Q-In the beginning did you work with people like Daniel Wilson, because he was always around in Ajegunle then?
A-What happened was that then, my brother Gilbert was the one managing Daniel Wilson, Mike Obi and some others, and he was lodging them in our Hotel (Combo) at that time. But I tried to convince them to let me produce for them with this my new ideas, but they were not interested in me because they didn’t see me as a star. But at a stage I influenced Daniel Wilson who was into Ruba Dub pattern of reggae to begin to tow our new pattern which was “Raggamuffin,” that’s how he came up with his album “Mr. Raggamuffin” and later he produced the pretty busy boiz (Daddy fresh, Showkey, Pretty and others) so that’s how our Ragga movement started.
Q-You have not told us much about the functioning of the Ragga Dub chapel?
A-Yes, when we started Ragga Dub chapel those days, owner of the place, Johnny Nabs and I were seriously encouraged by Pupa Sunny, and Emma Iree. Pevo was another guy, he brought his sound system for us to use the day Ragga Dub Chapel was opened, the next day he had a fight with Johnny Nabs (laughter) so it was like back to zero, because he took his equipments and I brought in mine for the Dancehall to pick up.
Q-Where were Daddy Fresh, Showkey and Baba Fryo then?
A-They were not part of us then, they were just little boys who just left secondary school and were into Hip hop, and because of our activities, now the Ragga Dub Chapel were attracting people’s attention. Daddy Fresh, Showkey and other boys in the neighborhood were converted into playing Reggae, but their first album as pretty Busy Boys that was produced by Daniel Wilson titled Big Belle, had a Hip hop influence but their coming around to RDC brought them into Dancehall music, and I can beat my chest to say that coming to production, that I was a pivot or pilot that championed the formation of Ajegunle music.
Q-You released an album then, what about it?
A-Yes that my debut album was part of the foundation and then it happened that I used the album to prove a point of what I have succeeded in inventing. So I put down about 13 songs using local rhythms, infusing them with Hip hop beats and I mixed them up to get that result that now formed the Ajegunle Reggae or Galala that everybody is now playing.