INTERVIEW : HAWKEYE
Interview by : Benoit Georges & Alexandre Tonus
Pictures by : Ben
on Friday, July 30th 2004 - 12 059 views
Hawkeye is certainly one of the most curious and interesting phenomena of the current dancehall scene. A DJ for the Main Street stable in the 1990s, he is prolific on single but enjoys a popularity confined to the Jamaican diaspora. He still records for many producers and embodies an original style, as he describes it in My style, one of his hits in 2001 on the Double jeopardy riddim. As the hawk-eyed DJ has never been invited to a show in France, we had to go all the way to Germany, to the Splash, to meet him. A very enriching interview, full of surprises, in which he tells us about his late calling to music and his beginnings at Main Street. In fact there is a lot hidden behind the entertainer's costume...
Reggaefrance / First of all, thank you Hawkeye for taking a moment to talk with us. To begin with, can you introduce yourself to the French public, tell them where you come from and the origin of your nickname, Hawkeye?
Hawkeye / Hello, good evening to all the public, from Germany, from France and everywhere else. It’s a real pleasure to chat with Reggaefrance.com. I’m Hawkeye, born Christopher Smith; I got the name Hawkeye from Cutty Ranks, the Jamaican DJ, back when I was at Mainstreet, around 1993, 1994; and I’m a dancehall DJ from Jamaica. That’s where I was born and raised. This is my second time in Germany.
I read that you studied to become a chef. What made you choose music over cooking?
Being a chef is something my mother taught me. During my childhood, I learned how to cook, how to clean, how to press, how to wash, all the tasks of the women in a house. I think you need to know that when you’re young and growing up. When I went to school, I was in the 10th grade at high school. I went to primary school first, which I completed, so I entered high school. Once there, when you’ve reached grade 10, you have a choice to make. First, I studied home economics, and then I rather liked mechanics at that time. Home economics was what I wanted first and when I started doing it at school, I was very good at it.
I left that high school for a technical high school in St Ann, for two years. And during the time I was doing cooking, I had two placements, one of 6 months at Pegasus, and then while I was at high school, I also got the chance to gain experience at Pegasus, in the hotel trade. Cooking all the dishes, German, French, American, Jamaican cuisine, a bit of Chinese cuisine, some seafood, I was very versatile. That was my main aim at the time, because I saw it as a career after school.
But while I was at school, I used to DJ. Being a DJ was just a hobby for Hawkeye. But at that time, when I left school, I had a job at Port Royal, for 6 months, and then I left Port Royal to see how seafood was handled. I studied fish, crabs, dolphins, I know how to cook them. Then, I left there and went to work at Pegasus, which I had been familiar with for years. I went there and worked there for 2 years. And after I left Pegasus, I had another job at the Sudden Place Hotel, but now it’s called the Courtleigh, and then during that time, while I was working at the hotel, I met General Degree.
The famous Bodyguard video...
It was my first appearance on the music scene, that General Degree video. I was the bodyguard in that video and from the day I acted in that video and it came out, I noticed that people in the street noticed me and said: ''That’s the bodyguard from Degree’s video, that’s the bodyguard, that’s the bodyguard!''. From then on I told myself it was an opportunity to make music. Because I loved music too, but as the opportunity to be a chef had come first, I had stuck with that. Once I met Degree and started looking after his shows, I was introduced to Danny Browne by friends and that’s when I joined Main Street. There, I met Stitchie, Papa San, Lady G., Crissy D., General Degree, who was the founder of Main Street. I met Chico too. I used to meet lots of people there. That’s where I started, that’s how it went between my career as a chef and my career in music. So I left my post at Sudden Place, because I was starting to become popular, to be on TV. So, I started writing more and concentrating on the studio. And at the same time, when I was at Main Street, it was like a family, you felt at home; so, I told myself: ''I don’t need to work! Let’s stay focused on what I’m doing and think about doing something big'' That’s how I got started.
And what were your musical influences at that time?
I love Stitchie and Papa San, because in their day, lyrics were the fashion. They had lyrics and lyrics and lyrics. And I love that, I grew up in that lyrics fashion. I like General Degree too, Denise as well, an artist who always took care of her lyrics. After growing up listening to Lieutenant Stitchie, Papa San, I moved on to Diego, Shabba Ranks, Ninja Man; I loved them! Then, Beenie Man and Bounty came along and so on... All the good artists, those with a creative mind and an energy in their lyrics, I appreciate them... all the good artists.
I believe your first song was for John Mills, in 1988. Can you give us details about that experience? How did it come about?
John Mills is just another friend. He didn’t live on the same street as me, but he had a girlfriend who lived there. We chatted together, we played football together, dominoes, all those kids’ games. He’s still a great man to me, but above all he was my main influence when I started taking the business seriously. Because I used to DJ for them, I used to DJ in the street and he would say to me: ''Yo! Why don’t you get into it more?'' I would answer: ''No, DJing is just a hobby for me.'' To that he would reply: ''You know people are suffering here, do you like suffering? Why don’t you sell this thing?'' When he recorded me in ’88, it was just to get me out there. He trusted me as a young producer. But he put me on a record, just to show me it was possible: ''You can do it, so why don’t you?'' That’s how I teamed up with John Mills and I big him up, by the way. John Mills, the first man who put me on vinyl. Thanks to him.
So it was after that that you got closer to Danny Browne and Main Street; when exactly was that?
I got close to Main Street around 1992, 1993; that’s when I joined Main Street, so about 4 years after John Mills.
And you made lots of big tunes for Main Street, like Arrest mi officer, Beg fi him, Move, Man a badman with Lady G.; what do you remember of that time today, since your style has changed a lot?
You can see the category of artists that Main Street produced. General Degree was a very creative artist full of lyrics, Papa San and Lieutenant Stitchie joined the label later, because Danny Browne was a very good producer to work with. Red Rat and Goofy came along and developed the same energy in their lyrics, but from a fun point of view. That is, they said something, but it wasn’t explicit, they just suggested the idea through their words. So, when I joined Main Street, that energy transformed me and, being General Degree’s right-hand man, everything flowed automatically, the energy of Degree’s lyrics flowed into me, Danny’s energy flowed into me, Stitchie’s energy. As an artist who had respected Papa San and Lieutenant Stitchie since the early days when they started making songs, I told myself, I must adopt these principles, because they are my idols. So I had to follow this creative path. It’s just like Professor Nuts; we know Professor Nuts can stand on his own, because Professor Nuts sounds like nobody else. When you hear Professor Nuts, it’s Professor Nuts. So, Hawkeye wanted to be one of those artists. When people hear Hawkeye, they say: ''That’s Hawkeye!''. Through the years, you have to grow, because the music grows, things change, and you have to know how to adapt, when people change their attitude. But no matter how I adapt, I still operate from a creative point of view for the people. We keep going in that direction...
Can you give us more details about the break-up of Main Street? Tell us the reason why you left Main Street, and the other artists with you?
The main reason for leaving Main Street is that Danny Browne converted to Christianity, he became a Christian. He had a meeting with the artists. To tell the truth, I was the first artist to move, because I said I wouldn’t stay. I put God first in everything I do, because God is important to me. But the fact is that at that time, when I was doing that and Danny told me he was going to become a Christian, that he had faith, I couldn’t say anything other than: ''Go ahead! Anything for Jesus, anything for God, that’s fine.'' But at the same time, my career was moving forward and I had to move. So, we’re still friends, Danny still gives me advice, he calls me. At that time, I was just back from Sumfest, in Jamaica, I was touring, I already knew my career was moving up to a higher level. Just in time to hear that Danny had converted. It was a kind of disappointment for me, but at the same time, knowing that God represents everything, I just put my trust back in God the Father. It’s just that, as You changed this man, I leave it to You to take care of my career. It was a great disappointment in my life, but at the same time, it wasn’t a disappointment, you see what I mean? A disappointment, because yes, Danny changed, the producer I believed in, but at the same time, he was changing for the one who is the creator of all this, the one who makes everything possible. I can’t have any doubt, any regret, I just have to take care of my work and pray to that very one who makes all this possible.
After that period, you got closer to In The Streetz records, with Byron Murray and Jack A Diamond, Vegas, all those people. When and how did that happen?
Byron Murray used to work for Main Street as road manager for Red Rat and Goofy, and I was also in their wake. So, while Danny was becoming a Christian, Murray was teaming up with Vegas and he decided he was going to do his own thing, manage Vegas and all that. And when I was at Main Street, he came to see me and said: ''The fact is that Main Street is becoming a Christian camp; why don’t you come with me?'' Teaming up with Murray changed my songs, everything, entirely. I started at In The Streetz and my career was going well there, very well, my songs were hits after hits. A great many songs that I had begun with Degree: Go Rachel, Wave uno hand, Money making guy, Wha happen Mum. So, I have to say, big up to Byron Murray, a great producer at that time, he really did things for my career. Big up to Vegas too, because he’s the one who gave me the riddim for Go Rachel. In fact, I’ve launched my own company now, called Twingy Twanga; it’s been three years. But the experience with In The Streetz was good, the productions were good, but we keep moving forward.
As you said, you have indeed created your own label, Twingy Twanga; so far, you’ve only produced one riddim, the Katash, which is completely mad.
What happened with this project is that I wanted to bring dancehall back to the forefront. You don’t need to put 20 tunes on a CD, because a great many people have CDs with 20 tunes on them, but they don’t listen to them all. You can make a CD with at least 15 solid juggling songs, we don’t need more. I tried to bring that back. Anyway, the mindset of the people and companies doing their thing is different. So, it was only an experiment for me. Next time I do a production, I know what I’ll do, I don’t have to follow what they want me to do, because I have my own instinct, my own destiny, my own point of view. I need to keep imposing my mark, but at the same time, I have to infuse it a bit more with what they expect. That’s what I plan to do next time.
In 2002, you also released your first album, ''Bubble And Wine''; how did you choose the tunes that appear on this album and how did you create it?
Actually, I left Jamaica, I went to New York and I decided that this album I was making for myself, my first project to come out on Twingy Twanga production, had to be very complete, very competitive with those the other companies were releasing. So, what happened this year is that I had a great many new songs, I did at least 6 exclusive songs, because I wanted to recover that feeling where, when you listen to an album, you don’t just hear a song you know, then a song you know, then a song you know. I wanted to let people hear something new and at the same time I wanted to appeal to people’s ears. I wanted to give the album that flavour back and I did. I think my album was a very successful album for me, for the direction I wanted the music to go in. I didn’t get much support from the companies and people, but what I do is that every time I do shows, I take it with me and I hand it out or sell it, individually. I didn’t bring them to Germany, because they’re all in New York, my CDs are in New York. Next time, I hope... Next time, I hope I’ll have another album, so I can give you the first one and the second one too. It’s good, this album has 18 tracks. “Bubble And Wine” is indeed the title of the CD and Bubble and wine is also a song on the Diwali riddim, it’s the title track - it’s good, it was made in New York, mastered in New York, pressed in New York. I’m sorry, I don’t have a copy to give you right now, but I have one at the hotel, so if I see any of you gentlemen, any time between now and tomorrow, I can pass you a copy of “Bubble And Wine”.
I noticed some changes in your vocal style; in my view, you’re actually a sort of dancehall dub poet, if I may say so... You don’t really toast, you don’t sing, you just talk over the riddim in a way, but it’s really magical. Where does that influence come from?
From God. Seriously, I get it from God, because back then, when I used to travel with Red Rat and Goofy and tour the world with them, I always heard people complaining that they didn’t understand anything of what we were saying. They didn’t understand... ''What are they saying? They talk too fast'' You know that kind of thing. Since the Main Street days, it was there, because I remember, I was at Jammys studio, Jammys in Waterhouse, King Jammys’ studio, I was at the door one day and a feeling came over me, I spoke to God inwardly and I said: ''I need a style that will set me apart from all the others... You, God the Father, you hear people say they don’t understand what we’re saying. They love the music, they love the beat and all that, but because of the riddim, they love our music without even hearing us, without understanding what we’re saying... but me, I need something I can slow down and so make myself understood.'' So I put myself in God the Father’s hands and he helped me do it. So, I kept going and going... and you know what, dubplate sessions are one of the most important things for a DJ in Jamaica, because that’s where most DJs develop their style, because on a dubplate, you let your flow out... And you find gimmicks and slangs... because at that moment, you’re in the light, your head is working harder than ever to find things. I was doing these things when this style came to me in which I DJ in good English, but at the same time, I DJ in patois, the way people like it, that same creole language we love in Jamaica. This style appeared with the song called Arrest mi officer; it was as if I was talking, while DJing, but the words are well measured (he gives a few examples). It was an inspiration from God and I thank God and I glorify him for all the good things he has brought to Hawkeye in the past and present and will bring him in the future. I get all of that from God, so I big up God all the time.
And to finish, may I ask when you plan to come to France... and what message you want to pass on to the French public, to your French fans?
Coming to France is something I would really love to achieve one day, but the problem is that for now it depends on the promoters, it depends on the fans... When they call for Hawkeye, when they want to see Hawkeye, they will see me. If a link can be made and Hawkeye can come to France, I will come. Hawkeye is always trying to tell his fans that they must stay positive, and as I was saying: ''“I’m a money making guy / They can’t stop me no matter how dem try / Naah ease up a more pressure me apply / Fi mi family, fans and friends dem proud of I / So wha the girl say mi name again? Hawkeye !”'' (I'm a guy who makes money / They can't stop me, however they go about it / I'm not letting up, I'm piling on the pressure / So that my family, my fans and my friends are proud of me / What do the girls say my name is? Hawkeye).
I'm always trying to influence my audience and let them know the real things in life, because it's nice to tell people to put their hands up, move their bodies, jump and run, but at the same time, when you do that, you have to make sure the message you give them has something positive in it in the end. Why do they love Luciano so much? Why do they love Sizzla so much? Why do they love Bob Marley so much? Because the message these singers put across is very positive. So no matter what you do, if you tell a guy to go and sweep the chimney of the foufoune, in the end they know it's just fun, but come back to reality. Love is stronger than anything, dry your tears, mama and all that... you have to stay on the right path. So Hawkeye always stays positive for his audience; I talk about those girls who are independent and I always try to big them up. I try to big up the rude bwoys too; sometimes I do a few gangsta tunes, we have to, because it mixes people up, and at the same time I always come back to love and peace. It's just music, and when I call myself gangsta, it means I'm showing my gangsta love. You can be a rude bwoy, but you have to be loving towards people and towards your fans. I hope I will come to France to show people that we have such big music; this music is so much bigger than us. We talk about love and we will carry on in that direction.
|
|
© 1999-2026
RSS
