Ras Gabre
My love for music started at an early age – memories of my dad taking me to record
shops. When I was just 4 years old, he would regularly buy records as he and my uncle
used to play at house parties. The music I was exposed to at that time was Ska, Rock-
steady, American R&B and early reggae music. I also listened to a lot of pop music which
in later years gave me good experience. With regular visits to the record shops with my
father, my love for the music grew to a greater level. I would be next to him when he
played out, as in Christmas ’74 when he allowed me to play some records at our party -
you could say that that was my introduction as a selector! I took my first trip to JA
that Christmas which was a turning point in my young life – I saw my first sound system
and heard a DJ live – I didn’t realize one person could own so many records!
I started buying the odd records here and there – I’m not too sure which record was my
first but I know it was a DJ tune – I-Roy or Prince Jazzbo.
Over the years I started to gather a lot of music through family and friends as well as having records sent from Jamaica - it was like having exclusive tunes cos records released in Jamaica didn’t always get released in England straight away and some never got released outside Jamaica.
At the ages of between 11 – 15 I was lucky enough to have my cousins boyfriend staying with our family home – he was from Wolverhampton & was like my elder brother.
He would take me to dances to listen to the sound systems. I was fortunate enough to
listen to Sir Coxsone, Fatman, King Tubby’s and lots more – thinking back now I was very
lucky to hear these sounds play & even though I didn’t know it at the time – it was very
good experience. All I wanted was to have my own sound system, my own dubplates and
entertain people the ways these soundmen did.
By the time I left school I was involved with sound systems – but I would move with
different ones learning, observing, picking up ideas and learning the business which is
very important. If you want to run a sound it takes a lot of hard work, money and a lot
of commitment and a good team. Being a lover of DJ music I started copying DJ’s (in my
own environment) getting the feel of controlling a mic. I would pretend to be in a dance
Djing to the crowd – I started to write my own lyrics, practicing & creating my own style.
I don’t have a favourite DJ – there are plenty but you can be as good as you want to be.
The Saxon DJ’s for one did a lot for British Dancehall music – they worked hard to
perfect their trade. So I wanted to do the same – I remember days & nights in my
bedroom practicing non-stop. It was like writing songs, everyday something different -
I would talk about things that would happen in your life – reality. I would use these and
make it funny or serious. After overcoming my nerves of DJing outside my bedroom in
front of people I soon learnt to hide my mistakes until I eliminated them. A few years
later I was asked to DJ for a sound system called Creation so for the next 3-4 years I
traveled with the sound doing a lot of dances, blues, parties, weddings & boat dances.
We used to play against other sounds regularly. The sound was a big sound in size more
than the name but the sound was pretty much probably the best presented sound in
London in the eighties. I have never seen a sound like it since but it didn’t always play
the way it looked but when it played right it was a joy and we did have some good times.
I enjoyed my time with Creation and about 88-89 I decided to stop DJing I now wanted
my own sound and get more technical experience. Me and a friend started to put
together what we could and build a little set we called the sound Young Ravers (later to
become Ravers Sound) – party & blues were where we were & I would select & wire up –
nothing too complicated but enough to know that it wouldn’t breakdown!!
As the sound became known around the area we played we started to play further out sometimes out of London. When the sound got bigger we managed to get a spot on one of the local radio stations - Peoples FM – that gave the sound more exposure. We used to do the breakfast show which became very popular, me & Young Lover went on to meet a lot of
artists, producers and distributors which enabled us to get records before they would
be available in the shops, eventually we would get certain tunes as exclusives.
About a year after being on the radio things became to get hot, the DTI was on the case
and after being in court once too often I decided to call it a day as a radio presenter. I
felt now that the sound had to step up to another level and I was willing to invest but
unfortunately others were not so keen. I wanted to move on as sound system & dances were changing, technology was improving – it was now or never for Ravers Sound. Then
one night while loading up the van a record box got left on the pavement – my mind was
definitely made up as we played one more dance in Stonebridge 1991 – and that was the
last time Ravers Sound played out.
From 1991-1993 I totally gave up on sound business. People around me had other ideas
and music was changing dramatically. Roots music was having a difficult time – plenty of
sounds were changing over to the gun & slackness culture – it was taking over and spilling
onto everyday life – sending out the wrong messages – it was no longer entertainment. It
was now that reality roots music couldn’t get a look in – mind it was a time of transition
for me. I stopped going out to dances (apart from the odd roots or revival dance –
which were become popular). I listened to Manasseh on Kiss FM and this provided me
with the entertainment and kept me up to date with the roots music – the only presenter
that would play strictly roots music for 3 hours straight!
I would also sped a lot of time collecting revives that had escaped me over the years – it
was also a good investment and would give me a lot of satisfaction. It was better than
what I was hearing on the street and I spent a lot of time with Andrew Neale. I formed
a good friendship with Andrew, I would go to his house, bring back boxes of records and
clean them up and sell them at record fairs. Eventually I would sell them from home to
other sellers and collectors until I didn’t do record fairs anymore.
I was being drawn closer to my faith – the readings and reasoning’s were building my
curiosity. From a young age I had been intrigued about RASTAFARI. My parents didn’t
want to know about these things but they would listen to the music and didn’t know that
it was Rasta that influences it. But I knew my calling – it was all down to when and
finding a place of worship was difficult. Social gatherings were not enough I would ask
questions and talk to elders who I thought may be able to guide – but this wasn’t enough.
I kept searching and couldn’t understand why things were being difficult until Jah send
Habtae Selassie aka Eden who is a member of the T.A.B.O.T. (The Anointed Body of
Testimony). He gave me the invitation to come to the church. From the first time I
went I knew that this was what I was looking for - the teachings that I was receiving
was different to anything I had heard or received before and it blew away any doubts
that I may have had. After settling within the TABOT I became very close friends with
Ras Kinfe. We would spend a lot of time together talking about music & sound systems.
It wasn’t long before we realized that we both had the love for the music and the same
desire for sound system. He had come down to London from Wolverhampton and had
been involved with Sound systems for many years. Now the two of us decided to bring
back the TABOT Sound and the sound had to be built on the foundation and the teaching
of TABOT. Also if we were to move forward with the project we would do it to be
NUMBER ONE. After taking my baptism name of Ras Gabre Egzebehier (Meaning
Servant of the Lord) in 1996 – I was spiritually born again.
For the next few years we would buy & sell equipment, buy a lot of music, meeting a lot
of people and putting the jigsaw together with the help of Jah improving the sound until
we got what we wanted all the time playing out and getting the name of TABOT out
there. We met up with good bredren Muffit – who had been the owner & selector for
the original Jah Marcus Sound and who also used to be a member of the Jah Shaka
Sound System for a time. Muffit & Kinfe have been good friends since the early days
but now Muffit was building tunes with much success. After this union it was full steam
ahead for the TABOT Sound. During the year 2000 we flew out to Fort Lauderdale,
Miami armed with rhythm tracks to voice.
We spent time with Gery Wong of Studio 54 who used to be an engineer at Channel One.
While we were there we voiced artists like Sugar Minott, Glen Washington, the
legendary Melodions from Treasure Isle and Mikel Rose who was very excited to voice
over his classic tune from Tubby’s – Born Free. Taking samples from the original 45 &
building a complete rhythm – this tune became very popular on the sound. Other artists
like Horace Andy, Frankie Paul, Errol Dunkley & Michael Russell followed. Over the next
three years until now we have big strides, we went on a radio station in Luton – Peoples
FM and although it was short term but it was good experience to get the sound of the
TABOT heard.
But more importantly we have worked with Muffit in the studio building & voicing tunes
with artists that joined us such as Roy Shirley, Rick Wayne, Sandeeno, Sons of David,
Princess Black (Finote), Sister Eherta & Zufana. Many artists have passed through some
known and some unknown but the message remains the same. At the set up of Roots
Studio by Kat & Sofia at the Strongroom Bar – TABOT played there establishing the
TABOT at the Strongroom & later on the Troy Bar – both in the heart of the city of
London.
We have given ourselves a good name on the roots circuit. It has been a hard 5 years
work to build the sound and things have been tough at times, but knowing that we have
the victory Jah has given us a work to do and had provided us with things for His sound.
When we feel we have nowhere to turn He just blesses us with things that the flesh
cannot comprehend.
So we know TABOT Sound is a very special sound. So Ras Gabre, Ras Kinfe & Ras
Muffet will never give up the fight, for the three of us its not about money but bringing
in the people to TABOT and personally establishing TABOT sound as the number one
Roots Sound.
Jah Love and Guidance to one and all.
Thanks for all the support.
Ras Gabre - TABOT
Ras Muffet – The Unknown Entity
The Beginning - Record Buying
Inspired by my elder brother when I was about 8 years old. He was a record collector
of sorts – he was always giving me music and even gave me a hand held Philips tape
recorder with built in mic!! By the time I was 9 – I had brought my first record – My
Boy Lollipop by Millie. Having added this to the records my brother had given me – the
collection started to build.
We were based in Wolverhampton then and the family moved to London in 1970. Already
having acquired the passion for music by the age of 14 I was shopping for music in every
record shop in South London. Having a large record collection, certain sound men heard
this and borrowed records to play at dances. During this time I discovered that the late
great Neville the Musical Enchanter (one of the top sounds of the day during the 70’s)
was distant family. I was taken to one of his dances and it was here that I watched and
learnt how the sound played out and was mesmerized. From this point then I got
involved with local sounds in the area – still acquiring knowledge when Neville left
England for the USA. It was here at one of Neville’s dances that I met up with Jah
Shaka.
The Next Chapter – Sound Systems
It was a natural progression for me that I went onto have my sound apprenticeship with
Jah Shaka. I was learning and enjoying the trade and gaining more musical knowledge.
I traveled around the country with the sound system and then in 1978 moved back to
Wolverhampton. I traveled around the country with the sound system but the curiosity
had set in – I was inquisitive about how Jah Shaka obtained his music & dub-plates.
In 1978 I moved back to Wolverhampton and spent the next 9-12 months still collecting
music.
The trail really began again when I was introduced to Barry Marcus by a mutual
friend. As I had the tunes I went onto play on his sound at a local blues dances –
something that never happened then, a youth playing tunes in the blues dance for big
people. The crowd responded and after that Barry asked me to play regularly. After I
had been playing with the sound for about a year – many were astounded by the tunes
that I had – Barry asked me to go to Birmingham & buy some fresh tunes – after that I
became the record buyer!! Money was invested in the sound by Barry’s family and more
equipment was brought and the sound went from strength to strength – playing more
blues dances. I took Barry to a dance that was being promoted by another local sound in the area – this time in a hall. After we attended this session Barry’s sound system
took another turn – we sat down & reasoned and within a week we had more boxes and
bigger amplifiers. It was during this time that we stepped out into the bigger arena and
made our mark – the sound name was changed to Jah Marcus. With my technical
knowledge we realized that the sound could progress and one night playing at a dance we
brought the roof down (quite literally) and we never looked back. Within the next 12
months we were a big step ahead of the other sounds in the area, playing all over the
north of England.
I began chasing music again and acquired more knowledge of how & where to get more
specialized music for the sound. However, I found that about the year of 1980 I felt
that I could go as far as I could with Jah Marcus. Jah Marcus was a cultural sound and
despite the current trends of the time, I wanted to maintain the roots & culture but
Barry wanted to move with the times and play the dancehall sounds that were now
becoming to be heard. I decided to call it a day and we split on mutual terms.
The Follow Up – Studio Runnings
Seeing archive footage about studios in Jamaica such as King Tubby’s and Black Ark (Lee
Perry’s studio) spurred me on. I started to flex with local bands and live artists who
used local studios, I was then invited to these studios and went to see how the music was
recorded and built. It was here that I took in these vibes and knowledge. Later, at one
of the studios where reggae music wasn’t a speciality, I was given the opportunity and
asked to mix a tune – I just used my ears and the engineer was astounded. So from here
during 1981 I went onto building my own studio (FARI STUDIOS) and working hard gave
me the opportunity to buy the necessary equipment. I started off by voicing local
female artists on known tunes – experimenting by overdubbing.
After this two bredren who were in a band had come to check me out and from then on I
became involved with local musicians. Having no knowledge of any musical instrument – I
began practicing on the instruments left in my studio by the artists – becoming self
taught on the guitar & keyboards. I then acquired a job as an engineer in a youth
project called the Sam Sharp Youth Project. (This project still exists today and has
progressed from strength to strength) The project was given council funding and with
my knowledge of studios we were given the opportunity to expand. Live recording to
electronic recording – working with all types of music – pop, rock, bhangra, indie – the
variety of music gave me more insight and more knowledge.
It was in 1987 that I started to produce underground reggae music and by 1991 top
sounds were playing tracks I had produced – Jah Shaka, Aba Shanti-I to name a few. I
was contacted by sounds from all over the north of England to produce special tracks.
From 1993 up until today – many top sound systems were playing my music – many of
whom did not know who had produced them – The Unknown Entity.
In 1994, disillusioned with Wolverhampton – I felt stifled – music was radical, so I sold
all my equipment, took up my record collection and moved back to London. And from
1994 – 1998 stopped making music but still buying tunes – taking the opportunity to
catch up with music I had missed even buying soul tunes from the 50’s, 60’s and 70’s as
well as Motown. Then during 1999 I met up with an old friend - Cleveland Barlow aka
Zeb whom I hadn’t seen for about 5 years. He informed me that there was someone who
had wanted to meet up with me – Aba Shanti. We sat & reasoned and I started to work
in his studio producing tunes for the sound. I then made the decision that I needed my
own studio again.
Currently running are two studio – one live and one digital. Still producing tunes but now
have found that I have been brought forward into the light – ready for the storm, being
involved with The Mighty Tabot Sound.
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