A Legend, A Bus, A Fan and A New Chapter

Jeeni Blog

Helping the next generation of talent to build a global fanbase

A Legend, A Bus, A Fan and A New Chapter

A Legend, A Bus, A Fan and A New Chapter. In 2018, our chosen charity ‘Arms Around the Child’ reached out for Jeeni’s help. In their efforts to help their cause, the charity had acquired a vehicle with history, was completely unique and of significance to its previous owner and his fans. However, at this stage it needed serious help. That help sadly, became a burden to the charity and its finances, so the vehicle had to be sold. Here the story unfolds...............

A Legend

Back in 1970, Sir Paul McCartney had a life-changing moment. We’ve all had them. Life takes a turn and you find yourself going in a slightly, or very different direction. For legend Sir Paul, it was one door closing and another opening. A year later, he formed a band called Wings, with Denny Seiwell and Denny Laine, plus his wife, Linda. After an initial album release and some university gigging, McCartney was enjoying his simpler life away from the fast lane. He decided to take the band on the road for the summer, touring Europe.

A Bus

In 1972 the ‘Wings Over Europe’ tour took place – 25 dates over two months and 7,500 miles. All fairly standard stuff for any band, apart from the mode of transport. McCartney decided the band would be travelling in style, in the form of a vintage 1953 Bristol Double Decker ‘Open Topped’ bus, registration WNO 481. Carnaby Street boutique owner, Tom Slater was charged with fitting out the bus, giving it a bright paint job and livery announcing the tour and band had arrived. The band ate, slept and practiced on the bus, lying in the sun on the top deck writing their next album ‘Red Rose Speedway’ and even the track ‘Live and Let Die’ for the first James Bond movie for Roger Moore.

A Fan(s)

After the successful tour, a handful of other worldly adventures and a 2017 tweet from Sir Paul asking if anyone knew where the bus might be, WNO 481 (as it’s affectionately known) ended up being rescued and returned to the UK by ‘Arms Around the Child’ trustee Justin James. It was his difficult decision in 2018, to have to sell the bus and relieve the charity of the financial burden it had become. However, for Super-Fan Tom Jennings and his wife Rose, it was a dream come true and a life ambition fulfilled. Tom has since set about completing the restoration of the bus, bringing in fans from all over the world and setting up a fabulous site www.1972wingstourbus.com giving regular updates on progress of WNO 481, as well as the bus’s colourful history. It’s a fabulous read!

A New Chapter

On the back of this new connection, Jeeni are very pleased to have created a working partnership with Tom and Rose, and their merry band of ‘Busketeers’. We hope to work with them, their amazing bus, Sir Paul and our hefty music connections to create new and positive adventures for WNO 481. Jeeni have been granted access to the bus for a certain number of weeks per year and our intention is to use these weeks to create events and gigs for our Jeeni artists to perform. For Jeeni SuperFans there will be the chance to secure early tickets and memorabilia for the events and the bands performing.

As with the emergence of Wings, the band and their music, we would like the bus to play a part in the launch of new music talent, giving performers the chance to thank supportive fans, share the experience and excitement of live performing, as well as creating new fanbases. Jeeni as a platform, has a large, growing audience of music lovers, as well as performers. The instant opportunities offered with their engaged social media, allows for followers to be ‘teased’ with where upcoming venues may be, before official announcements and tickets are released, creating a buzz and anticipating excitement.

This cool, utterly unique piece of British rock and roll and engineering history has much to look forward to, as do the generations of music fans past and present, who will have the opportunity to be entertained by the Jeeni and ‘Wings Over Europe’ bus and events.

www.jeeni.com

www.1972wingstourbus.com

www.armsaroundthechild.org

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01
Jul

Zeeteah Massiah - ‘Bad Guy’ Single Review

Zeeteah’s newest release is a genius reggae reimagining of Billie Eilish’s breakthrough hit, ‘Bad Guy’. Jeeni ambassador and long-term supporter, Zeeteah Massiah has now provided Jeeni with 21 individual pieces of her unique brand of jazz and reggae, all of which are available at her showcase. Her husband, Paul Caplin acts as both songwriter and producer for Zeeteah and the two of them have released two albums together, ‘Juice’ and ‘Maybe Tomorrow’. A certain level of musical depth and understanding is needed to undergo a stylistic transformation of an existing song. To some, it’s merely a process of downgrading the intensity and presence of the piece to a slow, acoustic setting. However, in a lot of these cases, the essence and arrangement of the pieces are largely unchanged. On the other end of that spectrum of effort and passion, you’ll find artists like Zeeteah Massiah who listened to the ‘Old Town Road’ dethroner and heard a hidden stylistic potential held in Billie’s hit that she knew would effortlessly make sense to any listener. Zeeteah set out to not just echo Billie’s Grammy-winning hit in a slightly different accent, but instead, wanted to transpose it into a completely different musical language. The result is a rejuvenated and refreshing take on ‘Bad Guy’ that has a vivid coat of Caribbean-styled paint applied to just about every element of the source material. Where the original was dark, somber yet playful, Zeeteah’s keeps just the playfulness for her rendition. The slow, creeping tempo compliments the lyrics and performance from Zeeteah in a way that could make you think that this might actually be the original. This almost sinister embrace of the villainous title is enhanced by the harmony that dips in and out of jazzy minor chords that keep the listener in a subtle state of unsettlement, and curiosity. As is to be expected from Zeeteah and her artistic proclivities, bright and colourful instrumentation commands the tone of this arrangement. Being the first component heard; a classic reggae drum roll makes the genre-shift immediately apparent. This Caribbean staple is then joined by its good friends; short offbeat guitar stabs and deep, bouncy basslines. In this introduction, we also hear a brilliant alteration from Billie and Finneas’ original arrangement. The quirky, recognisable synth melody heard after Billie’s isolated ‘Duh!’ is instead taken up by a muted trumpet, heard before the vocals even enter. This is a clever embrace of the fact that Zeeteah’s choice of cover is of course a colossal hit, so there’s no sense in shying away from its most recognisable moments. That melody is also expanded on later for a phenomenal trumpet solo towards the end of the cover that acts as a sort of replacement for the sudden shift in pace, heard at the end of the original. Considered a part of Billie Eilish’s brand as both a performer and a person, her vocals are often intentionally sleepy and low-energy, something that Zeeteah decided not to adopt for her interpretation. The vocal performance here is mischievous and rebellious to the core as opposed to Billie’s more disinterested and indifferent approach. Zeeteah also uses next to no effects on her voice compared to the first version, which is just as well because it would be a shame to distract from the raw talent and personality held in Zeeteah’s performance on ‘Bad Guy’. This task of reinventing one of the biggest hits from the last 10 years was a tall order, however, unsurprisingly, Zeeteah Massiah’s ‘Bad Guy’ is nothing but a triumph.

05
Apr

Barrington Levy performing with 16 global acts. JAM Festival 10 April 2021.

One of the great success stories of the 80’s, arrived on the dancehall scene and swiftly remodelled it in his own image. Although numerous DJ’s and vocalist would rise and fall during this decade, Levy was one of the few with staying power, and he continued releasing massive hits well into the 90’s. Born in Kingston, Jamaica, as a youngster, Barrington Levy formed the Mighty Multitude with his cousin Everton Dacres. They started off playing the sound systems and cut their first single, “My Black Girl,” in 1977. All of 14, Levy broke out his own the next year and recorded his debut solo single, A Long Time Since We Don’t Have No Love.” It didn’t have much of an impact, however, the teen’s appearances in the dancehalls were eagerly awaited events. It was at one of these that Levy met former singer turned producer Junjo Lawes and New York-based producer Hyman “Jah Life” Wright. The pair took the youth into King Tubby’s studio, accompanied by the Roots Radics, and recorded a clutch of cuts. The first fruits of this union were “Ah Yah We Deh,” quickly followed by “Looking My Love”, and “ Wedding Ring Aside.” Success was immediate, but it was the mighty “Collie Weed” that really cemented the teen’s hold of dancehall.“Shine Eye Girl”, was a smash follow up, and the young Levy was now in great demand. A stream of singles followed “Jumpy Girl”, a lovely version of Horace Andy’s “Skylarking”, “Reggae Music”, Levy joined forces with producer Alvin Ranglin for another sting of hits—“Never Tear My Love Apart,” “Jah”, “You Made Me So Happy,” and “When You’re Young and in Love.”Levy’s rich vocals were made for duets, both with other vocalists and DJ’s, and it wasn’t long before the young star was also recording collaborative singles. Toyan was a great foil on “Call You on the Phone”, he paired with Jah Thomas on “Moonlight Lover” and “Sister Debby”, and joined forces with Trinity for “Lose Respect” and a follow-up, “I Need a Girl” in 1980. That same year, Levy made a sensational appearance at Reggae Sunsplash, then returned in 1981. During these early years, the singer seemingly spent all of his time between the recording studios and the dancehalls. Amidst the deluge of singles, four albums arrived as well between 1979 and 1980. First up was Bounty Hunter, which boasted three smash singles—“Reggae Music”, “Shine Eye Girl”, and “Looking My Love” –and a clutch of other tracks that were just about as good. In Britain, the Burning Sounds label released Shine Eye Gal, also a hits heavy package which included the title track-track, “Collie Weed”, and “Ah Yah We Deh.” It was swiftly followed by the mighty Englishman, an absolutely fabulous record which was overseen by the unbeatable studio grouping of Junjo Lawes and two of King Tubby’s protégés—Scientist and Prince Jammy. A veteran of the clubs, he brought the spontaneity of the DJ to his records while returning vocals back to the sound system scene which had been purely the realm of the Djs.Utilizing old roots rhythms revitalized by the Radics, and giving the songs a hard, but danceable edge, Lawes and Levy together helped establish a whole new dancehall sound.1980’s Robin Hood merely affirmed that everyone in Jamaica already knew: That Levy was now the biggest star on the island, with a talent that was unbeatable. Or more accurately, he was king of the singers, because ruling beside him was DJ Yellowman, another Lawes’ discovery, that was brought to him by Barrington Levy. Robin Hood was as big as its predecessor and was beginning to have an impact in Britain as well, where both it and Englishman had been released by the Greensleeves label. Not surprisingly, both albums heavy rhythms would provide the building blocks for the Scientist V Prince Jammy dub clash album. Unfortunately, Levy’s very popularity was now beginning to have some serious drawbacks. Even before stardom arrived, the singer had noticed with delight fans taping his sets at the dancehalls, and these tapes were coming back to haunt him. Suddenly, the shelves were buckling under the weight of the bootlegged albums, featuring not just older pirated live material, but also unreleased outtakes and recycled older singles. In response, Levy didn’t release a new album for two years, but in the meantime, new singles more than made up for it. From 1980 came such hits as the haunting Lawes-produced “Mary Long Tongue” producer Linval Thompson’s “Too Poor,” and a string if hits cut with Karl Pitterson, including “ I Have a Problem” and “Even Tide Fire a Disaster”. And as the decade progressed, the flood hits continued. “I’m Not in Love”, “You Have It”, “Tomorrow Is Another Day”, “Robberman”, “BlackRose” “My Women”, and “Money Move” were just a small number of the hits released between 1981 and 1983, with the latter song the biggest smash of the batch. Levy even tried his hand at self-production, recording such excellent songs as “In the Dark” and “Love of Jah.” Amongst there were fabulous singles recorded for Joe Gibbs, “My Women” included.1983 finally saw the release of Levy album “Money Move”. The latter was excellently overseen by George Phang and boasted a stupendous group of rhythms that Sly & Robbie had specifically made for the producer. In the U.K, the burning sounds label also released Hunter Man, a greatest-hits collection. But the hits were still coming on strong; in 1984 none were bigger than Levy and Jah Screw produced “Under Mi Sensi.” The pair would also record a new album that year, Here I Come, whose title track would the top 50 in the U.K The album itself took Britain by storm and ensured that Levy walked away with the Best Vocalist Award at Britain’s Reggae Awards. It was also these songs that secured his spot in the Guinness Book of World Records, as the first reggae artist to hold both 1st and 2nd place slots in the charts. The same year, the singer also joined forces with another young singer who was tearing up the dance floors, Frankie Paul, for the intriguing sound clash set Barrington Levy meets Frankie Paul. 1985 brought Prison Oval Rock (the Volcano Jamaican label release, and not to be confused with the RAS label’s U.S. compilation of the same title), which found the singer joining forces with Lawes again, for another roots-fired set equal to its predecessors. It had been six years since Levy burst onto the scene with all the force of a nuclear weapon. Now in his early twenties, the singer’s output significantly began to slow. He did return to Reggae Sunsplash in 1987 and would remain a top attraction at the festival until 1985. He also released “Love the Life you Live” in 1988, a rather patchy effort compared to previous releases. It was to be his last new album until 1991. But Levy wasn’t a spent force yet. Before the ’80s were over, he scored two more hits with “My Time” and “Too Experience”, both under the aegis of producer Jah Screw, and both covers of songs written by Bob Andy (ex-Paragons and also of Bob & Marcia fame).Signing with MCA in the U.S., Levy attempted to cross over into the North American market with 1983’s Barrington. Produced by Lee Jaffe, the album featured a re-recorded “Under Mi Sensi”, and boasted strong songs as “Murderer” and “Vice Versa Love” and “Be Strong”, a major hit in the Caribbean and South America. However, the relationship with MCA was not a happy one and Levy quickly departed. Meanwhile, back in Britain, the singer was chalking up another hit with “Work”. In 1994, Levy was joined by Beenie man on the singles “Two Sounds” and “Murderer”. Both soon reappeared as fiery jungles remixes. Barrington will also be performing in the JAM Festival, which is a collaboration between Jeeni, AmplifyX and MultiView Media and will be held at 12 noon Los Angeles time, 8 pm London time on Saturday, April 10th 2021. To find out more about the JAM Festival check out our events on Facebook. https://fb.me/e/1etPauFMV

10
Jun

26,426 views of Jeeni Blogs since we launched Crowdcube

With 5 days to go on Crowdcube we are reflecting on what we could have done better and how we could have improved our campaign, as well as on our successes. Even though we "bust a gut" working 7 days a week for 5 months, we always want to reflect and improve where we can. Both Mel and I are academic in terms of looking at all the options and possibilities and like to analyse our work, and most days we take time to look at how things could be improved. We are not critical of each other, just honest and reflective in an open and supportive way. Jeeni, the social music platform that brings artists closer to their fans and shares revenue ethically, has successfully raised over £340K on Crowdcube across three rounds. If you want to see our pitch click HERE. As part of the campaign we launched Jeeni.blog which has been a huge success and we have had over 26,426 active views, and my LinkedIn has over 12,000 followers. LinkedIn has become my preferred social media and we have genuinely started moving away from Twitter and Instagram. I find it much more professional, interesting and informative. So as part of our learning we are going to learn how LinkedIn can best support Jeeni going forward. Our Facebook Group Independent Musicians and Performers has also been a huge success with over 2,500 new and active members with organic growth, and over 1,300 posts, comments and reactions with no advertising spend, engaging with over 30,000 unsigned artists with a zero cost of acquisition. Click HERE to visit or return to jeeni.com

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