roadblock or traffic jam…
What is your opinion on the current state of dancehall?
It's totally different now. Back then, there was much more fun and enjoyment in dancehall. And also, there were many more concerts and sounds taking place. As far as productions go, many of the riddims coming out now sound like chewing gum. They're not “real” and sound really fake. There's nothing wrong with improvising and trying new things, but there still has to be something in the music that makes you feel good. Many self-proclaimed producers aren't even musicians, they just mess around. You have to know where you come from in order to know where you're going, as everyone knows. So if you've never even listened to the music of Yellowman, Josey Wales, Lone Ranger or Supercat, if you have no idea who these artists are, then you'll only be able to produce rubbish sounds… You'll think you're doing something good when you'll only be botching it. Because there are recipes, templates, formats that you have to follow in dancehall if you want to be professional and if you want your music to be able to reach people.
You see quite a few young dancehall artists who create controversy with their lyrics. But 20 years ago, with tracks like Pianist, you were a controversial artist too.
It's true that some people found that track a bit vulgar. It was in fact banned on the radio in Jamaica despite its success. It didn't please everyone. But when I see some of the young singers at the moment, I find that some really go too far. Hardcore dancehall is what it is. But they should clean their music of everything that is deeply offensive. The aim isn't to hurt people. Sometimes, I notice that in their music, there's no morality at all.
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