The man behind the French sound system championship kindly agreed to give an interview to reggaefrance.com.
With plenty of controversy over how the championship was run since the event ended, it was time to let Rojah speak for himself and, at the same time, find out a bit more about the man.
This first interview will lead to other reactions, since this site allows us to do that. To sum up, some people accuse Junior Sound of being a sound funded by Maffé (the championship organisers) to build it up in dubplates and so make it the biggest sound in France.
If the takings from the nights had been used to buy specials in Jamaica, Junior Sound would then be really big since, as you can guess, money buys everything in Jamaica. Of course these are only rumours going around, and everyone's work and efforts should be respected...
With plenty of controversy over how the championship was run since the event ended, it was time to let Rojah speak for himself and, at the same time, find out a bit more about the man.
This first interview will lead to other reactions, since this site allows us to do that. To sum up, some people accuse Junior Sound of being a sound funded by Maffé (the championship organisers) to build it up in dubplates and so make it the biggest sound in France.
If the takings from the nights had been used to buy specials in Jamaica, Junior Sound would then be really big since, as you can guess, money buys everything in Jamaica. Of course these are only rumours going around, and everyone's work and efforts should be respected...
First of all, can you introduce yourself?
Rojah Roger, or Rogah for those who know me in the movement, it's been my nickname since I was very little in Africa. People also call me Maffé because I set up the Maffé Soud System outfit (like the food, by the way) back in 1992.
It's an association I'm the president of, with two members, along with Laurent who's the manager.
It's an association I'm the president of, with two members, along with Laurent who's the manager.
Since 1992.... how have things evolved....
Rojah We started by organising sound systems (Jah Wizdom, then other nights, notably with Jah Mike from Groovin), and one thing leading to another we put on a date with Beenie Man at the Palace in 1995, for his first European tour. The following year we also had him do it again in Paris.
Through Laurent, we managed to get a slot on FPP 106.3 FM in 1995. We called the show Maffé Fm.
We also brought over an artist called Toto Rankin, with whom we co-produced a 7-track record in 1996 that never took off because back then the record companies were cautious.
That album was produced in Jamaica, which let us go there that same year.
Through Laurent, we managed to get a slot on FPP 106.3 FM in 1995. We called the show Maffé Fm.
We also brought over an artist called Toto Rankin, with whom we co-produced a 7-track record in 1996 that never took off because back then the record companies were cautious.
That album was produced in Jamaica, which let us go there that same year.
How did you get in touch with Junior Sound?
Rojah I met Junior Sound, it was a young sound back then. I had seen them play once: that was in 1998.
They were Groovin Musik's protégés. I was working with Dj Benji on the radio, then he left. So I was looking for a selector. I suggested to Man Billy (Junior Sound's selector) that he come by the radio one day, and that's how we started working together, CNB from Groovin was there too. That's where a certain bond was born.
They were Groovin Musik's protégés. I was working with Dj Benji on the radio, then he left. So I was looking for a selector. I suggested to Man Billy (Junior Sound's selector) that he come by the radio one day, and that's how we started working together, CNB from Groovin was there too. That's where a certain bond was born.
You're the man behind the Crazy Ragga compilation...
Rojah The first volume of the compilation came out in 1998, the second in 1999 and the next one is coming soon. Why did I do Crazy Ragga? Because it turned out I was promoting artists like Sista Clarisse, Sista Nabou and others.
Whenever I wanted to get these artists talked about on the radio or in magazines, there was nothing concrete for people to listen to. The first one came out as a mix tape because of a tiny budget, it was recorded live at someone's place, and 250 tapes were sold.
People criticised the sound quality, but still, it was the first time you heard so many French deejays on Jamaican riddims. For Crazy Ragga 2 we put in more resources, we rented a proper studio for a weekend.
The second attempt was the right one, since the compilation did well, and we were able to do shows off the back of it.
Whenever I wanted to get these artists talked about on the radio or in magazines, there was nothing concrete for people to listen to. The first one came out as a mix tape because of a tiny budget, it was recorded live at someone's place, and 250 tapes were sold.
People criticised the sound quality, but still, it was the first time you heard so many French deejays on Jamaican riddims. For Crazy Ragga 2 we put in more resources, we rented a proper studio for a weekend.
The second attempt was the right one, since the compilation did well, and we were able to do shows off the back of it.
Crazy Ragga 3 is about to come out... Can you tell us more about what's on it?
Rojah I said to myself we'd go for a compilation with original riddims. Most of the instrumentals were composed by Supa John.
On it you'll find: Apache, Admiral Cim, Faycal, Sister Clarisse, Mad Killa, Big Familly,
On it you'll find: Apache, Admiral Cim, Faycal, Sister Clarisse, Mad Killa, Big Familly,
You're also about to release a series on the Jamaican label Mixing Lab...
Rojah Yes, we produced a series in collaboration with Mixing Lab, who gave me their latest riddim, called Maffé
I told him we should give it a try by recording French deejays.
So there'll be: Apache, Faycal and Mad Killah, Daddy Morry. On the Jamaican deejay side there'll be Bounty Killer, Sizzla, Alozade, Cutty Ranks, Anthony B, Jigsy King, Jah Moore, who's an artist from David House on the rise right now, Lexxus, Elephant Man, Danny English.
And then we're going to do a CD compilation the Greensleeves way, maybe 6 months after the vinyl release.
I told him we should give it a try by recording French deejays.
So there'll be: Apache, Faycal and Mad Killah, Daddy Morry. On the Jamaican deejay side there'll be Bounty Killer, Sizzla, Alozade, Cutty Ranks, Anthony B, Jigsy King, Jah Moore, who's an artist from David House on the rise right now, Lexxus, Elephant Man, Danny English.
And then we're going to do a CD compilation the Greensleeves way, maybe 6 months after the vinyl release.
To come back to the links people might have drawn between Maffe and Junior Sound?
Rojah After a night we organised at the Espace des Peupliers with Junior Sound, Man Billy asked me if he could go to Jamaica with me to cut dubplates, since I had a few contacts.
It wasn't with my budget, as a lot of people thought. Seeing how much he wanted to become a big sound system like the ones you see all over the world, I had the idea of doing this French sound system championship.
So I took the initiative to organise a championship 1 month after we got back from Jamaica, I started contacting two or three venues after writing up a project listing the sound systems around Paris. It wasn't a registration file but an information pack on how the championship would be run.
People liked it, some people criticised it, maybe because they needed to have something to say.
It wasn't with my budget, as a lot of people thought. Seeing how much he wanted to become a big sound system like the ones you see all over the world, I had the idea of doing this French sound system championship.
So I took the initiative to organise a championship 1 month after we got back from Jamaica, I started contacting two or three venues after writing up a project listing the sound systems around Paris. It wasn't a registration file but an information pack on how the championship would be run.
People liked it, some people criticised it, maybe because they needed to have something to say.
How did you react to the criticism, or the bad-mouthing, if we can call it bad-mouthing?
Rojah Yes, we can talk about bad-mouthing! I didn't do this in order to make someone win. I was disappointed that the criticism came from outsiders, who hadn't even taken part in the championship, given that the participants didn't criticise, they just made remarks backstage. For example, the prizes weren't balanced, I accept that kind of remark, even the winning sound Junior Sound admitted there was too big a gap between first and second place.
I didn't set a prize because I thought so-and-so was going to win, I set a prize because that's how it had to be.
I didn't set a prize because I thought so-and-so was going to win, I set a prize because that's how it had to be.
Is a second championship still on the cards, though?
Rojah Yes, I'm in favour of organising another edition of the French championship as long as there are sounds that will follow, wanting to progress and make a name for themselves.
I'm thinking of launching it by May 2001.
I'm thinking of launching it by May 2001.
As a promoter, can you explain why Paris is a city where nothing happens in dancehall when it comes to parties?
Rojah First of all there's a lack of promoters. Luckily there are sounds that can perform; if they can't get organised to find a venue for at least 400-500 people in or around Paris, people will keep buying CDs and listening to them and nothing will happen. Everyone has to do their bit.