Growing up in war-torn Sri Lanka motivated Franklin Fernando to go to battle. But instead of taking up arms, he armed himself with a guitar, and songs that speak of a century-old struggle.

Born in Winnipeg, Fernando and his family relocated to Sri Lanka amidst the nation’s longstanding civil war between two ethnic groups – the Sinhalese (majority) and Tamil (minority) people. The son of a Sinhalese tradesman who provided sanctuary for his Tamil wife and her family, a young Fernando found himself struggling to find his identity during formative teen years.

After returning to Winnipeg in 2007, with tensions still rising in Sri Lanka, Fernando didn’t know what to do about the empathy he felt for his fellow Tamils. “I was living an illusion. I didn’t think I could make a difference.”

It wasn’t until graduating high school and taking a job at a worker-owned co-op café that Fernando’s perspective was monumentally impacted. Enlightenment came in the form of an article written by Sri Lankan journalist Lasantha Wickrematunge about ongoing conflicts between the Sinhalese and Tamils. “In that moment I realized these are the two groups that make up my heritage – these are my people, this is my homeland,” he says emphatically. “Reading that story simply changed my life.”

Fernando was compelled to take action. His weapon would become a Fender Stratocaster; his ammunition, a catalogue of songs that promoted peace, empowerment, and prosperity. His army? An ever-expanding legion of followers who dig reggae music…

Franklin Fernando first met Rasta percussionist Martin Valach in 2010, at a late-night drum jam on Canada Day. A long-time veteran of Winnipeg’s reggae circle, Valach shared Fernando’s passion for making music with a message. “Martin really shaped me and the music I wanted to make,” says Fernando. “He showed me the power of reggae.”

Valach became Fernando’s musical muse and co-founder of reggae outfit RasTamils. The band name combines two words representative of two cultures – ‘Ras’ (short for Rastafarian) and ‘Tamils’ (the name of Sri Lanka’s minority people). Putting these two words together reflects the hope that Franklin Fernando and his bandmates share of cultures coming together around the world.

Rounding out RasTamils are Christian DeVoin (bass), J.R. Hill (lead guitar), Andy Castello (keyboards), Matthew Walden (trumpet) and Janice Finlay (saxophone/ flute). Together, they create a beautifully layered and tasteful take on the classic reggae rhythms of Dennis Brown, Gregory Isaacs, Sly & Robbie, and Bob Marley, combined with popular pop reggae sounds of Busy Signal and Christopher Martin, and simple ‘80s rock. Lead vocalist Fernando has a style reminiscent of Qawwali singers Nasrat Fateh Ali Khan, Rahat Fateh Ali Khan, and home-inspired Gunadasa Kapuge.

The culmination of their sonic concoction can be heard on the band’s self- titled 2011 EP – a collection of seven dance- inducing tracks laced with RasTamils’ ever-potent, politically-charged lyrics. The album received positive attention from the CBC, whose program Manitoba Scene chose the track Friends as one of the Top 5 of 2012.

Their second album, It’s a Dream, was released in September 2015. It contains 11 soulful reggae anthems, in solidarity with the Tamil people of Sri Lanka. “We’re trying to open people’s eyes to what’s happening in the world,” says Fernando. “Music is known as the gateway to the soul, and the gateway to the heart. We also believe that, most importantly, music is the gateway to the mind.” ! Fernando has a unique take on success that is best summarized in the words of a quote he finds inspirational, by Booker T. Washington: “Success is to be measured not so much by the position that one has reached in life as by the obstacles which he has overcome.”

From the stage, RasTamils are as inspiring as they are informative. “It’s really just friends coming together to play,” Fernando says. It’s this ease that contributes to the sense of community that extends from the stage and into the audience, whether it’s a crowd of dozens at a local club or thousands from an outdoor stage. It’s this sense of community that drives home their message.

Phil Watkis, born January 20, in the parish of St. Ann Jamaica, is the music industry’s best kept secret. This golden child, who has a zest for life, is family oriented and a lover of nature on all levels. He is always pushing his boundaries and setting new and higher levels of achievement.

Though Phil is from humble beginnings, he did not allow this to hinder his progress. He regales the defining moment in his life when he chose music or rather chose him. Being at the home of an elder musician friend’s home and strumming away on his friend’s guitar under a tree, when he was momentarily joined by a bird that moved progressively closer to him to join him in singing along to the melody he was playing. Instinctively, this surreal experience propelled Phil into action. He is a highly sociable individual who loves travelling to new places, meeting new people and learning about new cultures. This self-motivated young man’s interests span dominoes, the performing arts soccer, and being a great friend to those who are lucky enough to become a part of his life.

Phil accredits his definitive entrance to the industry to his mentor Mikie Bennett, who nurtured, directed, and continued to steer his energies in the right direction. Mikie Bennett is a musical guru; he is an explosion of talent, the quintessential musician’s musician. He is a producer, song writer, and manager; additionally, he adopts and mentors young and upcoming musicians, also adopting students from the Edna Manley school of Music – boasting young live bands, for which he garners corporate sponsorship for their ongoing and continued development.

Watkis undoubtedly has benefitted from this interaction and tutelage and is now able to prove his own unexpected talent to the industry. He has in his repertoire has been produced by Mikie Bennett, Dean Fraser, Eloy Daron, Mr. Willy Lindo and Romel Marshall. He boasts performances on shows such as Rebel Salute (2006), Roots Home Coming Festival (2006/2007 in Gambia), St. Mary Me Come From (2007), several US performances, numerous appearances on the prominent Jamaican morning shows on Television Jamaica, just to name a few. Watkis’ music transcends all genres and he doesn’t believe that he is defined by the specifics of any particular category; his strategy is to enchant his audience with the perfect package: entertainment, life experiences, and substance.

Phil’s releases include “Bless our Souls Jah” (2004) his first, “Know my Friends” (2005) from which he was afforded some exposure, and in 2007:”Shake up Mi Natty”. He charts his progress from his days of banging on the desks in class making rhythms and singing with fellow artist Jahzeal ”Mr. Pepper” Walters to his first introduction to Mikie Bennett which came with constructive and rewarding criticism, to his birth into the performing arts, his introduction to the guitar (all under the tutelage of Bennett), his introduction to the voicing room, which led to air play on various radio stations and then to stage shows.

Between 2014 and 2015, Phil has released his single entitled “Falling For You”, “Mama Struggles” and “Broken Promises’. Since 2016, Phil is now signed with Jam Link International for Europe booking agent. In addition, he is signed to Inferno Music Group owned by Willie Covington.

Phil Watkis is by no means at the acme of his career, but so far is proud of the fact that he has pursued his dreams he feels that if he hadn’t, he would not have touched the few lives that he has. Watkis is an undeniable resource of extraordinary music which engenders love for others and for life itself which will continue to take us to new unforeseen heights. He continues to work hard and set new goals to reach his ultimate, mindful of his Grandmother’s ideology which is imprinted on his heart “This is great music and you will make it”.

For those who’ve been waiting for Rasta consciousness to mount a resurgence in contemporary reggae, Jah9 is a figure of revelation and deliverance.

A true sister of the faith she first caught the attention of many with the release of her lilting and comedic music video for “Avocado.” Though that production visually represented her African-centric sense of couture, cuisine, style, sensuality décor and even tableware, it barely prepared us for the evangelical force and fury Jah9 would be delivering to roots music in short order.

When heard in the full flower of older songs such as “Steamers A Bubble,”“Jungle” and “Gratitude” Jah9 was revealed to be a singer and poet of considerable range, soul and jazz inflected melodicism. Also as those who’ve seen Jah9’s fiery and righteous live shows can testify, she is hardly a made in the studio chanteuse incapable of translating to the stage with abundant dynamism.

The product of a strong upbringing, by two hard working culturally and politically engagedparents, Jah9 (born Janine Cunningham) is also a university graduate, a multidisciplinary yoga instructor, a youth at risk counselor and a slamming dub-poet champion. The combination of intellectual rigor, real world activism and lyrical musicality is well on display in her sophomore album ‘ 9.’ Thematically there is no slacking in spiritual advocacy, oppositional militancy or honed and focused tunefulness.

What is most palpably novel however is the intimacy of Jah9s address to the menfolk in her circumference— notably with respect to such issues as machismo, respect (or lack thereof) for the binding, sustaining forces of feminine energy, family, children and the necessity for principled integrity in frontline romantic relationships. Attention paid to the lyrics of “Greatest Threat To The Status Quo” will yield these incisive gems of insight: ”We are not separate /All emanating from the same divine plan/ So persecution of the feminine is the reason for the state the world is in/ A spiritual woman is the greatest threat to the status quo/ The fruits she will bare/ The power she has access to.” Ditto can be said for these lines from the harmonically sophisticated “Natural Vibe,” a song of tightly coiled desire:” My senses do not deceive me /These intense vibrations will crescendo 1 day real soon / This complicated melody will find its harmony in tune When the stars are aligned under the height of the moon.” The first single and video “Humble Mi,” which sounds at first like a traditional Rasta chant, extends the form to reveal a personal journey into relationship with the “creator.

”Beyond her strengths as a lyricist, Jah9 is delivers an impressive performance as primary producer of this nine song project. With collaborators, including Andrew Campbell, Brecht De Beover, Wayne ‘ Unga’ Thompson and Earl ‘ Chinna’ Smith, Jah9 has delivered in 9 an album, nay, a sonic site of resistance and revelation. 9 fulfills the promise of her earlier releases with expansive maturity, prophetic purpose and even deeper displays of warrior-goddess prowess on the mic.

Greg Tate, Black Rock Coalition

“Listen to that sound and allow yourself to be lifted.” says Aumuna about the music of the group The PathHeights. Akosua Aset is not only the other half of the band, but also Aumuna’s wife. It is thus a unique constellation that The PathHeights present to the world – God and Goddess, King Alpha and Queen Omega, Yin and Yang, Mars and Venus, an impressive infinite combination of love and talent that awaits to be discovered.

After years of honing their skills and performing on small stages both in their provenience Jamaica and around their home away from home Hamburg and Kiel, The PathHeights now boldly take the step into the limelight: “Without Love” is the title of their first single, released alongside a stunning video recorded in Jamaica. The song has an inspirational theme, one that ripples a flow of thought through all consciousness, reflecting the relation of today’s urban lifestyle to natural livity. It is an 0uttake of the duo’s upcoming debut EP, bound for release in early 2017.

Combining Roots Reggae and Poetry, the inherent acoustic vibe of their music soothes heart, mind and soul, so often plagued by the stress, hectic and anxiousness of our times. The PathHeights understand themselves as musical yogi, offering a path to escape negative thinking and question false realities. The lyrical content of their songs is inspirational and spiritual with unmixed messages, while being hard hitting and real. Together they organically represent a world sound, captivating audiences with melodies and harmonious vocals combined with the rootical vibration of 100% live instruments.

Enriched with experiences working with artists, studio engineers and promoters from various genres and cultural influences, The PathHeights now confidently stand in a place where their next step forward will be to share their music with a wider audience. Don’t hesitate to be one of the first to experience this novel concept of natural sound healing energy!

For further information, interviews or booking request, please link:
Website: www.thepathheights.com
Facebook: www.facebook.com/PathHeights
Soundcloud: www.soundcloud.com/pathheightsmuzick
Youtube: www.youtu.be/Y9tUlIxBOXw
Twitter: www.twitter.com/ThePathHeights

Levy was born in Clarendon, Jamaica. He formed a band called the Mighty Multitude, with his cousin, Everton Dacres; the pair released “My Black Girl” in 1977. Levy established his solo career the next year with “A Long Time Since We Don’t Have No Love”; though the single was a failure, the fourteen-year-old was a popular performer at Jamaican dancehalls. In an August 2014 interview with Midnight Raver, record producer Delroy Wright revealed that it was his brother Hyman Wright who first met Barrington Levy in the mid-1970s through Wade “Trinity” Brammer. According to Delroy Wright, Hyman Wright recorded a host of tracks with Barrington Levy prior to introducing him to Henry “Junjo” Lawes. These tracks would eventually appear on the album Bounty Hunter, which was released on the Jah Life record label. Both record producers recorded several singles with the Roots Radics, including “Al Yah We Deh”, “Looking My Love”, “Englishman”, “Skylarking”, “Wedding Ring Aside” and “Collie Weed”, all of which became hits and established Levy’s career. Levy’s next few singles were similarly successful, including “Shine Eye Girl”, “Wicked Intention”, “Jumpy Girl”, “Disco Music”, “Reggae Music”, “Never Tear My Love Apart”, “Jah”, “You Made Me So Happy” and “When You’re Young and in Love”. Levy then recorded several duets with Toyan, Jah Thomas and Trinity, and appeared at Reggae Sunsplash in 1980 and 1981. Although albums were not terribly important in Jamaica at the time, Levy released four albums before 1980: Shaolin Temple, Bounty Hunter, Shine Eye Gal (United Kingdom) and Englishman, a critically acclaimed record. His success led to many earlier studio and sound system performances being reissued without his consent, releases he described as “joke business”.

By the time his 1980 album Robin Hood was released, Levy was one of the biggest Jamaican stars, and saw his international fame growing as well, especially in the United Kingdom. Levy made his debut as a producer on the rare 1981 showcase album titled Run Come Ya, which was issued on the Canadian Puff Records label.

Taking a break from albums, Levy then released a series of hit singles, including “Mary Long Tongue”, “In the Dark”, “Too Poor”, “I Have a Problem”, “Even Tide Fire a Disaster”, “I’m Not in Love”, “You Have It”, “Love of Jah”, “Under Mi Sensi”, “Tomorrow Is Another Day”, “Robberman”, “Black Roses”, “My Woman” and “Money Move”. He began working with Paul “Jah Screw” Love and toured the UK in 1984, where he enjoyed a big hit on the reggae charts with “Under Mi Sensi”, which was followed by the crossover hit “Here I Come”, which reached number 41 in the UK Singles Chart in 1985. He returned to LPs with Lifestyle and Money Move, followed by a British hit album called Here I Come; Levy received the Best Vocalist prize at the British Reggae Awards in 1984. The late 1980s saw Levy, now in his twenties, slow down his recorded output, though he continued to perform and record regularly, and played at Sunsplash every year from 1987 to 1995. His fortunes were revived by two cover versions of Bob Andy songs – “My Time” and “Too Experienced”, both produced by Jah Screw, and he was signed by Island Records in 1991 for the Divine album. In 1991 he returned to the UK chart with “Tribal Base”, a single by Rebel MC featuring Levy and Tenor Fly, which reached number 20. In 1993, Levy tried to break in the United States with the Barrington album, produced by Lee Jaffe, Andre Betts and Sly & Robbie, but it failed to give him the breakthrough he wanted and his relationship with MCA Records was short-lived.

In the 1990s, Levy continued to release periodic hits in Jamaica, and more rarely in the UK, although his vocals were sampled and used in many underground and released jungle tunes. In 1998, he released Living Dangerously, which included a collaboration with one of Jamaica’s most prolific deejays, Bounty Killer, and with Snoop Dogg. The release was one of Levy’s most successful since the start of the 1990s, and saw him finally achieve some success in the US. Levy performed on two tracks on Long Beach Dub All Stars 1999 album Right Back, and also played a few shows with the band. He was featured on a 1999 track by the Rascalz titled “Top Of The World”, also featuring K-os. Levy also appeared on two singles by rapper Shyne (“Bad Boyz” and “Bonnie & Shyne”), and on a track for drum and bass artist Aphrodite’s 2000 album Aftershock. “Here I Come” returned to the charts in 2001, with a new version by Levy and Talisman P reaching number 37 in the UK.

In 2004, he contributed to a track on the album White People by Handsome Boy Modeling School, a project by Prince Paul and Dan the Automator. He also did some collaborations with Slightly Stoopid on their 2005 album Closer To The Sun. Most recently, Levy made a guest appearance on the single “No Fuss” by Red-1 of the Rascalz, from his 2007 album Beg For Nothing.

In September 2013 he released the single “Love the Way She Love”, a collaboration with Mr. Vegas, and announced an acoustic album featuring new songs and reworkings of old songs such as “Prison Oval Rock” and “Black Roses”. His album, Acousticalevy, was nominated for a Grammy Award for Best Reggae Album in 2015.

At a very early age growing up in the heart of Kingston, Jamaica, Roger ‘Mitch’ Mitchell, the first of three children started showing signs of artistic talent. whether he was drawing some comic book heroes or real life images or singing at church with the choir, it was clear from then where his path would be in life. His birthday gift at the age of 8 was an acoustic guitar and having a music Loving father (Clervis Mitchell) was even better. He taught him the basics and that’s all he needed because ‘Mitch’ had an ear for music so he didn’t need to know the name of chords to play the guitar, you see he has the ability play what’s in his head without knowledge of what keys to touch.

“besides going to church on Sundays me my brother and sister would attend television and radio programmes for kids and by age of 10 I wrote my first song,“ explained Mitch. By the time he was a teenager he was entering singing contests and although he may not have won the first few by himself, he would eventually.
A lover of sports, he was a member of both the volleyball and basket ball teams at Kingston Technical High School, where the volleyball team gave the school some popularity by wining trophies after trophies. It was the evening after another successful volleyball tournament while heading home on a bus singing quietly to himself, or so he thought; a lady heard his voice and ask him if he would like to be a part of a group and there began the next chapter in his life.

No one in the group knew about harmonies except for Mitch so he was given the task to teach them, and so he did. They started doing cabaret at hotels just to improve on their craft and after a few years they entered a talent contest and came 2nd. They captured the interests of producers and popuplar artists and within a few years they had their first hit which was followed by several other. “It was the best years of my life,” recounts Mitch.

His time with ARP not only sharpened his vocal skills, but also cultivated his collaborative approach to music, one that is shared by great singers and producers alike. Although Mitch has moved on to a new chapter in life recording for the Gargamel Music label, he values the experience and continues in his persuit of a successful music career.

Citing a diverse collection of vocal influences which includes: R. Kelly ,Akon, Michael Jackson, Lionel Richie, Babyface; Mitch is an accomplished artist who has worked with reggae musics heavyweight producers Sly and Robbie, Donovan Germaine, Don Corleon, Mickey Bennett, John John records, Payday Music, and of course Buju Banton (Gargamel Music). Today, with a string of hot singles (f..k you girl, want no more, dj, give me a call, boom draw, these are the needs, never never) behind him, it’s clear that ARP was just the beginning.