	
	Mad Arawak:: A short history

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Arawak sound system began as an idea in Liverpool.
MY father ran a sound system know as Count Rob Sounds. Count Rob was a traditional Jamiacan sound of the 60s 70s and early 80s based in Toxteth Liverpool.
 Travelling to Jamaica for new records at least once a year, Count Rob was able to form a modest following of supporters. These were mainly made up of family and friends.
 I was fascinated at an early age by the lyrics of Reggae music and its uncompromising stance on injustice and inequality. I would get so excited when my father planned to play out. 
After leaving secondary school, I took no formal exams to the dismay of my parents. 
I then took up an apprenticeship with an african genius from London called Lawrence Quamey. I soon learned Lawrence too had a sound called Big L Sounds. 
After a little time I had the skills to do basic soldering and could set up my fathers sound if necessary. I continued to accompany him to weddings, domino dances and independence celebrations

The first session I ever organised came when I decided to have a party for my 21st. All plans were set. My older brotehrs had sorted out the liquor. People had been invited since before Christmas. The 12th of January was a Saturday the party was up all those stairs in flat 5. The flat was full of happy people. All the stairs were lined with people there was no room to walk. The heavy bassline from the 15" bins shook everything in the building. The party was a hit.

Other parties soon followed. By now I was reggae mad and had seen Bob Marley at Belle Vue Manchester Tappa Zukie Dillinger and others. I had helped to organize many other parties and events. 

 After moving to Leicester a series of fortunate incidents encouraged me to continue with a sound system. I met Marcus, a serious collector of reggae music I was totally impressed by his knowledge of reggae and his enviable collection. We worked in the same place in Leicester. We could not believe it when we were told about a deserted speaker factory close by. We visited and came away with a range of scoops and bins. We were well on our way to forming a sound. Still with no name for the sound we played at a party on Fosse Road Central in 1991. Nore sessions quickly followed. We played regularly at The Magazine and The Royal Mail. We played at many parties and a couple of weddings. Marcus went on to Newcastle to study. 

The Arawak indians were the indigenous population of Jamaica. They were eventually killed off by western exploitation and diseases. I formed links with Andy Cejer of City Beat. An organisation committed to raising the profile of the work done by Amnesty International. I have supported local live bands at these events.

I too have been fortunate to have travelled to Jamaica on two occasions to have dub plates cut and to buy reords. So far all the original Arawak dub plates have been cut at Black Scorpio Studios in Kingston.

Arawak has relative success in achieving its two informal objectives. I set out to 1. to play reggae in diverse places and allow its messages to be heard and smetimes understood by many.2.To make Lamaican musical culture also be embraced by those who grow to love it.

The I story of reggae was a theme devised by Richi Rootz and myself.In the days of The Royal Mail we aimed to play as wide a selection of reggae as possible. From mento ska rock steady to bluebeat dub dancehall rockers or roots, we played it all. We took the opportunity to introduce other DJs through Arawak Sounds. DJ Stratus, formerly Boogie J, Phat Dan and Supa D, Mr Benn and DJ Eskimo also DJ Dicky Dutch and Melodica artiste Vitamin M.

 Lots more dates were booked. At one time Arawak Sound was flown on an all expenses paid trip to Belfast where we played at the Connor Hall, Belfast Uni. Also the Marcus Garvey Centre in Nottingham supporting the Bhangra band Bahaar. More collaborations with other DJs followed including sets with the Zen Masters at The Attik.

In 1998 Vibronics of Leicester released International Dub Convention. My voice is sampled on two tracks of this album which has enjoyed some success. I performed on stage at the Abbey Park Festival with The Urban Digital Orchestra, fronted by Jah Patois. This was enjoyable but different to DJ work. Arawak Sound System composition has changed over the years. Its aims however have stayed the same, to bring reggae music to diverse audiences because: Good Vibes Cost Nothing

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