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DJ Jamboree: A Conversation with Trinity. Pt 2 « DanceCrasher

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DJ Jamboree: A Conversation with Trinity. Pt 2

Trinity at the Music Machine Sept '79[MV] And back in your older productions, back in the 80’s, still Sly and Robbie, or who did you use?

[T] In the old days, I usually use Santa [Davis], and a guy name Fully [Fullwood], and Ansel Collins, and Bingy Bunny on guitar. But these times, what I want to say is these times the music is different, changed, not changed for the good though. So what we are trying to do right now is trying to bring back the old, the vintage style of music because, is there so the music is. Y’know what I mean, you get more melody, you get more substance out of the music, you get more sense, the music is saying something, nowadays a guy just come pon a riddim and just a pure noise and is like them tone deaf and all them thing. Me really can’t tek that, me just no like it so I don’t – sometime I don’t bother with the music thing, because when there comes a time where you have to rest and mek them know them a do and show themself and then you come start all over again. ‘Cause things change sometimes, y’know, so sometimes no matter if you doing good, sometimes the bad come along and go, you can’t make them hypnotize you to do that. You have to do what you know is the best. So I believe in the best. Because I love make good music. I don’t like go into studio and just make any anything and say “this one bad” or “it gone” or “this one yah a go kill” I have to make good songs.

[MV] So what artists are you working with now, other than Natty King?

[T] Well, at the moment I’m working myself.

[MV] OK, new album’s coming out?

[T] Yeah, one for Niney and one for myself.

[MV] OK, another Niney – a new Niney album?

[T] Yeah, I make an album for him waday gone. And I make a new one for myself recently. Me and Beres Hammond is on it, me and Dennis Brown is on it, me and Freddie McGregor is on it, me and Delroy Wilson is on it, is a (inaudible), like um – or it is like a clash, each track have a singer and me deejay. So when I go down back now I going make one with me and Dillinger, through we are two of the most original man, he got to be on it.

[MV] So it will be deejay style, not Jr. Brammer style then?

[T] Yeah, well . . . [laughs]

Trinity as Jr Brammer[MV] So in the late 80’s why did you change up to Jr. Brammer?

[T] Is not change, is just Willie Lindo. Y’haven’t heard about Willie Lindo?

[MV] Yeah, I know the name, I…

[T] Him want me sing two tune but him don’t want me sing it as Trinity, him want me sing it as Jr. Brammer. But it wasn’t no change of name, it was just some experiment, me just try sing two tune as a – ‘ca my name is Brammer, my name is Wade Brammer, so I just sing two tune like “All Time Bachelor” and [sings] “Sho-be-doo-be-doo, I love you” and some other tune, and just a Jr. Brammer.

[MV] And it worked so you well you kept doing it?

[T] No, I didn’t.

[MV] But you had a couple albums as Jr. Brammer, right?

[T] Yeah yeah yeah, I had a couple albums as Jr. Brammer.

[audio:http://www.dancecrasher.co.uk/features/trinity/warmandsunnyday.mp3]
Jnr Brammer – Warm And Sunny Day

[MV] Going back – how did you get your first name, Prince Glen, where did that come from?

[T] Oh, well, Prince Glen was when I was a youth growing up, and my name is Glen, so I usually deejay as Prince Glen.

[MV] OK, I thought your name was Wade –

[T] No, my name, my registered name is Wade Brammer, but my nickname is Glen, so I usually deejay as Prince Glenn, but Channel One change my name to Trinity. When I went to Channel One they didn’t like the name, so Jo Jo, the guy that own the Channel One label, look in the Bible and tek me name from the Bible and give it to me, the Father, Son and the Holy – One or Holy Ghost, but I didn’t nee the Ghost [laughs].

[MV] Seems like a lot of producers gave deejays their name.

[T] Yeah, that was Channel One gave me that name.

[MV] Cool. Oh, your work with Alvin Ranglin – GG’s?

[T] Yeah, GG’s, “Number One” and a lot more song, ’cause I do an album for him, “African Revolution.”

African Revolution LP[MV] “African Revolution,” the one with holding the sword on the cover. Can you talk about working with him a bit?

[audio:http://www.dancecrasher.co.uk/features/trinity/africanrevolution.mp3]
Trinity – African Revolution

[T] Yeah, I like work with him because he is a man don’t – don’t take no rubbish. If you a do something fi’im, you have to do it good, ’cause him is very miserable. And when you go a studio to work for him you betta make up your mind, ’cause if you go in there and do a thing he just go stop you inna the middle of the song and say him don’t like that, and if you don’t patient you go home, because he is a man give you a lotta trouble with his voicing, you have to voice the song how him want it.

[MV] Perfect, huh?

[T] Right! So, I like work with him ’cause I like challenges.

[MV] And then another one, Gussie Clarke.

[T] Yes, “Funny Feelings” me and Dennis Brown. [Sings] “Some a them a mek it, them a wear bush jacket, when them nah mek it say them bawl like David Crockett, so start run racket. Yeah I want to love you, try to be gentle with me, I’m not such a lover as you see, but I want to love you, want to love-love-love-love-love, love you baby, oh yeah, woo-oo-oo-ooh, oo-oo”

[MV] Yeah, he was a wicked producer, “Aquarius” too.

[T] Yeah, man, [sings] “Ba-ba-ba ba-ba dum, bum”.

[MV] Another question, your brother –

[T] Eastwood.

[MV] Eastwood, how did he start getting into –

[T] Well, is me take him to Joe Gibbs. And him do a song pon “Three Piece” riddim, “I’m Still In Love With You” say him badda than Trinity, tougher than Dillinger. And Dillinger get vex and want fight. And I say no man, no badda me bredda, no botha fight him, mek I do a tune and kill him. So ‘im do a tune name [sings] “Prima Ballerina” And it was going good, and I come now and hear it, because I was in London, so I come home I hear it and I say, “See, see him do a tune say him badda than me, but him going to have to prove it on the record” So I go into the studio and lick over back the riddim and do, “Starsky and Hutch, say them wait fe catch a bus” And my tune just kill fe him tune and go number one, and him come fe fight me as him bredda with gun!

[audio:http://www.dancecrasher.co.uk/features/trinity/premoandstarsky.mp3]
Clint Eastwood – Premo Ballerena/Trinity – Starsky & Hutch

[MV] Really? Wow.

[T] Yeah! Yeah mon.

[MV] How did you guys reapproach after that?

[T] Well, people – it was a long time friend, said to him that you can’t fight you bredda. Beca’ you do a song about you bredda, and you bredda neva come fight you. Him just hear your song and do a song now and you want fight him, so you is the aggressor. So me and him now, as bredda, talk it over and we alright. But he live in London now.

[MV] Right, he started working with Saint.

[T] Yeah, General Saint, right.

[MV] So is that part of why you guys never recorded combination tunes, like you and Dillinger?

[T] [Laughs] Nooo, no, we neva record, we neva, we neva get to that stage.

[MV] Not even once, huh, with your own brother?

[T] We neva get to that. Me and Dillinger was close, so we use to do those things together, we even close now, we even closer than a brother.

[MV] And . . . also, there was that album you did with the Mighty Diamonds.

[T] Yeah, Diamond tune. We did that album on Joe Gibbs. Trinity meet the Mighty Diamonds.

Full House LP[MV] And so, clearly, you had a big run in the late 70s and early 80s, tons and tons of tunes –

[T] “Judgement Time,” “Three Piece Suit and Ting,” “John Saw Them Coming,” “Starsky and Hutch,” “Natty Dread A The Ranking,” “Weatherman Skank,” “Trinny a the Number One,” lot a them.

[MV] So – maybe you just listed them there, but what work are you most proud of, that you love the most.

[T] “Judgement Time”

[MV] And – I think that was most of what I had to ask. Going through the 90’s, a bit of a quieter time, a couple things with Niney, but anything going on there, what was going on during that time?

[T] During the 90’s, y’know, just touring, ’cause I went to Japan, and Europe, me and Yabby You go on the tour, beca’ we didn’t make a lot of songs sometime, you don’t need to make new songs because you have a lot of songs represent you out a street, so you just cool off, y’know, until, y’know you work out a street, do tours and you finish tours, then you start go back a the studio, like I’m doing now.

[MV] So one thing that’s been a little more recent – in addition to touring for work, has the dubplate business been good?

[T] Yeah, â’cause I did a lot of dub.

[MV] When did the interest in cutting you on dub start?

[T] Well, the dub thing start a long time y’know, because dub been going on a long time, London and those place, so I doing dub from a very long long time, y’know. But I never stop because the tune them always – the man them owe to me for the special song, the one yah named [sings] “Yabby You sound a the general sound” a lot of these soundman want their name instead of Yabby You. That one, always do special for that one, regularly, y’know. But the dubplate is cool because it keep the business going, because when you are not doing anything, a man come to you to do a dubplate, and then you charge him a money and then you keep working, because is your work. So you can’t turn it down, because some man play his sound, is like you play on the radio station same way, so you keep working and whatever come along you just work with it. Because you cannot, as a musician and a true artist, you must always there for interview and time, you not to turn down an interview, cause Bob Marley never turn down an interview. Because the smallest of man can be the biggest of man, because sometime man can come look small but fe him interview can effective, so you not to turn it down. ‘Ca you never know what his interview may go in the world. So you need to, no matter how it go, you just spend a time and just interview. Because, that’s how it is, because if I turn down Yabby You when him ride him bike, come check me to do song for him, then I wouldn’t advance where I advance. Because a whole heap a guys didn’t want to voice a Yabby You.

[audio:http://www.dancecrasher.co.uk/features/trinity/jesusdread.mp3]
Trinity – Jesus Dread (Yabby You)

[MV] Why not?

[T] Because he didn’t have anything.

[MV] Too poor?

[T] He was too poor. And riding a likkle bike. But I go pon the bike back with him, go to Tubby’s and voice for him and don’t take a cent, because there is a future. And I is a [inaudible] man, I look at the future, I don’t look at now, because I don’t plan fi dead now. I plan to live long. So I always think about tomorrow, and the next day, the next day, ‘ca when you think about today alone it don’t work out.

Blood And Fire CD[MV] Could you talk a bit about your involvement with Blood and Fire? First you put out some recordings on their label, and then started working with the sound system.

[audio:http://www.dancecrasher.co.uk/features/trinity/bloodandfireseattle.mp3]
Trinty live with Blood & Fire, Seattle USA. April 2000.

[T] Yeah, them put out “Shanty Town Determination” And they put out some various artists, Yabby You stuff, and the one whe name “If me have a girl and she a run down the world, Gwan and Left Me” So we start go pon the road and tour, we tour almost everywhere, man, all over, we tour on the East Coast over here in America, the college, tour college, we tour Sweden, Denmark, France, Germany, France, Belgium, we tour all over the place with the sound. And we do good, I’ve done well, we work here in Hollywood down here, Tom was at the show as well.

[MV] Was that how you first linked up with him?

[T] Yeah – no. Tom? No, not – he was there but I didn’t know him. He saw me up there the first time, and he was saying that he wished he was on stage ’cause him say it was wicked. That’s the first time Tom saw me.

[MV] So what do you think of the thing they have going at the Dub Club?

[T] Well I like it, ’cause it have a vibes. It remind me of the olden days, where they usually play rub-a-dub at dance, and create the natural rub-a-dub music. These things that he’s doing now, we used to do it in Jamaica, so it bring back the song that we usually play from a long time, so when we come back here and hear it, it bring back a new vibes. So I like the vibes. So that’s why I come back, ’cause I like it. Is my style!

Thanks to:
www.soundtapes.co.uk

3 comments to DJ Jamboree: A Conversation with Trinity. Pt 2

  • I’d just like to say that Trinity is one of the nicest and most professional people I’ve worked with. Not the only one, but still….
    My respect – to him and Mrs Brammer – is total !

    Steve / july 2012

  • admin

    Thanks Steve!

    Tim

  • Rainynightdub

    man it is so gratifying to see him mention Judgement Time. I have been obsessed with this song for months now. i had no interest or understanding of the djay concept until i could not stop playing that track.

    i cannot explain it but the way he rides that riddim just kills me every time. I’d love the opportunity to tell that man how much that song has meant to me. peace

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