Krista Henry, Staff Reporter
Members of the Metromedia sound system.- Contributed
Forging through a somewhat tumultuous past, Metromedia grew to become one of the great sound systems in early dancehall, opening doors for countless artistes and selectors.
The sound was created in 1971 after Tom The Great Sebastian sound system ended when Thomas Wong, a.k.a. 'The Great Sebastian', committed suicide. Lou Gooden carried on the sound system and called it Metromedia from a record label that existed at that time. Haldaine James (Jimmy Metro) was, at the time, a steady worker at Brooks Supermarket and later Dynamic Sounds Recording Company, but he also became Lou Gooden's assistant disc jockey and would eventually take over full control of the sound. Under his tutelage, Metromedia became the example and schooling for new disc jockeys and some new sound system owners.
During the late 1970s and early 1980s, Jimmy Metro decided to take the sound to another level by adding Peter Ranking (Peter Metro), Zuzu, Errol Turner and, year after year, he added more deejays to the crew. This proved the right formula, making Metromedia one of the more popular sound systems in Jamaica, and the rest of the world paid attention. The Sunday Gleaner caught up with Jimmy Metro to discuss Metromedia's great past.
How did Metromedia get started?
Well Metromedia, it was started from way back ... It was a friend of mine who started the sound. At the time, I was working with Dynamic Sound. After some time, that friend of mine migrated. I was collecting music so I ended up buying equipment, took the name Metromedia and that's where it all began.
So what year was this?
I would say about 1976. It could be before, but I'll put it for that.
How many persons are on the sound?
Nine of us - myself Jimmy Metro, Sky Juice, Oliver, Scratchy, Jiggy Hunks, Jacks, Platinum, Ribbs and Scully.
You used to select on the sound as well?
I definitely was part of the selecting crew. I still play vintage and try to keep up to date. Dem don't see us playing di young people music; mi mek di younger guys play dem ting and we play di vintage.
What would you say Metromedia is most known for?
We are well known in the dancehall. When we really get popular, we had people like Peter Metro,
who got his name on Metromedia, as well as Tanto Metro. Plus, we had other people like Wayne Wonder, Chicken Chest and so many others.
Were you involved with many clashes back then?
We win sounds, but we weren't really a sound clash.
You seem to have a close relationship with Stone Love. How did that develop?
During the late '80s when the House of Leo was happening; it all started there. Stone Love was a popular sound and we were a popular sound so people realised if you have two big sounds you drew a crowd. On another level me and Weepow were friends.
Sky Juice is one of the more popular selectors on the sound; do you think you guys are known outside of Sky Juice?
Yes, we had selectors that big at the time who left. You have Oliver and Scratchy who have both travelled a lot. The younger guys, they are the new kids on the block.
You are known as the year-to-year sound. How did you get that tag?
Playing on different sessions everyone was saying they are the number-one sound, so I seh to myself yuh can't have 10 number ones. So I called us the year-to-year, 'cause we play year after year."
Do you keep any dances?
I have a dance which I keep every January 1 (on my birthday) called 'Prevue'. It started out at the Lions Cub, moved to Chelsea Jerk Centre, to the Countryside Club then to Mas Camp, and presently is held at La Roose.
Is it true that a dub played by Sky Juice helped to buss Bounty Killer?
(Laughs) Yeah that's true.
Where was this? How did that come about?
You had an engineer by King Jammy's by the name of Prento. We were close and Prento gave me this dub plate; di name of the song was Dub to Dub by a new artiste he wanted us to play called Bounty Killer. It was a sound clash dub, a throw-word song. We played it all over; we alone had it playing for a long time.
How do you try to keep current?
Wid the sound system itself we try to have the most up-to-date equipment. We're a long time sound, but we have modern equipment. Me and di selector we keep regular meetings and know what is happening. We also keep a good relationship with the artistes.
What are your thoughts on the current crop of sound selectors?
I don't know all of them, so I can only talk about the ones I know. Some of them are hype, but in our days before CDs you had to search to get records to stay current. Now you can get them on the Internet, so getting songs comes much easier to them. Some of them are creative yes, but they aren't great.
How has dancehall changed since you first began?
Different era, different music. The music changes.
How would you like Metromedia to be remembered?
We've been playing for a while, but we're still around. We are not going anywhere.
who got his name on Metromedia, as well as Tanto Metro. Plus, we had other people like Wayne Wonder, Chicken Chest and so many others.
Were you involved with many clashes back then?
We win sounds, but we weren't really a sound clash.
You seem to have a close relationship with Stone Love. How did that develop?
During the late '80s when the House of Leo was happening; it all started there. Stone Love was a popular sound and we were a popular sound so people realised if you have two big sounds you drew a crowd. On another level me and Weepow were friends.
Sky Juice is one of the more popular selectors on the sound; do you think you guys are known outside of Sky Juice?
Yes, we had selectors that big at the time who left. You have Oliver and Scratchy who have both travelled a lot. The younger guys, they are the new kids on the block.
You are known as the year-to-year sound. How did you get that tag?
Playing on different sessions everyone was saying they are the number-one sound, so I seh to myself yuh can't have 10 number ones. So I called us the year-to-year, 'cause we play year after year."
Do you keep any dances?
I have a dance which I keep every January 1 (on my birthday) called 'Prevue'. It started out at the Lions Cub, moved to Chelsea Jerk Centre, to the Countryside Club then to Mas Camp, and presently is held at La Roose.
Is it true that a dub played by Sky Juice helped to buss Bounty Killer?
(Laughs) Yeah that's true.
Where was this? How did that come about?
You had an engineer by King Jammy's by the name of Prento. We were close and Prento gave me this dub plate; di name of the song was Dub to Dub by a new artiste he wanted us to play called Bounty Killer. It was a sound clash dub, a throw-word song. We played it all over; we alone had it playing for a long time.
How do you try to keep current?
Wid the sound system itself we try to have the most up-to-date equipment. We're a long time sound, but we have modern equipment. Me and di selector we keep regular meetings and know what is happening. We also keep a good relationship with the artistes.
What are your thoughts on the current crop of sound selectors?
I don't know all of them, so I can only talk about the ones I know. Some of them are hype, but in our days before CDs you had to search to get records to stay current. Now you can get them on the Internet, so getting songs comes much easier to them. Some of them are creative yes, but they aren't great.
How has dancehall changed since you first began?
Different era, different music. The music changes.
How would you like Metromedia to be remembered?
