If you set out to do something more than just being an entertainer in this business, like combining social and spiritual awareness and not compromise too much with your musical outlook, you will see a lot more obstacles come in your way. That road has always been rocky, the journey will be so much harder if you choose to trod a conscious path. Bob Marley became unquestionably the flagship for reggae music that carried social awareness. When he passed away something had happened to roots music, people got less receptive to conscious music and it had lost its major appeal. Perhaps it was just time for a change, more deejays such as the slack General Echo bust big even at the height of Marley's fame, and dancehall style - the rub-a-dub music - was the result: gimmicks, slackness, slurs, slogans and a musical outlook with perhaps a questionable direction. But the people buy the music and this is what they supported, so it filled a need during that time - even until this time. Cultural artists were from now on mainly left out in the margins of the music, you could say they've always been. Singer/songwriter Willie Williams had struggled for several years before a mighty sixties rhythm boosted his name to the majors with 'Armagideon Time' over the Jackie Mittoo-penned 'Real Rock' instrumental back in 1979. British punk rockers The Clash had a keen ear for the latest in reggae music, and so appropriately they covered Willie's song, giving it an assured status as one of the true classics in any era of the music. Still, it didn't propel Willie to become established on a broader level, perhaps the answer to that lies in what I wrote in the beginning. Steadfast in his conviction of music as a cultural vehicle to educate just as much as to entertain, he refuses to compromise the music for a wider audience in order to maintain values seldom lived up to in these times. The timeless quality of his creations have to break him eventually, reggae needs more exponents of such high integrity as Willie Williams, who some refer to as the 'Armagideon Man'. Time will tell when - finally - that wider breakthrough occurs. He is shuffling snow to get the car into the garage after a period of heavy snowing when I reach him in Toronto, Canada, in January 2004. My thanks to Willie (took some time!), Daisy, Greg Lawson, Bob Schoenfeld, Steve Barrow, Michael de Koningh and Russ Bell-Brown. |
Q: As far as I know you grew up in the countryside, in St. Ann, right?
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Willie Williams. (Photo courtesy Drum Street) |
Q: What was the acts you fancied the most, at that time?
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Willie Williams. (Photo: Greg Lawson) |
Q: I read somewhere that you actually owned a sound system in your teens, which is kind of unusual. I mean, how could you run something like this at such a young age, with all that it takes?
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Q: How did you - what was the name of your sound by the way?
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Q: How did that come about, that you got the opportunity to record for Coxson?
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Bob Andy. |
Q: You must've been pretty exalted being around all these seasoned musicians at the time. Nervous?
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Q: What did Mr. Dodd feel about your songs? I guess you had to audition for him first, or someone else auditioned you?
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Article: Peter I (Please do not reproduce without permission) |
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