| Sister, Queen And Empress The real Rasheda |
She's been recording since the early eighties and her sporadic output has included some of the classic UK Roots songs. As a cult artist in an underground scene, her delivery is regarded as the quintessential female vocal style. Independent, spiritual and mysterious Sister Rasheda is UK Roots.
I wanted to interview Rasheda because I felt that I knew relatively little about her. Whilst her recordings have had a huge impact I knew far less about her than the other key figures in the music. Initial responses to my requests were not promising. Vague noncommittal e-mails drifted back from an un-named source at her label. But things quickly changed. A sudden burst of minimal and rather cryptic text messages let me know that Rasheda was ready to talk. The very next night I found myself in a windowless rehearsal room in West London discussing such classic records as 'Only Jah Worthy', 'Give Jah Praise' and 'Hail H.I.M'. As the incense mingled with the herb smoke a decidedly regal Sister Rasheda laid out the manifesto behind such tunes. "It's not so much a physical as a spiritual battle. We're seeking to enter the kingdom of the most high and you have to be ini-tating on the spiritual in this livity. Fight all the wickedness and iniquities that come your way trying to change your character and mould you into something different from that which you should be - an angel of the most high." All three of these tunes were produced together with Russ Disciples at a time when the number of labels putting out Roots music was extremely limited. Having had tunes released by Mad Professor, Jah Shaka and Twinkle Brothers, Rasheda had already exhausted the list. She and Russ both came to realise that they'd have to take the initiative themselves if they were going to get more music recorded and released. "I thought for a while that I had to sit down and wait for producers to come and check me. But why should they? Especially if they haven't heard nothing from you in a long time. They don't know if you can sing now or what; if you have any vibes or what's going on in your corner. Those producers were busy and people will only help you when you help yourself. Keep the vibes flowing, that's what I've learnt." This philosophy paid off in abundance in the early nineties. Rasheda was introduced to Russ by Jonah Dan. Together they produced 'Only Jah Worthy' and 'Give Jah Praise'. Both tunes were sound system anthems before being released as a 12" on Rasheda's own label. This prompted Roots Records to release, that rarest of all commodities for the UK Roots market; a fully realised single artist album. 'Hail H.I.M' is still regarded as one of the pinnacle achievements of the genre and the 12" single was another sound system smash. It was at this fruitful time that she met the great Augustus Pablo who invited her to go to Jamaica to work with him and learn. " I really did learn something by going to Jamaica; how fast the music moves. I couldn't tek my time when I was working because even Pablo, his mouth wasn't easy you know. He used to ask me "Are you scared of the song? Is it nuh you write it? Is the tune too big for you?" He used to say things like that to me in the studio! I had to get myself together. You look at the other youts who go to studio and straight away they're ready. While they're waiting outside they're fixing up their lyrics. I'm always writing songs in my mind and I don't put them down on paper until after they've been recorded. You're either right for that or you're not."
Yet again Rasheda had the foresight and independence to ensure that she was producing her own music in JA rather than relying totally on Pablo. "It was when Pablo invited me to Jamaica that I built 'I An I No Fear' in Music Works. Before I went I saved up and sent my money, so I could go and use studio." 'I An I No Fear', recently released on her label, is interesting because it utilises lyrics that move beyond the purely spiritual and makes reference to society. Rasheda eschews the common theme of 'youths gone astray', and talks of the young returning to righteousness. "It's rough for the youths and it will always be rough whilst there's no equality. I don't like the pounding down of youths. I don't like it at all. That's why they're the way they are. Yes the youths need guidance, but it won't work if you keep pounding at them. I've learnt from experience through bringing up mine, that you have to trust in them. With your guidance they'll find a way. You found a way and so will they. So I say "the youths them a gather and reason more about the Father" because they do within their hearts. But then they walk on the street, get battered and they hit back. That's what happens." She's feted for her devotion to spiritual songs, but as a Rasta sistren, a mother and an artist she has an absorbing perspective on other matters as well. For example the 10" 'Not Alone' which was released on Oxman's Wiz Kidz label had some intriguing lyrics. It's written from the viewpoint of a woman with responsibilities and dependants to care for, refusing to be pushed around or to "work for free". Inevitably some listeners wondered who it was aimed at. Rasheda laughs as she recalls some of the reaction she received. " People always ask me "who you a talk 'bout?" And it does refer to the music life, to my life within the music, but I respect every single one of the producers I've worked with. I have no problems with any of them. I love them for supporting me. Jah know that, even if it's taken a long time, each tune has come out at the right time."
The vibes have continued to flow and the number of producers looking to work with Sister Rasheda has continued to grow. The last couple of years have seen releases on the Universal Roots, Studio 55, Wiz Kidz, Deep Root and Jah Warrior labels. Her own Sis Rasheda Lionness label has also been meeting the demand for the vintage recordings with timely re-pressings. A determined independence has contributed to a profile that's higher than at any time since the release of her album; but what about the trademark vocal style, where does that come from? " I was inspired by Marcia Griffiths, Phyllis Dillon and many female singers... 'Prophecy' by Fabian, that's it in one! It's so sweet. "If there's a stand to be taken, let not my people be forsaken". I just wonder sometimes if those in power see that they're forsaking the starving, forsaking the poor. People are good, you know, until you put them under pressure and then they change. That tune...it feels like I heard that from creation." Rasheda's bond with Reggae and sound systems does indeed go back a long way. She grew up in South East London and used to catch sight of Jah Shaka loading speaker boxes into the Moonshot in New Cross on her way home from school. This sparked an interest and she was still a schoolgirl when she attended her first Shaka dance. "Jah Shaka, Coxsonne, Quaker City. I listened to sounds from a fairly early age. I was so interested in the message that came out of the speakers. I used to read books and watch the television, but that wasn't the inspiration. It was through moving with the people that I came to realise what the struggle was really about. Sound systems deliver the music, they build their boxes, buy record, pay artists for specials. When they put a record on the deck it's the most powerful, beautiful feeling in the world. Serious man, it's brilliant; bigger than a newspaper - instant news."
As early as 1981 Rasheda's voice could be heard coming from the speakers in sound system sessions. By this time she had moved to Wolverhampton with her family. The same determined curiosity, that had lead her from those initial glimpses of Shaka's speakers to become a regular sound system follower, served her very well once more. " Again I was seeking. I heard that this man was up in his studio making music. My king man took me there to meet him. As soon as I arrived he put on a tune and I sang something I'd been singing to myself for a few days before. I was reading books about Shashamane and the vibes of His Imperial Majesty in my livity were strong. When I got to his studio that music was appropriate for me to express what I was feeling. That was the first time I was recorded." The producer was Ras Muffet and the song was 'Shashamane'. It is a dubplate with an incredibly enduring popularity amongst sound system followers and it still gets a rapturous response when played in a dance in 2006. Quite an achievement for a first recording, but Rasheda has gone on to be a very consistent song writer. She's been a central artist on the 'UK Dub' scene from its earliest beginnings and looks to be an important part of its future as well. The Sis Rasheda Lionness label has completed the first phase of its repressing programme and will now concentrate on previously unreleased material. The next 12" will be 'Earthquake/World Crisis' which is due very soon. 'Earthquake' is a joint production with Tenastelin and 'World Crisis' was recorded at Conscious Sounds with Dougie Wardrop and Jerry Lionz.
Having now heard her story in more detail, I'm still not sure if I know Sister Rasheda any better. She's not following any pre-determined path; there isn't one for a female UK Roots artist. She's following her instincts and reacting to the vibes. I don't know if she enjoyed being interviewed. She's totally independent and her responses are unpredictable. Her opinions are firmly held, her memory of names, dates and places less so. I'm not even sure if she's Sister, Queen or Empress Rasheda. She doesn't seem too bothered. " I don't mind having so many names. A young Rasta sistren will be called Princess, Sis and Sister. Empress just comes when you're more mature. Roots Records put Empress on the LP. When Oxman called me Queen Rasheda I had to go and get yet another pseudonym at the royalty department!" I had wondered if the person would live up to the enigmatic voice. I need not have worried. The next time I hear Sister Rasheda's vocals coming from the speakers in a dance the same vibes will definitely be flowing.
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