2019 Super Bowl Gospel Celebration
Kirk Franklin performs onstage at the 2019 Super Bowl Gospel Celebration at Atlanta Symphony Hall on January 31, 2019 in Atlanta, Georgia.
Rick Diamond

Kirk Franklin Wants To Use 'Long Live Love' As A Musical Weapon Against Fear

In 1993, Kirk Franklin And The Family’s debut album changed contemporary gospel. The genre wasn’t unfamiliar with crossover success; Andrae Crouch infused new life into the genre-blending gospel with Christian, R&B and even pop. By the early ‘90s, gospel acts like Bebe and Cece Winans enjoyed a steady presence at Urban radio with songs that leaned more inspirational than straight up spiritual. But Kirk And The Family bridged the gap between gospel and secular even further, putting praise to hip-hop and new jack swing samples and updating tried and true classics with catchy but emotive arrangements. By the late 1990s, Franklin had revolutionized the business. He was the first gospel artist to reach platinum sales with his debut album, the first gospel artist on MTV, the first gospel artist with a No. 1 pop hit - the first gospel artist to become a bonafide mainstream superstar. He moved like a hip-hop artist but walked with Jesus, and while it confused and upset church elders, it opened the word of God up to a segment that the old time hymns simply couldn’t read.

The multi-talented artist is now 26 years into his career, and facing the same challenges of staying true to his artistry and message in a changing musical landscape as his peers on the secular side of the charts. Gospel artists who broke down barriers into mainstream music in the ‘90s and ‘00s are mostly back to serving their gospel core, and finding their path musically as gospel music is in the midst of a similar genre identity crisis as R&B. But while Franklin may not be in as big a spotlight as he once was, he’s still the biggest and one of the most visible gospel stars of our generation and hasn’t slowed down with his music or his energy.

On May 31, 2019, Franklin released his 13th studio album, Long Live Love, and will begin touring for the album on Thursday, July 11. VIBE joined him for an intimate listening of the new album, and then Naima Cochrane talked to the prolific writer, producer, and Sunday Best executive producer and host about going back to his origins, the black church’s relevance for black millennials, and False Evidence Appearing Real.

VIBE: Your run of 26 years in the game is amazing, and to be commended. At the listening party last night, you brought up the theme of going back to your roots a few times. You said you went back to your childhood home and your school. You talked about stripping back your production methods, and taking it back to the days of The Family, and even mentioned that your partner (Ron Hill, president of Franklin’s Fo Yo Soul Entertainment) told you to pull the “old Kirk” out. What does that mean? What has inspired that reach back to the origins and the roots for this album?

Kirk Franklin: I know that for (Ron), his statement had to do more with the sonic sound, kind of more of the texture. Not the heart behind the music… because you know I’m the same Kirk. I’m steadily trying to grow in my faith and I want to be a sincere dude about the God I preach about and about the God I love, so it wasn’t about that. It had more to do with just the texture. It’s the DNA of a song. Some songs may be more driven by a piano than like an 808, or by the lyrical content, or the way that the choir is singing. So, that’s what he meant, and it was very difficult at first like I said [at the listening session]. … But I really really love the song now because I had to push, you know what I mean, I had to really push through all of that. Does that answer your question?

That answers part of it. What inspired you to go back home and start over again for this album? Was that about the sonics, or was that more about wanting to rekindle something?

That had more to do with the innocence of what I come from; I wasn’t trying to be no artist [at that time of my life]. I wasn’t trying to be no national name or nothing. I didn’t have that idea to even think that was possible. It had more to do with me just really… going through the storms of life. And so, I wanted to go back to those places and those moments in my life when the storm was real for me. Where before I’m doing a concert in London, or before I’m on a stage at an awards show, I want to go back to an area you know I was broke and strugglin’. Had no money or nothin’, and just kinda sit there and feel what that felt like again.

I imagine that might be a necessary reset when you’ve been doing what you do for 26 years. You get so far away from that.

What it does is that – what is very interesting is that those are places I really prefer. I feel more comfortable and at home in those places of my childhood and the places of innocence, than flying to New York or L.A. Those things are great, but I am most comfortable when I am going up to my old middle school, and sitting on the football field and just being reflective. Or going down by the river that runs through the city we live in and just remember - that moment. Those are my sanctuaries; that’s my church.

You also said you don’t go back that often.

I don’t get to go back as often as I like. The truth is, I probably go once a month, but I wish I could go back more.

You said you’ve been struggling with anxiety for several years and that part of it was wrapped up in pride and fear of younger artists coming behind you. We think about that more in terms of secular music, but I never considered that perspective in gospel. How do you move yourself out of that and just focus on Kirk?

Yeah, or, even focus on God, right?

Focus on God, you’re right.

Yeah, yeah. I think that statement was inclusive of a lot of things. It had to do with my age, and had to do with are people tired of what I have to say, or just the world that we’re living in. And one thing that I didn’t say that is inclusive of that anxiety - and I think you heard me say this (at the listening event) – just about the PTSD that a lot of men of color in America go through. When we go through being rejected and abandoned like I did as a kid, you have a lot of fear and anxiety issues that you didn’t even know that’s what it was defined as. You live your life a lot of times living with the ghost of fear. That’s why I called (my 2011 album) Hello Fear. I called it that because that has been a narrative kinda, of my life; this anxiety connected with fear. Fear of death, fear of getting older, fear of younger artists coming, you know. It’s almost like when you struggle with fear, fear connects itself to anything. So, it’s not just necessarily exclusive to younger artists coming up, that’s not it at all. It’s just a combination of anything that fear can grab its hand on.

Like, one of the acronyms of fear – False Evidence Appearing Real. So, when that spirit of fear comes on you, it can just attach itself to anything. That can breed anxiety. For like the last eight or nine years, I’ve struggled with it more than I did as a kid, but even as a kid I had it.

But you were able to recognize it a little bit more as you got older?

I’m able to recognize it more. To recognize the genesis of it, and to be able to connect the dots of why.

I do appreciate that you said that you’ve been in therapy for many years. I think it’s so important that our black men know that’s okay.

Yes ma’am. Yes ma’am.

This album, you focus on love. Long Live Love, and your lead single is “Love Theory.” Why this focal point now?

Well, one thing that I’ve learned is that love and fear cannot occupy the same space. So, one of the weapons to defeat fear is love. Learning the power of love and being loved by the creator of love. Being loved by God himself. “For God so loved the world,” knowing that I’m included in that statement, and that I’m not an afterthought, and that I’m gonna be okay. God is my protector, whom shall I fear? And those truths give you the hope to be able to make it another day, to be able to persevere.

You said your most personal and most challenging song is “Forever/Beautiful Grace,” right?


And you also added your own voice at the end of the song, which you don’t often do.

That’s the “Beautiful Grace” part. It’s almost like two songs in one, I guess. I sang it because it would have been difficult for anybody else to sing that and it ring true. Like, I had to do it. There was no one else that could really do that part.

But I think it’s beautiful. It conveys some rawness and vulnerability, which I think really helps bring the message of the song through more clearly, so I think that was a perfect choice.

Thank you.

You also said that this time you wrote a lot of the music before you actually did the track. Before you went in to record, the songs themselves were done already, and that’s kind of new for you. When a lot of people think of you they think of the production first, so for you to start from the lyrical content first, how is that different for you?

What’s funny is that rarely do I ever work on a track before writing the song in the first place, but this time I was very intentional to make sure that I did that with the entire body of work. A lot of times I’m writing and producing at the same time. And this time, I had everything completely done before I even considered trying to work on the production. And that was a very different process because I wanted to make sure that the songs speak life by themselves. Like, I didn’t want them to need any help, I didn’t want the song to need help. And we narrowed it down to ten songs. We didn’t want an album full of songs. Ten songs that were intentional. Because I had on my phone, I had about three years of ideas, because it’s been about three and a half years since my last album, so I had about three and a half years of song ideas. ...I just wanted to be very intentional. Didn’t want a lot of fluff. Wanted to make sure that what I was saying was coming straight from God’s heart to people.

You, Yolanda Adams, and Mary Mary ushered in a whole new era of gospel. For the first time it was possible for gospel artists to go all the way mainstream, to rack up platinum albums. And then when Andraé Crouch died in 2015, you wrote that you were worried that now worship leaders were focused a little too much on the stardom, and that something had been lost in terms of how gospel music actually impacted people. Do you still feel that way? Are you keeping that in mind when you’re recording?

Yeah, and that’s pretty cool that you did your little research on me. That’s pretty fresh (laughs). I don’t think that we are immune to the same kind of tricks that affect anybody that has a microphone. Anyone that has a microphone, that temptation for the voice to be bigger than the message is always there. And I think especially with people in my genre, it is imperative that we are intentional in making sure that people hear God more than they hear us. That takes a great sense of self-denial.

On the R&B side there’s a question about what happened to “real” R&B, and I know that conversation is being mirrored in gospel. People feel like there’s more praise and worship (a style born of the evangelical church with simple, repetitive lyrics) coming through than actual true hymns and gospel songs that reflect scripture. How do you feel about that? Because some point to you as one of the people who started that transition. Do you agree with that?

I think that first of all, whatever touches a person’s heart and causes them to want to be closer to God more than they are now, that’s a beautiful thing. That should be happening and that should be allowed. If people are growing in their faith, and if they’re going to gospel music, or if they’re going to worship and praise music that may lean a little bit more contemporary Christian in its style and format, that’s cool, too, because I think the main agenda should always be the word of God in this genre. The number one agenda should not be the industry, and what’s poppin’ on the charts, and what’s the new wave. I think that all of those things must be secondary, even if they have to be included at all. I think that the bottom line; I am saying that in within that context, there is something very beautiful about the experience of our people. There is something very beautiful about the experience of African Americans, and the struggle and the sound and the culture we bring to the table should not have to be left on the table when it comes to the music that we do.

Do you ever take credit for getting young adult choirs poppin’ in the church? (laughs)

No. Young adults poppin’ in the church? I think that is so cute.

The young adult choirs! Listen, there’s a whole generation of people out there who were more engaged in their choir because they were able to do Kirk Franklin and the Family music or Kirk Franklin music. I’ve seen it stated again and again. I have to imagine people have said that to you.

I have a question for you.


What do you think happened? What do you think happened to the engagement of people in gospel music? Not necessarily Kirk Franklin, but just the engagement of gospel music. Like, in your view of a person who talks about music and culture professionally, and also somebody who’s somewhat familiar with the gospel music genre, what do you think happened?

It seems like it’s not even so much – just from my anecdotal perspective, because this is a conversation I do have – it’s not even about the engagement with the music, but an engagement with the church altogether. I’m GenX, I’m 43, but people who are a little bit younger than me - millennials, many of whom grew up in the church - as soon as they were old enough to make their own decisions they left. And I think that leaving the church for them also meant leaving things of the church, like the music. And I think at the same time, once we came out of 2010 or so, we stopped having as much gospel on the mainstream charts as we did in the ‘90s through the early 2000s. You know you, Yolanda, the Mary’s, Ty (Tribbett), etc, you guys were sometimes popping up on the R&B chart or the adult urban chart, but mostly you were back on the gospel charts, so I also think there wasn’t as much crossover as there was when I was growing up. I think it’s kind of those two things combined. But also Kirk, in my opinion, there’s been a loss of musicality on the gospel side and the R&B side, because they used to feed into each other. So, on the R&B side we don’t have as many producers coming out of the church, we don’t have as many singers coming out of the church. And on the church side we don’t have as many people involved in the music ministry of the church – they might play a track, there might just be a couple of stars who do the singing and the playing, but I don’t see as many people getting trained up in the music ministry and I think that affects both sides.

You did very good. Very, very good. What do you think can happen to change that around?

For those of us who are a little older, we need to have a little bit more patience with those who are younger instead of just dismissing them as “you don’t know nothin’,” or being frustrated with them. But I also think there has to be some reach out on both sides; I think those who are younger have to be a little more interested to engage the older folks, and the older folks have to be a little bit more willing to reach back. I think that used to happen more, and it doesn’t - there’s a disconnect. There’s a generational disconnect now.

Yes. I totally agree. And I definitely agree with you that there is a lack of interest in all things about faith when it comes to millennials.
But I also see it even in the 40-year-olds, don’t you?

I think we let life get in the way a little bit. For example, I’m part of the young adult choir at my church, but our choir has the most fluctuating membership because as soon as life stuff starts happening, we leave, we come back. We leave, we come back. We take a break from church, we come back. It’s not as consistent for us. You know, for our parents and our grandparents, no matter what else was going on, you went to church. No matter what else was going on, you went to choir rehearsal, you went to bible study. And for us it’s like, I don’t feel like it this week, I’m not going. I think there’s maybe that change in priority. I don’t really know how to shift that back, but that’s what I see happening. For us, we go (to church) to get fed, we go to get nurtured, but it’s not like this happens and everything else happens around this the way it used to be for older generations.

That’s good.

That’s my thought. See, now look we done flipped the interview around and now you interviewing me. But I love it.

It’s a good talk, though, man.

I appreciate it! But that also leads me another question: you were the voice of connecting young people to gospel. And now you’re an elder statesman in the game - of sorts; gospel artists tend to have a much longer career than mainstream artists, but now you’re an elder.


Does that change how you approach your music and your career, and how you talk to people, and just how you move through your career?

You know, I’m gonna be very candid with you, I’m still trying to figure out what that looks like. I even try to do it even from the physicality of it. Like I still run around and dance on stage and I be trying to figure out like ‘Okay, what dance can I do?’

You sure do! I saw you at Essence Festival last year with The Roots, and you were killin’ it!

But you have no idea how painstaking it is to try to figure, okay, can I do the Whoa? You know, just ‘cause I can do the Whoa, can I do the Whoa? Or am I gonna look like the old pawpaw tryin’ to do... you know. I’m at a weird place of not knowing how to be my age.

I think that all of us in our forties are in that place, because we’re not the same forties that forty was twenty years ago, right?

Exactly. I hear you. So, it’s like, I’m trying to figure out what that looks like. Now, when it comes to showing love to people and you know just giving advice, that’s something I would have done in my thirties, I did it in my twenties. So, I’m not being any different. I’m always trying to figure it out. I’m still trying to figure it out. I’m literally still trying to figure it all out.

Why is Sunday Best coming back now? (Ed. note: the show returns to BET on Sunday, June 30.) Was it time? Do we need it?

I think that, you know, it always depends on what type of ambassador you have in the house that fights for certain content that is more a niche in its DNA. With the changes at Viacom and the things that were happening at BET, you still gotta have somebody in there fighting for the things that may not look as mainstream, but there’s an audience that is underserved. And to see the viability of that underserved audience. Sometimes it takes that. So, we can stand on the side of the road, kind of like what is happening with that boy and his TV show Star.

Oh, yeah, Lee Daniels.

Yeah, he’s trying to get the word out there that they’re fighting for it, but if the corporates at Fox want to move something different, he can yell as much as he wants to and if the audience doesn’t yell along with him…

Mmmm, right.

I think that the audience yelled loud for Sunday Best, because there’s nothing in the marketplace.

Tell me about “Strong God”: the motivation, and the inspiration and the why.

I think that one of the greatest misconceptions about gospel music from those that listen to it – and even at times those that do it – is that its agenda always has to be vertical, that there can never be a horizontal social commentary connected with the gospel, when at the same time one of the biggest modus operandi of Jesus Christ was the poor and the less fortunate and the widows. And his level of frustration was the oppression that the government and the religious leaders put on those people. So, to have social commentary in a gospel song for me is very important. Even, you know it’s been part of my career, I was doing it back with “Lean on Me.”

You were even doing it with “Revolution.”

I’ve always enjoyed having social commentary, because I think it’s important. And then it broadens – and when I say “broaden” I don’t mean radio airplay and crossover – it just broadens the idea of what gospel music can be and who God is.

Okay, last question. How have you felt about people calling you the Gospel Puff Daddy?

The gospel Puff Daddy?

Yeah. Did you know that’s your nickname?

They can call me whatever they want to call me. They call me the gospel DJ Khaled…you know I’ve heard it all. I’m cool. Whatever you wanna call me. I don’t care.

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Quavo Is Introducing 'Fan Controlled Football' To The Culture

From their penchant for popping tags and name-dropping designer brands in their rhymes to the obsession with diamond-encrusted neckwear, the Migos are the modern-day poster-children for decadence and opulence. But when it comes to balling, group member Quavo is a seasoned veteran, literally and figuratively. Notorious for his appearances in NBA all-star celebrity games, where he routinely dominates the competition, Huncho has built a rep as one of the athletically gifted hit-makers in music today.

Although he's known for his skills on the hardwood, football is definitely among his passions. His newest endeavor, an ownership stake in Fan Controlled Football (FCF), the first professional sports league to put the viewer in the coach's seat and the general manager's office, in live time, finds him putting his focus back on the gridiron. Having inked an exclusive, multi-year streaming broadcast partnership with Twitch, the FCF will be the first professional sports league to be fully integrated with the streaming platform with the potential to explode in the digital age, where user interest and participation is the main recipe for success.

Having tossed the pigskin around as a Georgia high school football star, to Quavo, it was a no-brainer to get involved with the innovative league on the ground level. “We are building a brand and something different in our league – with the fans. They are in control and get to pick the team names, colors, logos, and more,” said Quavo said in a press release. “I’m really excited because FCF is fast-paced, high-scoring 7v7 football and you are in control. You go from sitting on the couch watching TV and pressing buttons on the remote to actually pressing the buttons on the plays.”

Played on "a 35-yard x 50-yard field with 10-yard end zones,” the Fan Controlled Football league will kick off in February 2021, with a four-week regular season, one week of playoffs, and a Championship week. The league will consist of former elite D-1 athletes, the CFL, XFL, and the Indoor Football League. Broadcasted live from the FCF’s state-of-the-art facility in Atlanta, each game will be 60 minutes in length and will allow the viewers to play a hand in the final outcome on Twitch.

Aside from sports, Quavo has been relatively lowkey on the musical tip as of late, with two years having passed since a solo release or a Migos album. However, according to him, this delay can be considered the calm before the storm, as he assures him and his brethren are primed for one of their biggest years yet. VIBE hopped on the line with Quavo to talk Fan Controlled Football, what he's got cooking in the studio, and his foray into TV and film.


You're the newest team owner at Fan Controlled Football (FCF). What about the league piqued your interest and made you wanna get involved?

It's just showing my interest in the game of football and just trying to put a twist to where it's fan-controlled, fan-involved. A lot of times we watch the game, you watch the game, you just have some concerns. Sometimes you feel you can make the plays or call the play, [with FCF], you can sit on the couch and make the play. I just think we came together to make something crazy like that. I feel like it's something hard, it's something new, it's something fresh. It's a new beginning to something, like giving ni**as a chance. Giving D-1 players who couldn't make it to the league a chance, giving ex-NFL ni**as a chance if they still got it, [and] to go with the fans. When we saw the Falcons lose the Superbowl LI, we [fans] just knew what plays to call, we knew to run the ball. We were up 28-3. All we had to do was hold the ball, but we wanted to air it out and we made a mistake and lost to Tom Brady. Just like when Marshawn could've won a Superbowl. If they'd have given him the ball on the two-yard line. We knew that Marshawn Lynch was supposed to get the ball, [but] they wanted Russell Wilson to win it and the New England Patriots caught an interception. So that's how we're trying to shape it, we're trying to make something new.

The FCF will be live-streamed exclusively on Twitch, which has become one of the leading platforms for eSports live-streaming and will kick off in February 2021. Do you feel the FCF has the opportunity to fill that NFL void during the spring, particularly given the fan engagement that FCF enables?

Most definitely, cause after the Super Bowl, it just feels like you just want another game. You feel like you want one more game. and coming from something [where it's] eleven on eleven players to seven on seven, I feel [there’s] still a difference. After coming from watching the game and the regular politics, the regular structure of the game, now you're getting to be involved in a game that you can control. You can pick the jersey, you can pick the helmets, you can pick the jerseys, you can pick the coaches, you can pick the plays. I just feel there are two different dynamics [between the NFL and FCF). You come from sitting on the couch and pressing the remote to actually pressing the button on the plays."

Speaking of fan engagement, the FCF is the only professional sports league that enables fans to call the plays in real-time and puts the viewer in control of a game’s outcome like never before. Have you ever had that experience, as far as fantasy football?

Nah, but I'm into Madden. You can sit at home and pick your plays [with FCF], it's just like the lifestyle of Madden. It's like a reality of Madden. You're playing with people at home, with these unique athletes, and it's seven-on-seven.

As an Atlanta native, how significant was the FCF’s state-of-the-art facility being in your hometown in your decision to come on board as an owner?

It's very important. We got top-tier talent here, so it's opening up opportunities for a lot of guys. We're just glad it's in the south, it's like a hub. Everybody loves Atlanta and everybody wanna be here. Everybody wanna play and the weather is good.

NFL Super Bowl Champions Richard Sherman and Marshawn Lynch, boxing legend Mike Tyson, and YouTuber and podcaster empire Greg Miller are among the FCF's team owners. How does it feel to be competing against some of the most accomplished athletes and entertainers in the world? Have you had the opportunity to meet with any of them?

Most definitely. I have a good relationship with Mike Tyson. I've met Marshawn Lynch, it's a blessing. I feel like we're not competing right now, I feel like we're building a brand. I feel like we're building a league. I feel like we're trying to make the world understand what we're bringing to the table and what type of game we bring to the table, you feel me? I feel we're trying to create something different. Once we get the ball rolling, it's all together and moving into a real FCF league, then we'll get to compete. Of course, we all wanna win, but right now, we're just trying to get the foundation and the basics going and letting the strength of the owners and the relationships show on the field.

Being that you'll all be working with your respective fan bases in shaping your team’s personality and identity, any thoughts about what the team’s name will be? 

Man, I wish I did, but it's so straight strictly fans that you never know. Just like with music, can have an idea that is a smash, and then the fans don't think it is. You gotta strictly listen to the fans on this one. You gotta listen strictly to how they want it because it's the point of the game, that's the point of the league. We gotta let them control this game and then we the players and we the people that's listening to the people, the culture. FCF stands for culture, too, you feel what I'm saying? We listen to the culture, we're letting the culture run the field.

How involved will you be in the drafting and scouting process for your squad?

The fans make the draft, fans get to see everything. Open books, everything. It's an open thing, it ain't nothing to hide over here. The fans control it all.

In addition to sports, you've also been delving into acting, with cameos in shows like Atlanta, Star, Black-ish, and Ballers. Earlier this year, you appeared as yourself in Narcos: Mexico. How did that opportunity come about? 

Narcos reached out. We [Migos] had this song called “Narcos” on the [Culture II] album and we went and shot [the video] in Miami and everybody thought it was a Narcos movie scene and it ended up being Madonna's house. So we just shot that there and then they reached out to us. I think Offset had a performance somewhere and Takeoff had to do something and I just ended up being free that day and I went and shot it in New Mexico. I had fun, I loved it.

Do you have plans to pursue any supporting or leading roles in film or television?

Hell yeah, most definitely. I've been sitting down and having real great meetings with directors and people that got some movies in the works for 2021. I feel like I’ve got some good spots. I don't wanna tell it cause they’re gonna make some announcements. It's coming soon.

It's been two years since you've released a solo project or one with the Migos. Can fans expect any new music from you anytime soon and what are your next plans on that front?

Most definitely, hell yeah, we're shooting videos right now. We’re vaulting up a whole lot of videos so we can give you music and visuals at the same time. “Need It," the song came first and then the video. Right now, we wanna get a lot of videos and a lot records in the vault and smash [them] all at once 'cause it's been two years.

Pop Smoke's passing was one of the more tragic events in rap in recent memory, but his debut album, which you appeared on throughout, has been one of the most successful and acclaimed projects of 2020. How has it been seeing how the album’s been received, especially after you and him developed such a bond in a short time?

I'm happy. I'm proud of him, that was my partner. We did a lot of records, we spent a lot of time together and I feel like the album would've did even more with him being alive. A lot of people's album just go crazy when they die, I feel like his sh*t would've still went crazy. He had the momentum, he had the buzz. He was having fun. He was hot, he was fresh, he had everything ready.

This interview has been edited for length and clarity.

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Toots Hibbert performing at Hammersmith Palais, London in 1983.
Photo by David Corio/Redferns

Remembering Toots Hibbert

The best singers don’t need too many words to make their point. Otis Redding could let loose with a sad sad song like “Fa-fa-fa-fa-fa-fa-fa-fa-fa” and get you all in your feelings. Bob Marley got pulses pounding with his “Whoi-yoooo” rebel yell. Gregory Isaacs melted hearts with nothing more than a gentle sigh. Toots Hibbert, who died last Friday at the age of 77, could sing just about anything and make it sound good. One of the world's greatest vocalists in any genre, Toots paired his powerful voice with the understated harmonies of Raleigh Gordon and Jerry Mathias to form The Maytals, a vocal trinity that never followed fashion and remained relevant throughout the evolution of Jamaican music—from the ska era to rock steady straight through to reggae, a genre named after The Maytals' 1968 classic “Do The Reggay.”

Whether they were singing a sufferer’s selection (“Time Tough”), a churchical chant (“Hallelujah”), or the tender tale of a country wedding (“Sweet and Dandy”), The Maytals blew like a tropical storm raining sweat and tears. The lyrics to Six and Seven Books,” one of The Maytals' earliest hits, are pretty much just Toots listing the books of the Bible. “You have Genesis and Exodus,” he declares over a Studio One ska beat, “Leviticus and Numbers, Deuteronomy and Joshua, Judges and Ruth...” Having grown up singing in his parents' Seventh Day Adventist Church in the rural Jamaican town of May Pen, Toots knew the Good Book well.

The Maytals broke out worldwide in 1966 thanks to the song “Bam Bam,” which won Jamaica's first-ever Independence Festival Song Competition, held during the first week of August as the island nation celebrated both independence from Great Britain in 1862 and emancipation in 1834. They would go on to win the coveted title two more times, but “Bam Bam” was a singular song with a message every bit as powerful as Toots' voice. “I want you to know that I am the man," Toots sang. He was young and strong, ready to "fight for the right, not for the wrong." The trajectory of "Bam Bam" would not only transform Toots' life but make waves throughout popular music worldwide.

"Festival in Jamaica is very important to all Jamaicans," the veteran singer stated in a video interview this past summer while promoting his latest entry into the annual competition. "I must tell you that I won three festivals in Jamaica already, which is “Bam Bam,” “Sweet & Dandy” and “Pomp & Pride.” Toots described that first festival competition as a joyous occasion. "Everybody just want to hear a good song that their children can sing," he recalled. "Is like every artist could be a star."

In 2016, on the 50th anniversary of "Bam Bam" winning first place, Toots looked back over the legacy of the tune that made him a star. "I didn’t know what it means but it was a big deal," he told Boomshots. "You in the music business and you want to be on top and you write a good song and you go on this competition and if they like it then it becomes #1." After The Maytals won, the group was in demand not just all over the island, but all over the world. "We start fly out like a bird," he says with a laugh. "Fly over to London."

"Bam Bam" went on to inspire numerous cover versions, starting with Sister Nancy, Yellowman, and Pliers. It would also be sampled in numerous hip hop classics, and interpolated into Lauryn Hill's "Lost Ones." But according to Toots, he did not benefit financially from these endless cover versions. "People keep on singing it over and over and over, and they don’t even pay me a compliment," he told Boomshots. "I haven’t been collecting no money from that song all now."


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“This man don’t trouble no one... but if you trouble this man it will bring a Bam Bam” Original Maytals Classic @tootsmaytalsofficial 🎶 All them a talk, them nuh bad like Niya Fiya Ball ☄️🔥💥 via @tonyspreadlove . 💥💣🔫#Boomshots

A post shared by Word Sound & Power (@boomshots) on Sep 12, 2020 at 8:19am PDT

When Toots began singing in his parents' church, music was not seen as a career prospect, and the profits were slim for Jamaican recording artists in the 1960s. "Those days we get 14 cents for the record to play on the radio," Toots said. "I get three shillings and five shillings for a number one record, which I had 31 number one record in Jamaica... It’s not about money for me. It’s about the quality that Jamaicans need to go back in the festival jamboree... You gotta talk to the children."

On the poignant “54-46 (Was My Number),” Toots recalls the dehumanization of his arrest and 18-month imprisonment at Jamaica's Richmond Farm Correctional Center for what he always insisted was a trumped-up ganja charge just as his music career was taking off. The song's crescendo comes two minutes in when Toots breaks into a scat solo that cannot be translated into any language known to man, delivered with palpable passion that made his message universal. During Toots' ecstatic stage performances he would follow this riff by commanding his band to “Give it to me... one time!” Then the 'd make 'em say Uh!  (Way before Master P!) “Give it to me... two times!” Uh! Uh! And so on and so forth until Toots worked the place into a frenzy.

The Maytals' live show was so explosive that Toots began touring all over the world, opening for rock megastars like The Rolling Stones and The Who. While Bob Marley richly deserved the title King of Reggae, his friend Toots was performing internationally before The Wailers, and remained a force to be reckoned with throughout his life, blazing a trail for generations of reggae artists to follow in his footsteps.

On his Grammy-winning 2004 album True Love, Toots recorded some of his greatest hits with a host of legendary artists, many of whom were also good friends, including Willie Nelson, Mick Jagger, Keith Richards, Bonnie Raitt, Sheryl Crow, and Eric Clapton. His 2006 cover of Radiohead's "Let Down" was a favorite of the band's, who used to play it on their tour bus. Radiohead guitarist Jonny Greenwood called Toots’ version “truly astounding,” according to Easy Star Records Michael Goldwasser.

Toots supported himself and his family by touring all over the world. During a 2013 show in Richmond, Virginia he was singing John Denver's "Take Me Home Country Roads" when a teenager in the crowd threw a vodka bottle at the stage and hit him on the head. He suffered a concussion and had to stop touring for several years. As his first album in a decade, Got To Be Tough was highly anticipated when it was released on Trojan Jamaica label August 28. On the cover the former boxer and lifelong fighter can be seen throwing a punch. Just a day after the album dropped, Toots came down with symptoms similar to COVID 19. Within a few days he was hospitalized where doctors placed him into a medically induced coma from which he never recovered. As his Tidal obituary pointed out, he passed away exactly 33 years after his old friend Peter Tosh died by gunfire.

Songs like "Just Brutal" from the hit different now, with Toots pleading for more love in a world gone wrong. "We were brought here," Toots sings. "Sold out. Victimized brutally. Every time I keep remembering what my grandfather said before he died."

“I’m feeling alright,” Toots said the last time we spoke, while he was still sidelined with stress issues due to the bottle-throwing incident. "I’m feeling alright. I’m feeling alright. I’m feeling just cool because is Jah works. You seet?" I asked him if the song "Bam Bam," was about him—a peaceful man who should not be provoked—or else. "Nooo don't trouble him," Toots said with a laugh. "It’s gonna be double trouble, triple trouble. A lot of trouble."

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DJ Cassidy

DJ Cassidy Speaks On 'Pass The Mic Vol. 2' Ft. Hip-Hop Greats LL Cool J, Rakim, Salt-N-Pepa, MC Lyte And 30+ More MCs

With the COVID-19 pandemic wreaking havoc globally, 2020 has been a year filled with tragedy and uncertainty, as an innumerable amount of lives have been taken or affected as a result of the spread of the virus. The world of entertainment, which relies on ticket-holders and live spectators, is affected severely, with artists unable to tour, give live performances, interact with fans, or even create material by committee. This unprecedented blackout of sorts is a tough pill to swallow and threatens to forever alter the industry as we know it. However, as a culture and artform that built its history around making the best of times with minimal resources at its disposal, hip-hop is at the forefront of keeping the public entertained and butts moving, with various DJs, artists, and producers discovering new ways to stay in tune with the people.

While new, digital platforms like DJ D-Nice's "Club Quarantine" and Swizz Beatz and Timbaland's "Verzuz" battle series are ahead of the curve, the latest virtual experience to emerge is Pass The Mic, a live event created and hosted by legendary spinner DJ Cassidy. A native New Yorker, Cassidy, who made his name via the club circuit during the late '90s and early aughts, has a resume that rivals the most accomplished of DJs, having spun at high profile events such as the 2009 inauguration ball for Barack Obama, Obama's 50th birthday party, and the wedding of JAY-Z and Beyonce. Performing hundreds of shows on a yearly basis, Cassidy, whose touring schedule was halted due to the pandemic, was stuck at home when a conversation with legendary soul musician Verdine White of Earth, WInd & Fire gave him an epiphany.


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Thank you @revwon @kingdmc @llcoolj @mrchuckd_pe @therealdjchillwill @therealdougefresh @thegodrakim @mcshan1 @mcmilkdee @specialedmusic @emceeserch @mclyte @chipfu @erick_sermon @doitalldu @therealgrandpuba @djpremier @darealgregnice #smoothb @blacksheepdres @therealclsmooth @realpeterock darealmonielove @youngmc89 @chubblive @officialbigdaddykane @robbasemusic @kidfromkidnplay @the_playgroundz @darealpepa @saltnpepaofficial @speech__ @rasadon @eshe2xgrammy @treachtribe @unclevinrock ❤️ You are my heroes. And to all 122,000 people that tuned in, I am truly grateful. 🎙👑🎙#PassTheMic @rockthebells @behindtherhymetv @twitch

A post shared by DJ Cassidy (@djcassidy) on Aug 5, 2020 at 9:13pm PDT

Cassidy explains: "In the heat of the pandemic, in the middle of the quarantine, I was facetiming with my good friend and mentor Verdine White of Earth, Wind & Fire. Verdine has grown to be a close friend whom I truly admire, and he and I go to dinner every month or so and, obviously, we were not able to do that. So we were on a Facetime call catching up and while I was talking to him, his song, ‘That's The Way of the World,’ came on my speakers. And ‘That's The Way of The World’ is my favorite Earth, Wind & Fire song and on a regular day, it sends a chill down my spine. But being that the world was in flux and everyone was in their homes, separate from each other, [and] being that I was looking into his eyes as I heard the song, a kind of special feeling came over me. And I said, 'You know, I'm very lucky that I have so many relationships with all of my heroes of music and I can hear their music in their company.' And I said, 'Wouldn't it be amazing if I could find some way to give that special feeling to other people around the world during this crazy time. And I said, 'Well, if I can connect my musical heroes from home to home, perhaps I can give people this feeling that I'm feeling right now. And perhaps I can use that as a way to pay homage to the heroes around the world fighting for health.' So therein lies the foundation of the whole idea."

That spark ultimately evolved into Pass The Mic Vol. 1, which saw some of the biggest R&B stars of the late '70s and the '80s performing their greatest hits from the comfort of their homes, for the world to see. The event, which was streamed live on Twitch before being uploaded to Cassidy's Instagram page, was a big hit, amassing upwards of twenty thousand viewers, prompting the DJ to follow up with a second volume geared towards his first love: Hip-Hop. Airing this past Wednesday (Aug. 5), Pass The Mic Vol. 2 saw DJ Cassidy summoning a slew of his friends, who just happen to be among the greatest rap artists of all-time, to join him in a cipher of the most pivotal rap records of the '80s and early '90s. DJ Premier, of the legendary rap group Gang Starr, spoke on DJ Cassidy approaching him to be a part of the massive celebration. "When Cassidy texted me the links to VOLUME 1, I was blown away by the people he chose," Premier shares. "And it kept getting more and more exciting as the songs progressed to wonder who's next. Even the way he sequenced it..."

Beginning with Run of Run DMC performing "Sucker M.C.'s," the nearly forty minute set included appearances from the likes of LL Cool J, Chuck D, Rakim, Big Daddy Kane, MC Lyte, Kid N' Play and Naughty By Nature, all of whom tear the house down, albeit virtually from the comfort of their own. The session includes many magical moments and is filled with a love for one another, as well as the culture that brings us all together.

With the second volume in the series having took place, with many more to come, VIBE spoke with DJ Cassidy via phone about the genesis of Pass The Mic, what the process entailed putting the first two volumes together, the healing and unification of music, and how Black music has had an indelible impact on his life and career.

VIBE: The first volume of Pass The Mic included appearances by Earth, Wind & Fire, New Edition, Bobby Brown, Kool & The Gang, Patrice Rushen, and other stars of the '70s '80s. What made you kick off the series celebrating that particular era?

DJ Cassidy: I think two main reasons come to mind. First of all, the Facetime call with Verdine White was really the genesis of the concept, so it was that call that inspired the whole idea. And it was that song, the first song on Vol. 1 that was playing, so to me, it was automatic that I should go to that era of music to set the project off. But the second reason is kind of a bigger picture, which is I really believe that that music is the most feel-good, uplifting music ever created. It is undeniably body-moving and for two-thirds of my life, I've traveled the world, making people dance and there is no music that uplifts, inspires people, makes people smile and makes people dance than the r&b music of the '70s and the '80s. So when the world is going through what it's going through and people wanna smile and people wanna be uplifted and people wanna unite, there really was no greater music to channel to try to do such a thing, to achieve such a mission.

How would you describe an episode of Pass The Mic and what are some unique wrinkles users can expect?

Pass The Mic is an interactive mixtape delivered in a way that you've never experienced before. As I drop each record, you experience that record with the artist who recorded that record and you connect with those artists from home to home. And through that personal experience, you're left with an emotional experience of music unlike any before. And I'd be lying if I said I thought that all the way through when I started, I didn't. A lightbulb went off for me, I saw the big picture and I went for it, but I didn't quite understand how emotional the response would be until I premiered it.

You've also mentioned how the times we're in, with the COVID-19 pandemic, was also a factor in you creating Pass The Mic. What are your thoughts on how other DJs and producers have been adapting to the climate we're in?

Well, I think the pandemic has been such a tough time for everyone around the world, yet it's also been a great time for DJs to be the best versions of themselves. At our core, we DJs unite people. At our foundation we bring people together through music and no one exemplified that better, bigger and faster than D-Nice. In the first week of the pandemic, he found a way to unite the world through DJing and it was truly beautiful to watch then and remains beautiful to watch now.

You've been spinning professionally for upwards of two decades and have an expansive list of high-profile artists and musicians at your disposal. What has the recruiting process for Pass The Mic entailed and how would you describe the artists' reception to the idea of it all?

Well, the process has certainly evolved, I would say that's the best word to use. The recruitment process for Vol. 1 was entirely different from Vol. 2 'cause while recruiting artists for Vol.1, I had nothing to show. All I had was a crazy idea that some people understood and some people didn't, but what they did exhibit was a unanimous trust in me and for that, I was not only grateful, but extremely honored. We're talking about some of the most legendary r&b artists of all time, they don't need to do my Pass The Mic idea. And they all took a leap of faith and they put their trust in me and I think they were all excited by the results and that really was the biggest reward. The recruiting process for Vol. 2 was entirely different because not only had many of the artists now seen Vol. 1, but for those who didn't I of course had Vol. 1 to show them. One of the greatest experiences was calling Big Daddy Kane, one of the greatest rappers of all-time.

Now, I haven't spoken to Kane on the phone in years. In fact, I might have never spoken to Kane on the phone before. I first developed a relationship when he performed at my birthday party in New York many years ago, over ten years ago. And every time we see him, it's all love and, of course, I admire, idolize and look up to him and I wasn't even sure if I had the right number I called, I got a voicemail, it wasn't his voice. I text him, I said 'Kane, it's Cassidy, is this still you?'  And he called me within five minutes and I picked up and go, 'Kane!' And his first words were, 'Look, if you're calling about something having to do with Pass The Mic, I'm in,' and that was one of the greatest phone calls I've ever had in my life. And I will never forget that one sentence. Big Daddy Kane, the great, the legend, the forefather, he not only saw it, but loved it, felt that's why I might be calling and was down to take part in whatever I was doing and there's really no words to describe that feeling. And that sentiment was common in many of my phone calls  that a lot of the artists I was calling had seen Vol. 1 and were really emotional in their response to it. So the recruiting process from Vol. 1 and 2 were very different, in that respect.

For the debut volume of Pass The Mic, you partnered with Twitch, a streaming platform that's been continuing to gain steam. What spurred you to use that particular platform and is that partnership official?

Firstly, what I was doing wasn't possible to present to people on Instagram. I love Instagram, it's the platform I use the most, it's how I share my life and times, but there was no way I could've presented Pass The Mic through Instagram. So I was looking for a platform that allowed for a live experience, one which I could treat as a live event and there were several: YouTube, Facebook and Twitch. And Twitch seemed like a great home for the launch, their platform, their technology, their fanbase. They're extremely forward thinking and it was a great place, but it was also a partnership with the Behind The Rhyme channel. Behind The Rhyme is a channel on Twitch that presents  lots of great content having to do with hip-hop and r&b, specifically classic hip-hop and r&b, but all kinds of hip-hop and r&b. So it was a great kind of home for Vol. 1 and it worked out well, so I've chosen to host a live event for Vol. 2 there as well. And I've also partnered with Rock The Bells on this edition, they represent all things classic hip-hop so it's self-explanatory. The partnership is a no-brainer. LL Cool J and his brand represent everything that Pass The Mic Vol. 2 strives to represent, the beauty and inspiration of classic hip-hop.

The second episode of Pass The Mic aired this past Wednesday (August 5), and saw you putting the focus on the golden era of hip-hop, with legends like LL Cool J, Run-DMC and Salt-N-Pepa all appearing on the show. How would you describe your relationship with that era of hip-hop and how the music inspired you as a DJ?  

Well, I grew up in that era of hip-hop. I grew up memorizing the words of the hip-hop records of the mid '80s, late '80s, and early '90s, that was my childhood.  Hip-Hop is my first love, hip-hop is why I became a DJ, hip-hop is why I asked my parents to buy me two turntables and a mixer for my birthday when I turned ten. And these artists, the artists who I've included in Pass The Mic Vol. 2 are my true heroes. They are the artists I looked up to as a child, they are the artists I idolized as a child and to this day, I hold them up on the highest of pedestal.  They define the way I walk, the way I talk, the way I danced, the way I dress, the way I fought, they gave me identity. Without these artists, I don't really know what my identity would be. I became who I am through this music, so this volume really meant a lot to me, the last twenty-one days have been surreal.

Yeah, for sure. The reason the past twenty-one days have been so surreal is not only because I got to Zoom with all of my heroes of hip-hop, but because after we knocked out what we had to do we stayed on for another half an hour or more talking. And sometimes I'd be on with some of these artists for an hour and I'd be asking them questions and they would tell me stories and I just heard the greatest anecdotes. And sometimes with those whom I had relationships with, we talked about stories that involved me and us and those were incredibly special, for obvious reasons, but all the stories were just, like, gems. They were just dropping gems on me. I have all that footage and I hope, at some point, there is another component of Pass The Mic where I share those stories.

What would you say are three records from that period that personally resonate with you?

"Sucker M.C.’s" is a very important song to me, as it is to hip-hop culture, as it is I believe, to pop culture. "Sucker MCs," in my opinion, is the archetype of a hip-hop record. It's so brilliantly simple and it's powerful because of its brilliant simplicity. All that's on there is a kick, a snare, a clap, and rhymes. There's no chorus, it's only four verses. And if you think about it, on paper, it's the simplest hip-hop record ever made and it's just so magical because if an alien came from out of space like, 'What is hip-hop?' I would play them “Sucker M.C.'s.” So, for me, it was really important for that reason, to set off this particular volume with that record.

Another record that's really important to me is Arrested Development "People Everyday." It's not only one of my favorite hip-hop records of all-time, it's one of my favorite records of all-time, it just simply exudes joy and celebration. And Speech is not only an incredible rapper, but an incredible singer and his voice is just simply something you can feel. He's uplifting, he's truly a unifying spirit and I'm so happy he was willing to get down 'cause he really brings the celebration to this.

"Hip Hop Hooray," which closes out Vol. 2, is really important to me. As a child, I worshipped the ground Treach walked on. I thought Treach was the coolest person to ever walk the face of this earth. And Treach and Vinnie are the sweetest guys, I've known them since I was a child and they've always been really supportive of me and my career and that song is special. No matter where you go in the world, no matter what music someone loves, no matter how old they are, no matter who they are, no matter where they are, everyone sings along to that chorus and knows exactly what to do with their hands. And there's something really beautiful about that so there's no better song to end this with.

The first two episodes of Pass The Mic have been geared towards celebrating Black icons in music, across various genres. In the age of Black Lives Matter and social injustice, what are your thoughts on how music and the performance of it can help bring forth unity and healing?

I think there is no greater unifying power than music and I think there is no greater healing force than soul music. And soul music doesn't just mean r&b music, it means hip-hop, too, hip-hop comes from soul. And I think we're living in a time of divisiveness, bigotry and of separation and I think we, as humanity, can look to any one thing to uplift people and unify, it would be music. And you mentioned Black music, my life wouldn't be what it is without the music of Black artists, hip-hop and R&B has defined my life in so many ways, and not only in my career. It's my source of inspiration, it's my source of culture, it's my source of style, it's really my source of happiness. And it's through the music of soul artists and hip-hop artists that I've been able to travel the world and make people dance and make people smile.

What do you see Pass The Mic evolving into moving forward and what do you hope viewers walk away with after viewing an episode of Pass The Mic?

I hope people walk away feeling uplifted, that's it. That's the goal, to uplift. And by sharing these records in a unique way, I've been able to uplift, then I've done my job. The magic is in the music and I'm just a messenger. What do I see for the future? Well, at this point, sky's the limit. I didn't anticipate quite an emotional response from people and it's been quite overwhelming. As I said, this was a little passion project to stay creative, to connect with my heroes and to put a smile on a few faces and it turned into something bigger than I could've ever imagined. There's certainly gonna be more volumes and what the future has in store, we shall see.

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