INTERVIEW : RANDY VALENTINE
Interview by : Irie Nation
Pictures by : DR
on Friday, July 10th 2015 - 20 022 views
He has only one mixtape and two EPs to his name, but Randy Valentine has already made himself known as an artist to watch. His new EP, "Still Pushing" (read our review), released in May 2015, only confirms how highly we think of him.
Coming from the London scene, Randy Valentine released a mixtape in 2013 ("Bring Back The Love") and then a first EP, "Break The Chain", the following year. A big leap for someone who was first a producer, then a songwriter, before stepping behind the mic. A choice that paid off, since it shows undeniable qualities as a singer but also a very good pen. Thus armed, Randy Valentine brilliantly touches on several sub-genres of reggae: lovers rock, new roots, dancehall... On his second EP, "Still Pushing", produced by Joe Ariwa (Mad Professor's son), it is mainly a roots and dub sound that he tackles.
Time to make the introductions.
Reggaefrance / Why did you call your new EP "Still Pushing"?
Randy Valentine / It's simply for the obvious reason that I'm evolving in my music career and I'm still pushing the "high-brations", my product and my music…
What led you to work with Joe Ariwa on this new project?
We've been friends for many, many years and we've always talked about putting a project together one day. And where I am at the moment, as a person and as an artist, I think there's a lot of what I feel that I can express through dub and roots & culture. So I thought it was the ideal moment to go back to my old landlord Mad Professor and make this long-standing project happen at the Ariwa Records studios.
In fact, Mad Professor was my landlord when I was younger and had set up a small studio very close to his. Back then I didn't know much about dub music. And when I first walked into his studio, I was very impressed by the place. Especially when you think about the jumble of equipment we had in our little studio. I didn't know much about him, just that he was called Mr Fraser and that he was the one we paid our rent to. I realised who he was, and I also got to know Joe at that time. So I decided to study and educate myself a little about their music, because when I was young, in Jamaica, I was never exposed to that kind of music. So between those first meetings and the work we did together this year, I think there's been a whole journey and personal evolution. I was ripe for this project.
We discovered you with the mixtape "Bring Back The Love". Were you already involved in the reggae scene before this mixtape?
No, not really. Before, I was a DJ. I wasn't known at all in the reggae scene but I've always been a big fan of this music. I was an outsider. I've been making music for a long time but I wasn't in reggae. But when I got into it, everything came very naturally, because the influence of reggae has always been strong in me, and in the styles of music I played.
 C’est bien de frimer au sujet de Major Lazer, mais c’est mieux de rester concentré sur notre propre mission. 
Were you a singer before too? Did you record?
Yes, I sang back then too. But mostly in neo-soul, acoustic or hip-hop styles. Our label did a bit of everything. That's why we called it JOAT, Jack Of All Trades ("homme à tout faire" or "touche-à-tout" in French, editor's note).
And now you're 100% involved in reggae?
Yes, you could say that. But I'm going to surprise people with new productions coming out. Because there's going to be an evolution…
Speaking of travelling through musical styles, you very recently recorded a track for Major Lazer.
That track is actually a dubplate. They wanted it for their album "Peace is the Mission". The German producer Junior Blender contacted me and said they wanted to record me. They really wanted to do it and I jumped at it straight away because I love making dubplates and I'm a big fan of soundclash culture. It was also a perfect opportunity to get to know that team of super-producers, Major Lazer. And then, cherry on the cake, the track came out featuring the voice of Taranchyla. Taranchyla is THE voice of soundclash. I'm one of his fans and it was a great joy for me that we ended up together on this production.
But you're not really promoting this track…
Actually, we're going to play a few gigs together this summer. But for the rest, I work with an independent team that's trying to promote its own music with all the energy we have. Every day we push, "Still Pushing", our music. So it's nice to show off about Major Lazer, but it's better to stay focused on our own mission. We don't want to create too much hype around this track.
Besides, the EP might have a longer life expectancy in music history…
Absolutely. The EP is made to last. With all due respect to Major Lazer, their music is of a different kind, it's more of a trendy vibe at the moment...
How did you work on this EP with Joe Ariwa?
I went to their studio. Joe Ariwa was there, and so was Mad Professor. They gave me about 25 riddims to listen to. So I took them home, sat down, listened and picked the ones that seemed the most suitable. And then I started writing. We got to a finished product very quickly. There are even four songs that were recorded but are not on the EP.
All the riddims, apart from the intro, had already been recorded before I went into the studio. They were played by guys like Wayne Horseman, Dennis Bovell or Black Steel. The intro, I recorded in my own studio. I recorded the vocals first, then sang the choruses behind them. And I finished by composing a piano accompaniment. I wanted to keep that a cappella style in the intro, as I had done on the mixtape and on my first EP, "Break The Chains". I like the mood and the atmosphere that a track like that creates. I like that way of welcoming the listener into my project.
You could almost have released an album. What stopped you?
Yes, we could have made an excellent album. But we still prefer to work in the EP format. We are still working on presenting our music to the public, and we are trying to win over fans, gradually. Because if I release an album now, without yet being very well known and without having built up any anticipation for the release, there is a risk that the album will go unnoticed. And so it would be a wasted effort. We want the public to want an album first.
Was Mad Professor also involved in this project?
Yes, he was, and he is also credited on the EP. He helped us with the riddims and some of the mixes. But most of the project was handled by Joe Ariwa and his brother Karmelody, who also did a lot of the production.
You see very few artists who really take care over their lyrics. Generally, a catchy chorus is enough for them. But when we listen to you, we notice that you don't joke around with the writing...
What really helps me write lyrics is the fact that I spent more years as a producer than as a singer. So I can visualise well how I want my music to sound and how to get my message across. I can stay for hours in the studio, playing with flows, creating spaces for the lyrics in the music... I don't really know how to explain it. It's just a natural vibe. Usually, I start with a melody, and then I play that melody over the riddim, and finally I add the lyrics on top.
We are talking about singing, but you also have talents as a deejay. Where did you develop that style?
It goes back to my school years, when I was still a student in Clarendon, Jamaica. I think all young people in Jamaica, even if they are not artists now, will tell you that at some point in their lives they wrote lyrics and deejayed.
I don't necessarily put a deejay passage in every one of my songs. It depends a bit on the riddim. Basically, whatever has to happen, happens. Sometimes I stick to singing only, sometimes there is a break or a variation in the riddim and so I go with it and switch from singer to deejay.
You like telling stories, like that gangster story in Consequences, on your latest EP. Where does that desire come from?
In music, I went from producer to songwriter and then from songwriter to artist. So I was writing before I was singing. Back in the day, I really liked writing stories and poetry. When I was at school in Jamaica, English literature was my favourite subject because I loved the stories, the Romeo and Juliet stuff and all that... I like creative writing.
After touring Europe, you recently went to Australia and in a few days you are leaving for the United States. Your success is being confirmed. How do you see your future?
What is good about this whole adventure, since my days as a producer, is that nothing was scheduled or planned, yet it has always been good for me. So I am grateful for every other blessing that is still to come. But I am also motivated to keep developing my label in England, JOAT, and to promote new artists there. I would also like to develop the Hemp Higher label and help some young people find their place in music as well.
You recently went back to Jamaica, after ten years away from your country. Did you record there? Which producers would you dream of working with? Personally, I would really love to see you work with Digital B!
Yes, I would love that too. It would be great, and in fact there is a chance it will happen. Apart from that, there is this producer, DJ Frass, who released a riddim last year called 7th Heaven riddim, which has been one of my favourites ever since. When I was in Jamaica, I was very impressed by the man who produces for Chronixx: Romaine "Teflon" Arnett. I like his Zinc Fence Band in general, the sound they have is fantastic. I would really like to do productions with them. During that trip, I also saw Warrior King again, whom I had met a few years ago. He came to see me at Cali P's house and we recorded a song together on a new riddim from the Hemp Higher label. I also did a track called Jah Is Gonna Take Control for the producer Clive Hunt, which is due out on VP Records soon.
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