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One Rock For Us All: Brand New Album From World Renowned Groundation

Reggae music is a powerful resource the world can depend on. “Through times of sorrow and celebration”, we turn to music. We turn to dancehall, ska, jungle, hip hop, Cali reggae, Hawaii reggae, dub, punk etc – but we are learning, in fact, that this world gazes and gathers in mass around the reggae tree.

If reggae is a tree, it grows tall. But it also spreads wide. The girth of this base is ever upward and outward.  It is the root. The one-drop sound evolves as much as the music world revolves around it. Branches can grow out strong – twist, turn, and fall – but we still come back to the strength of the root. From the root up through the canopy and all life in between, so many musical genres follow their branches to the trunk of this Jamaican sound.

Reggae has been an international phenomenon for 50 years now. For 25 of them, the roots reggae institution of Groundation has brought one-drop music around the world 35 times. A ten-piece band that records live to 2” tape without a computer, metronome, or vocal fixes like auto-tune and melodyne, is beyond rare in this time of digital technology and endless possibility.With One Rock dropping on Fri. May 13, Groundation is meeting the moment conscious reggae lovers around the world call for. Energetic one-drop music. Conscious and direct as much as it is transcendent and alive. It’s time to mount up.

Even after five decades of spreading seed globally, the history of analog one drop roots reggae sound is just beginning. Groundation carries that new sound that will uplift the people.  A collaboration between Easy Star Records and the French label BACO Music, Groundation once again sets the standard of how to amplify organic sounds of human creation.

One Rock launches from the philosophy that music making is a social and human tradition — an “ancient form of communication,” as Harrison Stafford sings on the opening track, “Original Riddim,”  which tells  the story of humans’ deep and persisting cooperative relationship with music.

Legendary superstars Israel Vibration, who have never ever featured before as guests on any album, grace “Original Riddim,” along with beautiful additions from defining Jamaican harmony group, The Abyssinians.  To put it over the top in strength, title track “One Rock” features foundational Jamaican vocal ensemble, The Congos. Unreal. Not for generations have powerhouses of Jamaican vocal groups bonded together in solidarity to champion such sounds! Groundation has curated moments like these on One Rock for roots reggae fans to embrace from all generations of reggae singers and players past, present, and beyond.

Gathering all the necessary principles and ingredients of origin and innovation to sustain the flame of conscious revolution, Groundation is furthering the mission of roots reggae music. With the release  of One Rock and subsequent touring, Groundation testifies that reggae is not the music of escapism. These are wake up and live songs. One Rock ignites a fresh spark into the conscious reggae collection that fans and their families and friends need in 2022 and beyond.

Harrison Stafford was kind enough to speak to us about the history of Groundation, how the music takes shape, as well as the incredible story of this record. We got to hear about why the band is excited about their new album and what audiences around the globe will have in store for them.

Harrison is absolutely one of reggae’s greatest singers today. His energy and intent is sharply apparent in the music of Groundation. I was mesmerized to find the same energy in his conversation. Give thanks to Dr. Stafford for the time spent and shared.


RF: How does a song become a Groundation song?

HS: You know the beginning of the song can take many different forms. It can come from me and my guitar and those first inspirations. From there I could construct the entire tune and bring it to the band, but when the band comes in, I’m always looking for input. I’m always looking to see how a musician can carry it to a different place, can touch the intro. So it always evolves a lot and some songs from the basic acoustic guitar and me singing, it really changes to a whole different thing by the time the group has gone through it. We are constantly recording everything.  All of our improvisations, all of our collective thoughts, and we try different things. I’m always ready and willing to funnel any inspiration because you never know what kind of gold may be there – what kind of sweetness will really bring the tune to the higher height. Thats what Groundation is all about. The intent. The energy behind the music. Each song needs to be a different key, a different feel, a different groove, a different tempo. We are really trying, everybody throughout all these years through all the changes of musicians, everybody knows that we are trying to find things unique and special. We are not trying to copy anything. The more unique and the more surprising turns the song may take to me the better. It makes me excited for the albums and for the songs. This album One Rock is no different. Some of the songs from just me. Some of the songs from the drummer. There was a groove idea. Or Isaiah had the bass idea. But man, it’s just that time spent rehearsing and trying new things that develops these songs to higher heights. Because of this pandemic, this album One Rock specifically got a whole months and months if not a year and a half more time to develop because  when the tours got cancelled and postponed in 2020, in didn’t make sense to go rush and record a new record, because without the tour you can’t promote it. This is the first album since “Each One Teach One” that we actually demoed every song. We were well rehearsed. Well prepared going into the studio. Thats the process. The journey could take any amount of turns and twist. That’s that gem and that prize at the end that makes the tune unique and special and deserves to be on the Groundation album.

RF: Are all of these songs on ONE ROCK fresh or have some been sitting around for a while?

HS: It’s all fresh. I’m constantly writing. So if I have 100 songs when it says we are gonna record a new album in 6 months, typically it’s whatever songs that are written to the six months of recording that become developed and written. It’s the same for One Rock. It’s interesting, because in going into 2020 and looking to go into studio in the spring, I wanted to try, not necessarily more major chords, but I wanted to get a more upful Groundations out, because the albums and the songs for our history have been so heavy and deep in their message it can be sad and heart wrenching when you hear the lyric and the music. So at the beginning I thought maybe we could do something more positive and upful for this record. Maybe we could even do some featuring with some young bands, which is something we don’t typically do. We featured from the very beginning of Groundation with these legendary Jamaicans that inspired me to do this music. That was the initial idea, but the pandemic struck, and you started to see the loss of life. So many of our legends and our reggae icons passing in these last two years, I felt the need once again to record with the legends, with these elders, while they’re still with us. That’s where the idea of having Israel Vibration, The Abyssinians, The Congos, like a dream of harmony trios to be featured on the record. I didn’t think it was gonna be possible, but in writing some of the first songs like “Original Riddim”, the first song on the record – which features Israel Vibration and the Abyssinians – it kinda took its shape about bringing people together yes, but the message also because of the pandemic, brought back seriousness. My idea of having some sort of light, feel good, a little bit more upful positive happy vibe, it got turned around. Because you started to see not just the loss of life, but the greed. The corporate and the political greed. It’s like, man, people don’t care about humanity anymore and this is what shaped songs like “Day When The Computer Done”, songs like “Greed”, songs like “Market Price”, “Silver and Gold”, “Absolutely Clear”. The album became very heavy. It was all recorded from spring 2020 when the pandemic hit until it was finished in the end of 2021.

RF: How does Groundation sound become Groundation sound, so exploratory and unique yet so connected to that original 70’s one drop sound? What do you say to people that dismiss all roots reggae as throwback?

HS: I’ve always maintained that strong connection to the root. People who don’t really take stock of the music might see it as a retro vintage sound. We are still recording live as a band. We are still in the room together recording onto analog 2” tape. We’re not doing any vocal change or moving of instruments or copying and pasting. Were not playing to a click track or metronome. Groundation is a 10 piece band on stage. So we’re talking horns. Trumpet, trombone and sax. We’re talking the female harmony vocals that we have, and for the most part, it’s guitars, bass, drum, percussion, B3 organ, acoustic piano, Rhodes piano, and clavinet. So those are the ingredients from the 60’s and 70’s, so it sounds like that. But the construct, the arrangement, the songs themselves is what sets them apart. From the very first album of “Young Tree” you have songs like “Dream” which is a very jazzy song except the verses go into the one drop. We are constantly doing things from the beginning 25 years ago that was never really done in reggae. This polyrhythmic aspect – once Groundation ventures outside of the 4/4 common time signature you have things that develop in the music that are very unique. Our music is also based on the one drop which to me is that original Jamaican signature, where the drummer is not playing the down beat. And that is something that even modern reggae doesn’t do so much. But that’s the sound of reggae really. And when you go into the polyrhythmic aspects and when you go into this non diatonic harmony, it’s where the chords are moving outside of the key centers, that’s really Groundations sound. I try to explain it like that, but let everybody know who is asking or has questions about the writing and music of Groundation, that it’s not written that way. It’s written in a very improvisational jam let’s see what happens. You record the music, you listen back. Oh look “Picture on the wall” has a bar of three and a bar of four . Oh, but the song “Hebron” is a fast 6 count. Oh, on the new album “Market Price” is in 7/4. You have these things that no reggae does and that to me is Groundation and again, it’s not forced. That as well as long open improvised solos. It’s very jazzy in that sense, but to me everyone is the leader of the band and there comes a time when there will be a bass solo, where there will be a trumpet solo, and a guitar and an organ solo. That person is not doing your standard 8 or 16 bars filling a section. They are now telling a story and we are backing them, and that is very Groundation as well. I didn’t know that as being a part of reggae. That I learned was just something inside of me from my father and grandfather playing jazz music. Jazz was the first music I heard. Reggae was my inspiration, really. The two of them being this type of revolutionary art form, it just was the perfect match in my musical spirit.

RF: What was it like creating and what is it like presenting new one drop analog roots music with such foundational pioneers as Israel Vibration, The Congos, and The Abyssinians? How did they feel about the message of the album?

HS: Israel vibration has never guested with anybody. Take me out of Groundation, just as a fan of the genre, and in 2022 to be able to put on a song that’s brand new and has Israel vibration and the Abyssinians together is just monumental! I love it! It was not easy. I had to record the band here is California ,record Wiss in Texas, Skelly in NY, Saat’a Bernard Collins the lead singer of Abyssinians in Jamaica, and of course the man named Donald Manning and the harmony singers in Florida. So during the pandemic, I was moving all around and getting it done. It will be a recording that will last for all time and that is, in the beginning thinking of what ONE ROCK was, like, “that’s what I want to do I want to be able to record these guys even if it’s one last time”.

ONE ROCK, the title track, is with The Congos. All three original members Watty Burnett, Ashanti Cedric Myron, Ashanti” Roy Johnson, these are guys who are approaching 80 years old here next year. This youthful energy is there. You can hear it on “One Rock”. That song in particular was the bass man. He had this bass groove, and I knew I wanted to use it, but I didn’t know where it was going. My wife, who is long time manager and practically family of the Congo’s said “ what you’re gonna have Israel Vibration and Abyssinians – and you’re not gonna have Congo’s!?” I said “no no no! We will are gonna have Congo’s we are gonna have Congo’s!” Congo’s, they were very excited about the message of the music – talking about the one rock the earth. The song itself is talking about how humanity has squeezed the earth for the last drop of resources. It’s just squeezing and it expects to keep getting it and maybe in the end, something is not gonna be there

As I sing in the bridge

“Experience has written those lines in his face
All surrounded by a lions main
Hungry and thirsty through the desert he crawls
To the Dead Sea shores but he can’t drink”

All this sacrifice all this struggle you get to the end and the EARTH might not be there for you.

“ORIGINAL RIDDIM” speaks about human lineage to music . Our DNA . Before language, before before religion, we had music. We were wailing in the bush. We were singing . We were banging on rocks and logs . We (Groundation) record it all as human. Most people they just record into the computer. Most albums are like 99.999999999% is the drummer BEEP BOOP BOOP BOOP BEEP BOOP BOOP they got this in their ear and they play the track. And that’s not how we’ve done music for thousands and thousands and thousands of years. We create a sound as humans together. We create a riddim together . And so that’s the song he’s speaking of. We recorded it in that ancient way of just 7-8 people playing a music and feeling a groove together, and then you have these foundation icons. Who better to speak of the lineage to Africa and the lineage to music than these pioneers and forerunners?

“Iron”, the last song on the record, features Skelly and Wiss of Israel Vibration. That’s the last one, and it’s there to strengthen you. We’ve been talking about all these challenges through the record. The whole album speaks about these things, but you’re gonna have to stand up in these challenges and you know what? You’re gonna get knocked down real soon. And that’s why at the end, when I’m kinda wailing and going off, and the band is rocking out, and Wis and Skelly are doing the Israel vibration harmonies in the background. “As soon as you find yourself it comes again”. That’s the end of the record, just to remind you you gotta have a strong backbone in this life.

I don’t know if any reggae story that is more triumphant than the story of Israel vibration

You’re talking about a third world country. Poor people. In the 1950s hit hard with the polio epidemic.  Skelly, Apple, and Wis, when they were 2-3-4 years old,  they came down and contracted polio and they went from institution after institution. We’re talking about families leaving their children and for some of them , Wis and things, they’re not from Kingston. They gotta be sent to Kingston as children in an institution where they try all these physical experiments and things on them and what not, and not only they had to go through all of that, they found music at the institution. There was an old piano. This is MONA rehabilitation center in the eastern part of Kingston. This is where the three of them meet, and they begin singing. Then Rastafari spirit comes over the island and they sight Rastafari, so the institution then tells these 13-14 year olds get outta here. They gotta live in the bush. They gotta live outside in the bush with cardboard as their bed and that’s where they began singing even more. To be disabled, people call you handicap, people call you crippled and these things, and they would walk from studio to studio recording one song and bringing it around the island trying to get interest. Out of their own determination, they made it. Against unbelievable odds, they made it. And, Israel vibration came at the time in the 80s and the 90s like a Burning Spear, like Culture, with some of the biggest names in reggae. So that’s just one story. Their story is such a passionate and really an uplifting story, but that’s really the story of Jamaica.

I think of Cedric, and I think of Bernard Collins, and these guys in the Abyssinians, to grow up through Trench Town with nothing. Now, these guys have gone all over the world shook hands with princes and kings and queens, met every president… it’s an amazing life that these elders have lived. It’s an amazing life, and I feel like the fact is – in 10 years, there is gonna be very few left.  That story is beginning to get blurred because people use their songs, let’s call them riddims, and they present them as their songs because they did a different lyric over the top of it. You see that you could lose the root. The root could be gone . One drop music, that Carlton Barret, that Bob Marley sound, is very rare in reggae, especially reggae from Jamaica.  Even the modern Rasta singers in Jamaica, very little one drop if any at all. So I really just feel like these pioneers, we have to keep them. We have to keep their names and their voices relevant because it was them who carried it. Nowadays anybody can have locks on.  You can have a person with dreadlocks in parliament and in congress and government, and that was NOT the case for them. It was them who had to go out there and trod the “what is this weird strange music these guys look all strange” and today, it’s not that. It’s celebrated today.

To have them, I couldn’t think of stronger names and groups of that era than the Congos, Israel Vibration, and the Abyssinians, and it worked out great. I feel like man, here they are in 2022 and the music is smoking, the message is happening, and they sound great. So I’m proud man.

RF: I feel like in reggae, there is an activist charge to the message and Groundation always keeps with that. You are one of the artists that is constantly addressing the real situation and having humanities issues at the foundation of your lyrics. That is absolutely true for this record ONE ROCK. I find that there is a spectrum throughout the history of reggae into modern times of artists who talk about social and political issues as things we need to be active about, and others who say this is revelation time, it is written, and to let the Babylon system play out. Of course there is a lot of in-between, but what has been the experience of being a band with a strong message, and how after 25 years do you feel the message is being received? Are people listening? Or is this just staying accountable fo the singers and players?

HS: The message is not an easy message within Groundation and this work. At times it could be seen as political but it’s always social it’s always about human interactions. But we have failed, I mean, humanity has not done well for themselves. When you sing about those things, people don’t necessarily want to take heed or take notice of that – it’s interesting to see reggae music evolving in a sense in a way of like escapism – like to treat the music as a way to remove yourself from reality and forget your problems – but that is not really what reggae is about – reggae is about being conscious and being accountable for your actions and knowing that your actions have repercussions, so let’s make our actions be positive. If you look at history, if you look at the Bible, if you look at these things – it’s showing you a guiding light by showing you the imperfections of humanity. We do the same thing within the music, in hopes that we can somehow get out of it – I mean at it’s basic core, we’re talking about these elements of greed, vanity, of ego, these are the types of things that manifest as racism as divisions within humanity. That’s the world that we are seeing today. If you are looking at the cover of One Rock…

…you see this earth, the green and you have these flames going through it and you have this type of yellow is the background. But if you look closely, the yellow into the green (cause yellow going into blue makes green) if you look at the shape, it’s actually two people in a very heated argument . They’re actually yelling at each other, and it’s showing this world that we live in today, where everybody is on everybody’s throat. Everybody is strong in their opinion and won’t listen to anyone else . Everybody knows they’re right and everybody else is wrong. This is the world we have to change from. People can say revelation and these things and this is the last days and this and that but the reality is, the Most High creates life, and we are here to live. We were given all these tools – our mind, our eyes, our senses – to be able to create and shape our world. That is why we’re here . We are not here to be leaves in the breeze. We’re here to be conscious beings, and so the music of Groundation reflects that because that is a part of my nature. I remember before forming the group, I would have these long discussions with friends and strangers and it would get heated and I realized , if I put the message in the music , it somehow softens the blow. Ya know?

A great example is the new single “Market Price”. It comes in with this upbeat happy reggae vibe. But the lyric “they’re was a market price for the human soul to see our wrong and not do the right the devil takes control – please don’t judge mans soul tonight – we’re not ready Lord – up on heaven all those angles ask , where did mans spirit go?”

So it’s really showing us that we need to look critically at ourselves and we can do better. And as people who know me, I’m speaking for myself too. I know I can do better at life. With today comes opportunity to do better. So we put that in the music because when I’m dead and gone, that message is still gonna be needed. Maybe not the smoke weed and get high and surf and feel good, and this and that, but the real reflection on this life and in hopes that we can build a better future for our children, cause that’s what it’s all about. That’s what it’s all about. It’s been a rocky road. Look at the freedoms, look at what we have today. and That’s because we’re progressing as society . If we’re not mindful of these things than governments and rulers of people and the elite , powerful billionaire class is just gonna remove rights, remove education , so that we’re not a smart people – we don’t know what’s going on – their gonna start taking away things like rights to abortion and then these types of things we’re gonna start losing ground . That’s not what I wanna see. I’m not gonna leave this life like that. So, no matter what I think of “oh it would be nice to write a real happy tune and have a hit song, but I don’t think about hit songs. I think about what the albums speaking about ,what the concept is, and how it relates to my life.

RF: Reggae is hugely popular with the mainstream and youth in places like Florida and the conservative parts of California where currently there is a large political movement against LBTGQ rights, trans-rights, abortion rights, etc. It is often generalized that many from the traditional Jamaican reggae community that have brushed up badly against these issues in the past. However as reggae becomes popular in a different country, time, and to a different audience, is it still a reasonable vehicle to voice against these issues? I’m not seeing modern reggae bands on the front lines exactly in the way that Steel Pulse and Bob Marley were in their communities. What are your thoughts on that, knowing full well in asking that you only represent Harrison Stafford and Groundation and not the entire reggae community?

HS: You have to move with the thing. Jamaica is a hard core Christian dominated fundamental island, so the anti gay is heavy in that culture . When you start to hear people speak out about different Jamaican artists being anti gay, I would be asked questions on tour like what is your feelings on this artist and so and so and I’d say – the bottom line is, I’m not here to fight against anybody’s freedom. we’re here to try to get MORE freedom so I’m not gonna spend my energy fighting against someone’s choice . Freedom is what we want. To me, you have to just know what is. Those are the teachings of Hailie Selassie I. Rastafari, Selassie I himself was not an anti gay person talking anti gay. He was a person who was about freedom for all people. And that is something that Jamaica doesn’t know. I remember even before the music, in Jamaica, getting cussed out “white boy! big fire Babylon!” and I would just sit there kinda listening to it, knowing full well that the teachings of His Majesty, is very much against that . That is the furthest thing from Rasta . So it comes out in the ignorance of individuals . And with education and with time ya know, people change their opinions, people change. And the more you talk and the more you express yourself, I think the more people can say gay, lesbian, these things , people are free . These are great loving people . So who am I to say they can’t love as they choose. It has nothing to do with me . It is something I’ll say, to go to a reggae festival and see a gay pride flag waving next to an Ethiopian flag . It’s definitely come a long way. You see people try to bring that in because it is a very important message to the youth today .

RF: Traditionally the vehicle of reggae is so powerful – but there are many voices. I always see that it came from Jamaica and like Bob Marley prophesied, this reggae music will spread internationally.

HS: Reggae music, Jamaican people, I’m generalizing , but in the 80’s after Bob’s death Jamaican people turned their backs on reggae. They had had enough. It was almost overnight. People like Yellowman and Eek a mouse, general echo, because just as big as Bob Marley’s music. You wouldn’t have even thought it was the same island. So if Jamaica leaves reggae , leaves the one drop, leaves the message, then the international world, like Bob said, he planted the seed, the international world is gonna come with the reggae now and maybe show Jamaica something

RF: I think about that with the reggae tree, it keeps growing, but at some point you cut the one drop…

HS: You need to have that one drop and I’d be a cheerleader on the sidelines for musicians. Ya know? Learn your instrument . Practice it and study it and really be able to play it. Don’t lean on computers . You can fix what you want. Digital drums. I mean, I have my children here and they’ll pick up a guitar for a couple of minutes, and they just don’t understand, I say “you understand that your father, I spent hours and hours and hours, and days and days and days, for years to be able to play this thing “ and today whats to stop them? You or me could play a drum pattern with our fingers on a keyboard or some pads no problem. But to sit down at a drum set and have your arms and legs move independently of each other, it takes a long time. Don’t lose that. Because that’s the signature . What makes all those albums of the 70s so unique is that a drummer came in, set their drums up, miked their drum, and that was the sound of that drum for that one album and that one album only. If you use digital drums and you’re using the same sounds that the other producers use, pretty soon all the music sounds the same. It’s the same snare. It’s the same hi hat . And that hi hat sound never changes . But if you really PLAY the hi hat, there will never be two that are the same! And that’s what music is. So let’s not lose those roots. I mean the technology is great, but you gotta sing, you gotta perform, you gotta do it.

RF: Groundation has been to 35 countries. What has your experience been? What is consistent and what is unique from place to place?

HS: What remains constant is being on that stage with the musicians together as a family presenting this thing. But the venue, the sound system, the crowd, it changes. The more you travel and the more you go the more it changes . You can have very similar audiences in Paris and in São Paulo, Brazil, but you can have very different audiences in Paris and Bordeaux. Same country, but different vibe with the people. Just something different that evening

I knew that the music of Groundation was gonna be a hard sell from the beginning . That’s why I created a record label young tree and these things . I didn’t need a producer to tell me long songs is not gonna be good for radio and odd time is gonna be hard to dance with and long solos their attention span just can’t follow it . It seems like internationally, they can follow it a little easier outside of the US. I don’t know if it’s he music background of these places , the experiences that they’ve had, it seems like for these long instrumental sections the crowd is more WITH US outside the US. One of the greatest experiences in my life was going into Morocco and to North Africa and playing to 20,000 Arab Muslims – roots reggae music about freedom and justice – sung by an American Jewish man. I remember taking that stage being like, man, this is something I really can’t believe I’m doing this here right now.

We’ve been all over the place . We’ve been to places I didn’t even know existed. Small little islands off the coast of Africa. La Réunion in Mauritius in the Indian Ocean. It’s been great. The French and Brazilian are the ones who have really been captivated by the Groundation sound. Roots reggae, conscious lyrics , but very musical and unique . Every night is really different . We are always changing up the set lists and doing these things so every night is literally different musically. The joy of traveling around and bringing this message is what enables me to leave my family. I have three small children and my beautiful wife, but going around here and doing the Groundation work, I realize I’m still doing work for them because that’s the message and that’s the passion and because of Groundation you get those people coming to Groundation show so the events can get very passionate . I remember outside of Paris playing a big show after the second encore, you know what the crowd is chanting ?

The crowd in Paris is chanting USA!

Unreal man.

And that’s during Bush time. Nobody in France chanting no USA.

RF: How do you feel about presenting this record in these times? Where are you touring?

HS: The issue I have is that having no music and no way to come together, for us, and I know for a lot of the people, this music comes like church. To not have this upliftment for 2.5 years, the world is a void of conscious positive energy, and that’s extremely sad and painful. So we have to tour, we have to get out there. But with this pandemic, people coming together shoulder to shoulder, no masks, you could get people sick. So I don’t want that. We’ve had a few tours postponed. They have come close and then postponed. I’ve been nervous about them as they get closer I don’t want anyone to get hurt because of the work. Right now we are full steam ahead. God willing we are putting this thing in the rear view mirror and we’re moving forward healthy and this thing is not killing people as it was, and so South America for a week we have 5 weeks in Europe and we’re gonna be coming in September for shows in California and Hawaii. Then in October and November we go back to Europe for the club shows of the album.

RF: You could really be meeting the moment right now. There is no limit to where roots reggae can go. No limit to what creativity can be had. It’s a big mission. It’s no throwback.

HS: I’m very excited about playing “Original Riddim”, and “Human Race”, and “Day When the Computer Done”, and “Iron”, and “Absolutely Clear”, some wild music I’m very excited to play it live. I think the fans of Groundation are gonna be blown away by what we got going on. Giving thanks for the opportunity The moment is in front of us and we just gotta live. That is something also that people can take from Rastafari that is very powerful – we’re here – we can talk about after life – we can talk about all the God’s and all the things but we’re here to live and we’re here to do it as best we can and all we have is this one moment. So let’s go ahead and shine like the sun.

With One Rock, Groundation proves again why they are one of the best yet to bring one drop deep analog roots to the masses. A deeper and prolonged ever fresh connective conscious experience. This music offers just that. It’s an international human sound. Available everywhere May 13 on Easy Star Records. LISTEN/STREAM/DOWNLOAD

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Bass player and songwriter for Giant Panda Guerilla Dub Squad, James feels, plays and lives the music. Lucky for us he also has the knack for remembering what happened and writing it down in his own voice.

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