(Pictured: King Tubby and Redman International | Photo Credit: Marvin Pitterson)
Our recent Reggae Anthology hones in on the work of Hugh ‘Redman’ James, one of Jamaica’s finest purveyors of Reggae and Dancehall from the 80s era. We caught up with Redman to discuss his life in music and reminisce about the great King Tubby.
VP: Can you talk a little bit about your entry into the business and please tell us about your time with King Tubby.
RM: I was taught by the late Osbourne Ruddock, King Tubby. That was my mentor. And Tubby told me you don’t want to deal with the sound systems, so I should go into production, and so I started production. Thumbs up to him. May his soul rest in peace. And you know Jammy was also a student of King Tubby’s. So we all elevate and keep his legacy going. He was so great, so great. Although he died, I don’t leave him out. I visit his grave regularly.
VP: A big part of your career was in the soundsystem world, can you tell us about your time as Redman Hi-Power?
RM: My mother had her own sound! When I was a baby, I usually creep and lick up in the sound boxes! That sound [system] was by the name of “Esquire.” My sound was Redman Hi-Power first then it went to Jamrock Sound, I was able to bring in the late, great Gregory Isaacs, Little John, Sugar Minott, Frankie Paul, Ken Boothe, Delroy Wilson.
VP: “Chisholm Avenue” by Gregory Isaacs has been chosen as a single for streaming for the first time. Do you have any memories of Gregory, or of the recording of that song?
RM: So many memories of Gregory, man, I’m telling you. Wah? Gregory just come and make the tune right on the spot. “(singing) Jonesy walked to the mic stand / Sending request to man and man.” Y’understand? And he just made the tune there. That’s the way he played. And I always get Gregory to work. He was pleased to work for me.
VP: Can you tell me about Soljie, who worked as your recording engineer at Channel One?
RM: Yes, the late Cedrica Hamilton. He did the majority of my work. He was easy-going. I could leave everything in his hands, and go and take care of business. And so he gets everything done for me. The 24th of December makes one year since he passed away, man. And he don’t get the credit he’s supposed to get. As an engineer, I think he got the most hit songs. He was working for me, for Winston Riley, for everybody. That’s the man for Channel One. He was top-tier. The majority of my work was Channel One and Tuff Gong. That’s where I do all the volume of work.
VP: Can you tell me about some of the younger artists you worked with?
RM: I liked working with the younger artists because those are the ones who will get big one day. And I also make hits with them, like one Henkel Irie. He did “She,” which was the No. 2 song in Jamaica. On the Tight Clothes (Kolo Ko) riddim. I always give the young artists a chance, that’s why they check for me so much. I’ve been listening for years to what’s going on. Henkel Irie. Patrick Irie. Junior Vibes, Carl Meeks, Cutty Ranks, Delly Ranx, Thriller U, we did “Careless Whisper” by George Michael for Thriller U. No. 1 song. I did well with Thriller U, I ain’t gon’ tell no lie, boy.
VP: What’s one piece of advice you would give to someone looking to get into music production?
RM: Well, the music thing was in my genes. And I tell you, Tubby’s always tell me, “Don’t be a follower, be a leader.” And I stick to the task. And it paid off. I always put input on songs. I always tell artists if you have a song that don’t fit for your plate, don’t let me record it. Because I want a song to hit, so come clean and I do my job. I know what to do to make a tune hit. Come 2024, they’ll be hearing some nice vocals out of my stable.
VP: What was it like working with Frankie Paul?
RM: He was easy to work with. But the best time to record Frankie Paul was 2 o’clock in the morning, before the day. Don’t record him during the day. Nighttime you get the best out of Frankie Paul. He sings better and it just works for me. I always take him out of bed and take him to the studio and take him back home, that’s my duty. Frankie Paul – Slow Down (is one of my favourites). Not because I made that song, I think it’s the best song Frankie Paul did. I did quite a few tracks with Frankie Paul.
VP: Looking back at your discography, your releases, you started distributing through VP in 1987. Can you talk about your history with VP?
RM: Yeah from 1987, we’ve been working together. They’re good to me. I was there on day one in the retail shop on Jamaica Ave. It’s small but very important.
Stream Redman International – We Run Things