MOG - Jah Jah Binks's Posts

Before BABY CHAM's GHETTO STORY there was HUGH MIKES DANCEHALL STORY

Jah Jah Binks — Thu, 08 Nov 2007 14:22:21 GMT

BABY CHAM stormed the BILLBOARD CHARTS with his 2006 hit GHETTO STORY then proceeded to chastise BEENIE MAN for "pirating" or copying his hit song on the better (in my opinion) SET THE TRENDS. As it turns out BABY CHAM himself pirated the song that he claims was in turn pirated. Here is the HUGH MIKES original:

Gregory Isaacs - Tune In

Jah Jah Binks — Wed, 08 Aug 2007 23:19:03 GMT

Gregory Isaacs performs "Tune In" on a Jamaican TV show in 1978. The host asks Gregory to perform his "most recent 45"! Now that's cool.

Chico Cesar - Mama Africa

Jah Jah Binks — Sat, 04 Aug 2007 00:27:42 GMT

Maybe five or six years ago I was watching an obscure independent tv station called Link TV and they played this amazing video and song. This is my favourite music video of all time.

Chico Cesar is the youngest of seven children from a poor family in the town of Catole do Rocha in the Northeastern state of Paraíba. It is a region so poor that many children won't reach their fifth birthdays, let alone have access to education. In Brazil, education is a privilege, not a right - and as a result, many of Brazil's children have no access to schools. Cesar's parents are poor uneducated farm laborers, but they were able to get young Chico a scholarship to a boarding school run by German nuns who had fled Europe during World War II. By the age of three he had learned to read, and by 12, he composed his first song - a composition that earned him his first guitar by finishing in fourth place in a regional musical competition. Fifteen years ago, after earning a degree in journalism, Cesar moved to São Paulo.

By 1994 he recorded his first album, a self-produced-and-financed live CD called "Aos Vivos" (which he later sold to Velas Records). The album was a moderate hit commercially, but the live album struck a chord with critics and follow musicians. Brazil's top vocalists began knocking on Cesar's door to ask for permission to cover his catchy musical gems. Elba Ramalho, Maria Bethânia, Zizi Possi and Daniela Mercury lined up to record Cesar's compositions. A public squirmish developed when both Ramalho and Mercury wanted to record Cesar's heartfelt love song, "A Primeira Vista" (At First Sight) In the end, Mercury's lawyers had the last word, insisting on exclusive rights to re-record the song, which became the theme song for Brazil's most popular telenovela (soap opera), "O Rei do Gado" (The king of the herd), and catapulted Cesar into superstardom as a composer.

Two years later, in 1996, Chico Cesar was finally invited into the recording studio to record the now classic, "Cuscuz Cla" (named after his band). The album produced the mega-hit "Mama Africa" which sold over half a million copies. Like so many of Cesar's compositions, he wraps adorable touching tales around simply brilliant catchy melodies. The touches of reggae and rhythmic percussion of Bahia, mixed with Cesar's quirky nasal voice, made the song a an MPB anthem. "I wrote the song about the lives of modern women," explains Cesar. "Most women today have two professions, working both out of the house and also managing the family." The song tells the story of a working mother juggling hectic days at work as a packer in a supermarket while managing to take care of her infant children.

If anyone can say that they've beaten the odds, it is Chico Cesar, the kid who grew up in one of the world's poorest regions and became a leading Brazilian songwriter. "Throughout my career, I've always fought to create the music I wanted," explains Cesar. "This includes the songs, the recordings and even the videos. If someone ever asked me to change or make compromises, I'd look for a new label."

Scientist Rids The World Of The Evil Curse Of Greensleeves

Jah Jah Binks — Fri, 03 Aug 2007 14:45:57 GMT

On Saturday, March 25th, 2006 West Indian Times was alerted by veteran artists and producers in the Reggae industry to the existence of 2 separate recordings of conversations which included death threats towards Dub Engineer Hopeton Overton ‘The Scientist’ Browne and Producer/Label owner Hyman ‘Jah life’ Wright as well as admission of perjury in a US court by King Jammys. One of the recordings is a conversation between King Jammys (a record label/producer based in Jamaica) and Dub Engineer Scientist who is based in America and the other recording is of a conversation between The Scientist and a man who stated that King Jammys was his boss.

After listening to the recordings West Indian Times spoke to Browne and Jah Life to find out what led to the death threats. We were given history that spanned over 30 years in the music industry; history, secrets, facts that only a few are privy to. For now, we will share with you our readers the information we were given as to what directly led up to the death threats against Scientist and Jah Life.

In 2003 The Scientist filed a law suit in the United States Federal Court against Greensleeves record label (based in England) and the company RockStar the makers of the game ‘Grand Theft Auto’ for copyright infringement. The Scientist had challenged Greensleeves for the recording and composition copyrights of five tracks which they used on the video game, Grand Theft Auto 3. The music was originally from one of The Scientist's albums that was released in the 80's entitiled 'Scientist Rids The World Of The Evil Vampires.'

The Scientist’s music was included in the violent video game without his knowledge or consent. Greensleeves had made a deal with RockStar for the company to use the music by The Scientist and when Greensleeves was asked by RockStar if they had the rights to the music they said they did. Greensleeves indemnified Rockstar meaning they would be responsible for any costs incurred if there was a claim by any person stating that they had rights to the music.

In the US court Greensleeves had to produce the documents that were signed with RockStar for Grand Theft Auto, they had to produce the shipping bill and all the information regarding pressing. Greensleeves also produced a document which was alleged to have been signed by a producer and marketing rep who represented both Jah Life (US) and The Scientist (Jamaica) overseas. This producer/marketing rep. was Henry ‘Junju’ Lawes. The document was signed in approximately 1978 and showed where Greensleeves paid Junju for music. They also produced a second document which was allegedly signed by Lawes around 1994 before he died. The second document signed by Lawes basically gave ownership and copyright of music by over 30 artists to Greensleeves. However, nowhere on the contract did it mention an amount that was paid for the copyright ownership. There was also a question in court as to the validity of the documents signed by Junju Lawes as he was illiterate and Greensleeves knew this, in fact both Jah Life and Scientist say that Greensleeves would not work with them, only through Jun Ju as they could get away with fooling him as he could not read or write. Scientist and Jah Life claim that this is why Junju was named as producer on over 30 + albums that he took to Greensleeves instead of them. Also, it was noted that both contracts had identical signatures, no deviation and even had the same smudge marks as though the second signature was cut and paste from the first contract.

King Jammys Testifies For Greensleeves

Since there were doubts as to the validity of the contract signed by Junju, Greensleeves had Producer / Record Label owner King Jammys travel from Jamaica to America to testify in court on behalf of Greensleeves and against The Scientist. In court King Jammys testified that The Scientist was a young boy of 14/15 years old and did not have the experience to engineer the music that he says he did. He also said that he, King Jammys was the boss and foreman at King Tubbys studio in Kingston where the work was produced and when The Scientist did any work it was on a ‘work for hire’ basis, you got paid for your work one time and you owned no copyright. The Scientist says this is not true and although he was very young, King Tubby trusted him implicitly to open up and lock up the studio as well as engineer the music. Unfortunately King Tubby is deceased and unable to verify this. However, Jah Life verified that what The Scientist said is true. Jah Life states that at no time was Jammys in the studio with them, it was only The Scientist, Jah Life and Junju’s brother ‘Melon.’

Another artist, veteran DJ Lady Ann also spoke to West Indian Times saying that she was there in the studios most of the time with The Scientist and that he was the best mixing engineer of those times. Lady Ann said that King Tubby’s studio was the worst place in Kingston, she said you had to pass gunmen who would ask if you are PNP or JLP in order for you to get past and you had to answer ‘Musician’. Lady Ann said that Jammys (who was Prince Jammys at the time) would not go to the studio because it was too dangerous and she knew that Jammys was envious of The Scientist because of the trust and faith that King Tubbys put into Scientist. Lady Ann says she too is fighting for her royalties so that her children are set before she leaves this earth.

Why Did King Jammys Lie?

According to The Scientist, King Jammys along with Lynval Thompson are the only people who records show are paid by Greensleeves. Lynval Thompson is also a record producer. It is in King Jammys best interest to see that Greensleeves stays viable so he can channel his music through England. The Scientist is now a big threat and hindrance to Greensleeves and King Jammys because although the US Federal Judge and Grand Jury believed King Jammys story that Scientist was too young to have so much power and skills at that young age, and he had been paid ‘work for hire’ the company RockStar settled with him out of court and paid him for his works. They obviously believed Scientist.

Greensleeves Responsible Party

Although they did not have to pay The Scientist and give him the copyright to his music, Greensleeves was responsible for the huge bill that had been mounting up over a three year period. The expensive lawyer fees for themselves and RockStar and all monies paid out was their responsibility.

Greensleeves recently sold their company.

The Scientist now has a lawsuit pending in France against Greensleeves, and his lawyer Andre R. Bertrand is engaging in actions to obtain the payment of the legal remunerations due and payable to the Jamaican artists and musicians, including Jah Life and The Scientist, who were not compensated for their work.

In France, the courts want to see an actual contract showing ownership they do not recognize the concept of work for hire. This will put Greensleeves in a serious situation because if they lose in court, they could face fines of up to 180,000 Euros per violation and a violation does not mean an album but a track. Not only that, but it would set a precedence for others to follow and be compensated for their work.

The Death Threats

Calls were made to The Scientist on Sunday, March 19th 2006 and he recorded them.

"you wasn't there jammys" . . . "you never mix none of them tracks there" . . . "is I mix everything" . . . "you know-seh you're lying" . . . "you gonna do me something?" . . . "who wan' rob a dead man?" . . . "greensleeves a 'rob a dead man' thing" . .

1976 UK Reggae Documentary

Jah Jah Binks — Thu, 02 Aug 2007 15:53:48 GMT

British reggae's growing importance is discussed by musicians in Brixton, Stoke Newington and at the Notting Hill carnival. Musicians include, Aswad, Matumbi, Cimarons, Roy Shirley, Sharon Forrester, Nicky Thomas, Ijahman and Delroy Washington.

Steely & Clevie - Easy Snappin'

Jah Jah Binks — Wed, 01 Aug 2007 23:32:01 GMT

In the first of three sessions with the legendary Jamaican duo, Steely & Clevie recall playing together professionally while still just children, appearing on classic tracks backing singers like Hugh Mundell and Gregory Isaacs. As an umbilical link between the Roots and Dancehall eras, they devote much of their time keeping the old flame alive. Here they explain why, expanding on the magic of the old songs and how they have to remind the youth of their island’s musical history. They also relive that past, with some great anecdotes about some of Reggae’s most famous figures.

In this second session Steely & Clevie tell a story familiar to all fans of Jamaican music; how the musicians and engineers do all the work but the producers take all the credit. They also sing the virtues of making music in straitened circumstances, explaining why having no vocal booth can be an advantage. They summon up the vibe of the old studio days, with crowds of aspiring artists hanging around waiting for their break, but also detail the science within the chaos, Clevie explaining what can and cannot be done with an instrument and a voice. Lastly, Clevie tells us about his involvement with the new body, Recording Industry Association Of Jamaica.

In the final session with the esteemed Reggae team, Steely & Clevie take questions from the floor, detailing the difference between wine and weed men and what to do when the vibe isn’t there. They also come in praise of mistakes, telling us why they should be kept and go on to explain why the best computer programmers are those with a grounding in old school instruments. They tell us which of the early drummachines they liked best and extol those few current producers who they think have captured the vibe of the old school.

Tenor Saw - Ring The Alarm

Jah Jah Binks — Wed, 01 Aug 2007 12:09:52 GMT

Tenor Saw (born Clive Bright, February 11, 1966 - August 1988 Kingston, Jamaica) was a prominent dancehall singer in the 1980s. His best-known song was the 1985 hit "Ring the Alarm" on the "Stalag 17" riddim. Other well-known songs include "Roll Call" (1984, "Queen Majesty" riddim), "Pumpkin Belly" (1985, "Sleng Teng" riddim) and "Lots of Sign".

Tenor Saw is one of the most influential singers of the early digital era; Tenor Saw's hypnotic wail was imbued with an almost religious fervour. He was raised in the Payne Avenue district of west Kingston, recording his debut, "Roll Call", in 1984 for George Phang's Powerhouse label after an introduction by Nitty Gritty.

During 1985 he sang with Sugar Minott's Youth Promotion sound system and label, recording "Lots of Sign" and "Pumpkin Belly" (also versioned for King Jammy's). "Run Come Call Me" and "Fever" were also sizeable hits. None, however, could compare to "Ring the Alarm", which Tenor Saw voiced magnificently over Winston Riley's "Stalag" rhythm for the Techniques label. There was no bigger record that year and it continues to be regarded as an anthem in today's dancehalls. "Golden Hen" for Uptempo continued the sequence of consecutive hits into 1986, when Minott released his debut album, Fever. Tenor had already left for Miami and the Skengdon crew, where "Dancehall Feeling" and the posthumously released "Bad Boys" were recorded. After a trip to England and the successful "Never Work On A Sunday" for Donovan Germain, Tenor journeyed to New York in 1987.

There he recorded the epic "Victory Train" with Freddie McGregor's Studio One Band, and further singles for Witty, Robert Livingston ("Come Me Just A Come"), and Jah Life. His duet with General Doggie on "Chill Out, Chill Out', for Digital English, was his last dancehall smash. If Tenor Saw put out no song other than "Ring the Alarm," he would still hold a vital place in reggae history. That 1985 tune, one of about a million that have ridden the Stalag 17 rhythm that helped propel dancehall into the digital era, jumped out from the pack, partly because it was released near the start of the digital craze and partly because it's so darn catchy, to become a major hit. However, you won't find "Ring the Alarm" on Tenor Saw's debut solo album, Fever, as it focuses more on his work for Sugar Minott's Youth Promotion label. Still, even without that smash, this album is a testament to the legacy that he left in only four short years. Of the 10 songs on Fever, chances are you've heard 6, 8, or maybe all 10 of these classic rhythms.

He may not have always been the first to use them (as on the Stalag-rhythm "Fever," the "Sleng Teng" rhythm "Pumpkin Belly," and "Jah Guide and Protect Me," which utilizes the bouncy beat from Carlton Livingston's "Chalice in Mind"), but Tenor Saw adopted them, adapted them, and made them into his own signature tunes. If you know "Ring the Alarm" (which you should), then you know Tenor Saw's style: airy voice, simply-structured (almost indistinct) repetitive melodies with short, barely sung notes, and simply irresistible. This is definitive old school dancehall, with simple, driving digital bass lines that command you to move. And, as an added bonus, this 1989 re-packaging gives you dubs of 8 of the 10 songs. This is a truly historic set.

Fever (Blue Mountain, 1986) Track Listing 1. Lots of Sign 2. Shirley Jones 3. Pumpkin Belly 4. Eni Meeni Mini Mo 5. Roll Call 6. Fever 7. Jah Guide and Protect Me 8. Rub-a-Dub Market 9. Run Come Call Me 10. Who's Gonna Help Me Praise 11. Surely Dub 12. Run Come Dub Me 13. Lots of Dub 14. Jah Guide Dub 15. Rub-a-Dub Dub 16. Dub Fever 17. Eni Meeni Mini Mo Dub 18. Praise Jah With Dub. Ring The Alarm is the title of one of the classic dancehall tunes of all time. Written and performed by Tenor Saw (Clive Bright), released in 1985 at the start of the Jamaican recording industry's digital revolution, it became an instant classic that is still drawn from many selectors record boxes to this day. The song was Tenor Saw's response when he felt the sound system he was performing for in a sound clash wasn't getting the recognition it deserved.

That sound system was Sugar Minott's 'Youth Promotion' and it was Minott who released Saw's 1986 masterpiece, the LP 'Fever'. Ring The Alarm is the best known cut of one of the most infectious riddims ever, the 'Stalag' riddim, which is Winston Riley's (Techniques label) version of the organ instrumental 'Stalag 17' originally recorded in 1973 by Ansel Collins.

In August 1988 he was killed by a speeding car in Houston, Texas. He died at 22 years of age; this was a great loss, not only for his family and friends, but for reggae music as well.

Heart Of The Congos - Musical Masterpiece

Jah Jah Binks — Wed, 01 Aug 2007 04:30:25 GMT

For all of Lee Perry’s work as a producer, his imagination and innovation rarely shone over the course of an entire album. Perry crafted timeless singles such as Max Romeo’s “War Inna Babylon” and Junior Murvin’s “Police and Thieves” at his own Black Ark Studio, where a specialist approach to music making helped it become Jamaica’s answer to the Motown hit factory or the Brill Building.

The studio’s anything-goes environment pushed Perry’s to creatively tackle his financial limitations and take chances sonically, but it also created an atmosphere in which too often bad ideas weren’t dismissed and attention span wavered.

There was, however, this glorious exception: Heart of the Congos, his collaboration with the almost incomparable Congos. The blend of Cedric Myton’s sparkling falsetto and Roydel Johnson’s rich tenor makes them arguably Jamaica’s greatest harmony group of the roots reggae era. The Congos and Perry only crafted one record together but it was this beauty, an irresistible bolt of spirituality and belief in each other and humanity.

“We’ve got to reach a higher ground,” they implore on the opener, “Fisherman,” on which the Congos uniquely casts their eyes to other commoners in order to create a better world. The band’s mix of it-takes-a-village calls-to-action seamlessly blends cultural pride with spiritual awakening.

“Out of Africa / Comes the Congoman / We come with our culture / To enlighten the world,” they sing on “Congoman” over a bubbling tribal beat. That song succeeds because for all of the glory of their vocals, they aren’t afraid to submit them to the rhythm. The rest of the record succeeds in part because for all of Perry’s wild invention, he augments Myton and Johnson’s unique vocals rather than putting together tracks and then selecting a vocalist to match.

The voices and enunciation are full, not clipped. They’re even slow and deliberate at places—almost as close to soul music as more frenetic roots reggae—and so is the music. Perry’s pioneering use of four-track machines—cramming full tracks onto each rather than overdubbing—makes the record sound muted in places, uncluttered and claustrophobic in others.

It’s a poignant response to the trappings of or the longings for repatriation and spiritual awakening. Rather than sounding desperate and hopeless, the album’s reflects the grace of the “weak” – the spirit and power of united voices and common men.

Perry’s addition by subtraction—refraining from including some of his often superfluous ambient noises or his usual melange of his sometimes overly whimsical sounds effects—focuses the attention squarely on the shoulders and voices of the Congos. Over the course of the album those persistent vocals keep on knocking, burning, fishing, and crying. The important thing is that they keep on keeping on—until they reach that higher ground.

Dennis Emmanuel Brown - The Crown Prince Of Reggae

Jah Jah Binks — Wed, 01 Aug 2007 01:25:04 GMT

Dennis Brown

February 1, 1957 - July 1, 1999

Dennis Brown, the “Crown Prince of Reggae” who had suffered from having just one lung, died on 1 July 1999 at the age of 42, from pneumonia. He leaves a wife and 13 children.

Beginning his musical career at 9 years of age, by the time he had reached 12, he had become a full member of Bryon Lee’s “Dragonaires”. A visit to Studio One at the age of 12 resulted in his first hits, the singles "No Man Is an Island" and "If I Follow My Heart".

In a career that spanned 4 decades, Dennis worked with many of reggaes top names, beginning with Coxon Dodd at Studio One, going on to work with such artists and producers as Winston (Niney) Holness, Joe Gibbs, Derrick Harriott, Herman Chin-Loy, Sidney Crooks, Prince Buster, Randy's, Phil Pratt and GG Ranglin.

The list goes on with Clive Hunt and Willie Lindo, engineer Errol Thompson, Sly & Robbie, Gussie Clarke, Tad Dawkins, Trevor Bow, Bunny Lee and Delroy Wright. In the 90’s Dennis worked with such luminaries as Junior Reid, Black Scorpio, Michael Bennett, and who can ever forget the legendary sides cut with Big Youth back in the 70’s.

After the recut “Money in My Pocket” hit the pop charts in England during the late 70’s, he moved to London and stayed for many years. This resulted in many hits and a contract with A & M Records. In 1994 he was nominated for a Grammy for the album “Light My Fire”.

Dennis Brown died on Thursday July 3rd 1999 of pneumonia/respiratory failure, while a patient at the University Hospital of the West Indies.

In the days leading up to Dennis’ funeral, a reported 10,000 mourners (right) filed past the casket. Later, crowds watched a tribute at the National Arena, which included performances from Maxi Priest and Shaggy, as well as an appearance from his five sons.

Jamaican Prime Minister Patterson led the eulogies while Dennis Brown became the first entertainer to be buried in the National Heroes.

Known as Bob Marley’s favorite singer, he released over 60 albums and 300 singles in 26 years.

War vs Shaggy - It Wasn't Me?

Jah Jah Binks — Wed, 01 Aug 2007 00:58:37 GMT

"It Wasn't Me" is a 2000 hit song by reggae artist Shaggy featuring Ricardo "Rikrok" Ducent.

The song is based on a line from the Eddie Murphy film Raw. The lyrics depict one man (Ricardo Ducent) asking another what to do after his girlfriend caught him with another woman. Shaggy's advice is to deny everything with the phrase "It wasn't me", despite all evidence to the contrary.

The song was Shaggy's first number-one hit in the U.S.The single also reached number one in the UK singles chart on March 4, 2001, making the song a transatlantic chart topper.

War was a multiracial, multicultural American funk band of the 1970s from Southern California, known for the hit songs "Low Rider" and "Why Can't We Be Friends?".

War brought a copyright claim against Shaggy claiming the musical horn refrain in "It Wasn't Me" was taken from their instrumental track "Smile Happy" off of the Why Can't We Be Friends album which Shaggy and producer Sting International initially denied.

After listening to all of 5 seconds of "Smile Happy" there was no doubt that Shaggy and Sting International had jacked the refrain note for note. They eventually settled out of court. Judge for yourself:

KING STITT - THE UGLY ONE

Jah Jah Binks — Tue, 31 Jul 2007 16:26:57 GMT

"I am dreader than Fred, for he was shot dead, with two ounces of lead!"

King Stitt started off his musical career like so many of his contemporaries, at Studio 1. Although never as well known internationally as other deejays, Stitt turned his natural good looks to his advantage and worked the parties and dancehalls, and achieved greatness by being an originator.

Starting off as the third of Coxsone's Big Three deejays (behind Count Machouki and Red Hopeton) "The Ugly One" electrified dance halls in 60's Jamaica with his performances for Coxsone, and evidently ended up running the Number One set, keeping the great URoy on the Number Two sound system.

Strangely, though Stitt recorded with Coxone for many years, his recording output was almost nonexistent. It was not until Stitt's star began to rise with Clancy Eccles that Coxsone released any of Stitt's songs

By the time Stitt recorded with Clancy Eccles, he reigned supreme. This was in no small way due to his dashing good looks, but also because of the fabulous rhythms his songs were built on.

Most of these tracks used the session musicians known as The Dynamites, based loosely around the organ playing talents of Winston Wright, and the lead guitar of Hux Brown. Other tracks used were versions of Monty Morris hits from the 60's.

Clancy Eccles started the fire with the releases "Dance Beat", "Virgorton Two", and the supreme "Herbsman Shuffle". In England, Trojan released songs like "Lee Van Cleef" and "Fire Corner", following which, the Coxsone sides then saw the light of day, and were released on the Banana label.

During the mid-1990's Studio One released "Dancehall '63" (left), a live LP of sorts, with Stitt toasting in the style of the early 1960's over tracks from such artist's as The Maytals, Don Drummond, Joe Higgs, Roland Alphonso, and many more. King Stitt was recently seen performing tracks from this album on Channel4's (England) Caribbean season.

The program, another Bob Marley documentary, (noticeable for its interview with Coxsone Dodd) gave viewers an insight of what the sound system must have been like in 1960's Jamaica.

Long may the King continue to reign

BEENIE MAN ft ALAINE - DREAMING OF YOU

Jah Jah Binks — Tue, 31 Jul 2007 13:18:51 GMT

This song see's BEENIE at his commercial best. Originally recorded for his VIRGIN UNDISPUTED album in 2006 but was inexplicably left off. His critics will have a field day with his portrayal of a wolf stalking women in the bushes but BEENIE always seems to turn controversy into BILLBOARD gold.

BEENIE MAN - PRODUCT OF THE GHETTO

Jah Jah Binks — Tue, 31 Jul 2007 13:08:34 GMT

Beenie takes it to the streets in this song which is basically a response to his critics who claim he only sings for the girls. This was the first shot from the KING OF THE DANCEHALL for 2007 a year in which he has returned with a vengeance. This video segues into another tune BAD FROM BIRTH where he slaughters MAVADO a young up and coming BOUNTY KILLER protege who attempted to "diss" or disrespect BEENIE MAN on wax. This is the CROUCH RIDDIM produced by FIRE LINKS.

BEENIE MAN - GIVE IT UP VIDEO

Jah Jah Binks — Tue, 31 Jul 2007 12:49:47 GMT

After a turbulent 2006 which saw him split with Virgin Records, Beenie Man is back in 2007 with a vengeance. He has formed his own company MAFIA HOUSE PRODUCTIONS and hit the studio hard. 2007 has seen him recording numerous commercially viable singles and bankrolling the video's himself in order to get MAFIA HOUSE distribution from a MAJOR label. GIVE IT UP is one of those singles with the pleasing to the eye BARBEE who he is reported to have a romantic relationship with. The name of this "riddim" is REVENGE and it is also produced by MAFIA HOUSE.