From Birmingham UK and with over thirty years experience Scientist
Sound System continues to be a leading Sound System on the International
Reggae Circuit.
Recently back from their tour of Poland the scientists
are currently preparing for Irie Music's 21st Birthday Party.
Since 1979, the year of the birth of Scientist
Soundsystem in Sparkbrook, Robbo Dread has continued to follow the
progression of modern dance music to today’s conclusion - where
commercial pop music has replicated the essence of the soundsystem by
way of its presence in contemporary dance rhythms as heard on Radio 1,
the BBC MOBO awards, MTV-style television programming, and in the
Supermarket and... Public Houses.
Today in South Birmingham the Scientist Soundsystem is being rebuilt and
new programmes of activity are being devised. Roy P is designing and
building the cabinets and Nicky designing the electronics and building
the pre-amplification to drive the speakers of their turntable-based
sound system. They and Robbo are preparing for their 25th anniversary
year in the business, and creating new events, in new markets as they
proceed. The art of playing a soundsystem will once again be able to be
witnessed by new younger generations of audience.
The first Scientist Soundsystem was built for Robbos regular school
disco. Roy P and Nicky, his brothers, helped create an embryo sound
system that was fore¬runner to that first 8-bin set up that outperformed
the systems of the day in Birmingham and other UK cities. Scientist
Sound ‘killed’ them all. “A BAD little sound”2 Robbo recalls.
The core members were then Roy P Nicky D-Man, Flux, Beaver Militant, Big
John (2004 Juggler, Galaxy FM Host), Bond, Little Sess, Cooperman,
African Yardie (Galaxy), Kojak lrie, and Scoobie Banton.
“Being a child of the 60s’ I can remember on a Sunday afternoon, when my
father used to open the front room play his early Blue Beat, imported,
7” singles on his Blaupunkt Radiogram, and do his rude-boy,
sharp-like-a-razor, player dance.”2
“In 1977 I got a chance to actually witness first-hand many soundsystems
from across Birmingham by attending Monday night Youth Club sessions at
Claremount Road, open to all ages. “2 Those from Birmingham alone
included Hital Hi Fl, King Iwa, Bismark, Count Niya, Tremor, Niya
Esquire, Jah Massigan, Orthodox, Quaker City, Duke Wally and
particularly Zion Sound and Mafia Tone with whom he served my
self-structured apprenticeship.
• Mafia Tone was owned by the late, great Stafford, a lesser-known
Jamaican music producer based in Handsworth. His labels Now Generation,
Art & Craft, stand testament to the mans’ extensive released and
unreleased catalogue. ‘This man especially was responsible for
demonstrating to me the ‘inside’, the mechanics of the reggae music
business.”2
• Zion Sound owned by Alfred Paddyfoot, known to friends as Paddy, was
at the time, owner of one of England’s most influential emporium of
reggae records and merchandise - Zion Records on Villa Road, Handsworth.
‘Zion’ was a carpenter by trade, honourable by nature, and always paid
promptly, next day, which was an exception during hard times, and low
budget productions. Zion dealt with obscure, rare, pressings on 7” and
12”, of Jamaican reggae music, and remained based in Handsworth, until
his shop was robbed in the 80s. • Quaker City, operated by a man known
to me as Carl, was the rival ‘system to Mafia and Zion. He also owned a
record shop and label on Lozells Road called Orbit Records. I have
observed in Digbeth Civic Front Hall (now the much maligned Sanctuary
Nightclub) Quaker played bass-lines that would pull so much power from
the electricity supply that the house lights would blink and dim,
starved by the valve amplification he used. He would drive 20, six-foot
tall, varnished, wardrobe-sized, speaker cabinets, each loaded with 4,
18-inch speakers. Carl promoted some of the biggest and best-attended
concert performances by reggae artists visiting Birmingham and without
doubt these became inspirational moments for music lovers, which in turn
helped shape our current dance music landscape.
“Soundsystems have played a major influence in the way I have analysed
reggae music, from standing outside Claremount Road Community Centre,
Sparkbrook and hearing the vibration of the bass, coming from the Duke
Alloy and Studio City’s sets. Not being able to afford the gate fee, but
more importantly not being old enough to enter. I imagined being in the
dance and waited patiently outside until curfew.”2
Lloyd Blake, a noted reggae music impresario, was to empower me outside
of the schoolhouse of soundsystems in Birmingham at Winson Green
Community Centre, 212 Winson Green Road, Winson Green. He was handing
out leaflets for his next promotion – I looked across at him and asked
if I could hand out some posters for him. It was a key moment when he
said “yes” and I got a job distributing the posters, and so free
entrance to his shows for me - and both of my brothers.
