THE VIRGINIAN-PILOT
Copyright (c) 1995, Landmark Communications, Inc.
DATE: Monday, July 10, 1995 TAG: 9507080125
SECTION: DAILY BREAK PAGE: E1 EDITION: FINAL
SOURCE: BY RICKEY WRIGHT, STAFF WRITER
LENGTH: Long : 106 lines
``HE LIVED UP to his part, and he died with the cause in his heart. . . . ''
When Marvin Gaye sang about Bob Marley after the reggae king's 1981 death, relatively few Americans were aware of the artist who had done more than any other to bring the infectious, optimistic, sometimes angry Jamaican music to the world.
That's all changed. Millions of U.S. fans can now fully understand why Jamaica is recognizing its hero on a stamp and a coin. And from the pop tones of the British UB40 to the sexually blunt dancehall rap of Shabba Ranks, reggae itself is bigger business than ever here. It's in record collections and all over the radio, both on specialty shows and in the day-to-day mix.
Two concerts at the Boathouse this week underscore this growth. This year's installment of the venerable Reggae Sunsplash tour, featuring Aswad, Buju Banton, Wailing Souls, Worl-A-Girl and many others, arrives Tuesday at 7.
Wailing Souls - who are in the tradition of smooth vocal groups like the Heptones and the Mighty Diamonds - and Worl-A-Girl were heard on the gold-selling ``Cool Runnings'' soundtrack album. Aswad is a favorite among old-school fans, while Banton has recently turned his dancehall style toward decrying violence in society and promoting ``positivism.''
On Saturday, Third World visits with regional favorite Zion Wave in what is billed as a tribute to Marley. R&B elements in Third World's music have led to several crossover hits (``Now That We Found Love,'' ``Try Jah Love''), but the group also walks the spiritual straight-and-narrow that some dancehall artists avoid.
Steve Crumbley, general manager and program director of WOWI-FM (``103 JAMZ''), the most listened to station in the area, programs reggae much more readily now than he did five years ago.
``I think (reggae) has changed. It's gotten more commercial,'' he says. He cites the mainstream success of Ini Kamoze's ``Here Comes the Hotstepper'' (a No. 1 R&B and pop hit last winter) and Diana King's ``Shy Guy.''
``I don't know if it's going to be as big as hip-hop, but it's following the same kind of footsteps.''
Crumbley says that, overall, about 10 reggae records are on his station's current playlist. Reggae star Shaggy and Shabba Ranks' single ``Boombastic'' is in ``power rotation'' at WOWI, meaning it's heard many times a day. It is the No. 2 seller in the market right now, according to SoundScan data collected from record stores.
Crumbley adds that WOWI's focus is toward ``usually, the party records. People who like the traditional, slower sound don't necessarily like dancehall. For instance, my sister is 38. My sister is a reggae fan. She lived in the islands for seven years in her 20s, and she hates the Mad Lion and Shaggy sound. I think it's the younger generation - the 18-to-34s, as we call them in radio - who really like that.''
By contrast, DJ Teri-Michelle, whose hour-long ``Coast Reggae Rave'' on WKOC-FM is part of her regular late-night shift, generally focuses on socially charged message music.
``I feel like I'm on a mission here,'' says Teri-Michelle, who cites Bob Marley as her hero. ``I'm trying to give them an irie feeling'' - Jamaican slang for a sort of cosmic peacefulness - ``and talk about how silly this prejudice is that's still with us.''
She's happy to see the music gain greater acceptance, noting that not only hardcore fans, but curious, open-minded Coast listeners are into her show.
``It's a way for black and white races, for all races, to come together.''
She recognizes reggae's gain in commercial clout since her early days in radio 15 years ago, but avoids playing much current dancehall music, saying the sounds of Shabba and his cohorts don't fit her purpose.
``A lot of it you can't understand. I like the music, but in that hour, I want to keep it positive. I want more lyrics, more conscious lyrics.''
Whatever the style, Crumbley says he doesn't expect the tide to ebb anytime soon, pointing out the strong showing of Kamoze's new ``Listen Me Tic (Woyoi)'' and ``Champion'' by Banton.
Banton claims to have converted to the Rastafarianism followed by the Marley family and scores of reggae artists. But whatever becomes of the dancehall nation's favored sons and daughters, one thing is for sure: Bob Marley's influence will continue. The once hotly discussed question of a successor has long since died away, not so much because the need isn't there, but because everyone seems to agree that - as with Gaye and John Lennon - no one can fit the cap.
Sales of Marley's best-of collection, ``Legend,'' have topped 5 million in the United States, and Island Records has already shipped 300,000 copies of a recent sequel, ``Natural Mystic.'' A new video for the song ``Keep on Moving'' goes to MTV and other channels soon. And according to Sarah Weinstein, associate national director for media relations at Island, Marley's label catalog has sold in excess of 30 million worldwide. She also credits a young audience for helping keep the flame burning.
``I think that the more youth culture becomes aware of something, the more life it will have.'' She calls Marley's appeal ``very universal.''
And the universe is expanding. ILLUSTRATION: Color photos
Aswad
Buju Banton
Bob Marley
Third World
Graphic
At a Glance
For copy, see microfilm
Photo by LORI STOLL
Aswad, a favorite of old-school reggae fans, plays at the Boathouse
as part of the Reggae Sunsplash at 7 on Tuesday night.
by CNB