File
Courtney Melody during his performance at the 2006 'Red Stripe Reggae Sumfest's Top Ranking - The Dancehall Salute' at Pier One, Montego Bay, on July 19.

Kandré McDonald, Freelance Writer

You believe you are tough,

You believe you are tough,

But yuh nuh rough like we,

Yuh nuh rough like me,

'Cause anytime mi come mi come dangerous

Anytime mi come mi come contangerous.
(Bad Boy, Courtney Melody)

The sound of Courtney Melody chanting the Robert French-produced Modern Girl will rock any dancehall crowd and is probably the song for which the artiste is most popularly known.

The singer, who came to the forefront in the '80s and was aforce to be reckoned with on the dancehall circuit in the early '90s, suddenly disappeared. However, his songs, which include Ninja Mi Ninja, Modern Girl, Bad Boy and the popular Protection, a collaboration with Ninja Man, will create waves at any retro party.

He accredits his distinctive vocals to his grandmother, whom he describes as a soulful singer with a sugary and charming voice that trembles whenever she hit high notes.

Residing in the hills of West Rural Upper St. Andrew all his life, it is as if Courtney 'Courtney Melody' Monroe has adapted to the natural setting of this space. He was fidgety as we conducted the interview by the poolside of the Hilton Kingston hotel. It was as if he was not comfortable in his own skin. Actually, he was easily distracted.

As the interview progressed, one could pick up on some of the things that have left this talented artiste frustrated. The pain in his voice tells a daunting tale. His passion for the music was evident at times he seemed as if his mind had transcended into another dimension.

His stare was intimidating and he frequently queried the relevance of certain questions. Initially, he was a 'hard nut to crack', but as the interview progressed he melted like ice and gradually spilled his guts.

Sunday Gleaner: How did Courtney Melody start in the music?

Courtney Melody: I started out in church. I sang on the choir and usually sit at the front in church to watch my grandmother, who was a wonderful singer. My grandmother had a nice voice that tremble when she sings. She usually carry me to church to sing with her.

(He paused for a while and stared aimlessly into the night sky. When he was asked to elaborate further, his eyes twitched a few times before he began talking again.)

Back in the days I usually go and check some brethrens from a sound system call Black Spider, which was in a different area from where I live. One of my brethren then carry me from the country to work with Stereo One and that is where it really started.

SG: Why did you disappear from the music scene during the early '90s at th of your career?

CM: I was involved in a bike accident that kept me away from the music. I spent over a year in the hospital and a lot more time recovering after I came out. The accident slowed my progress because I couldn't record.

SG: Why did you fade, apart from the accident?

CM: I was sick. I was overseas the other day doing some work and because of the recurring sickness with my foot I have to seek medical attention.

SG: Did you miss being able to do music?

CM: Yes I. I really missed it. I was actually saddened by it, because I could not be out there to promote my music and record.

SG: When was the last time you performed on a stage in Jamaica?

CM: I can't remember. I haven't worked in Jamaica for a while, but I am looking forward to doing so. Actually, I was planning a birthday bash, but it never work out. (He actually performed on last year's Red Stripe Reggae Sumfest 'Top Ranking' concert.)

SG: Are you still touring?

CM: I toured England and other parts of Europe back in the days, but now I am only touring the US (United States) and Japan.

SG: When did you begin working on making a return?

CM: As soon as I was well enough to start working in the studio again.

SG: Your unique sound, is it something that is natural or is it something you have developed?

CM: I have a natural sound, but I also adopt a bit of my sound from my grandmother. I actually took my grandmother's voice. (A smile ran across the full breadth of his face.)

SG: What is your view of the content of today's dancehall music?

CM: Nuff a di thing dem that the man dem deejaying about these days a lead the people dem down the wrong path.

(He paused as if digging deep for what to say. His demeanour has changed slightly and one could tell that he was about to 'blow'. He continued after the long break.)

I can deejay, but I don't really follow it up because is a two months thing. The songs don't have any longevity, but is long time man a deejay 'bout gun and dem thing deh.

SG: Have you really benefited the way you would like to from your music?

CM: For years I have been singing and getting nothing for my music. The producers over the years sell dem and forget me. They are always robbing up my money, taking it for their own welfare. When I go to publishing companies they say I cannot get any royalties because I don't write my songs. Producers usually steal my material and tell record companies that is them write the song.

SG: How have you tried to combat this?

CM: Poor management cause me to suffer long and hard. I even cry at times. Mi sign a thing now with Westbury Publishing Company in England, but I still have a problem getting my money.

SG: Which of your songs do you consider to be your best effort to date?

CM: I consider Modern Girl to be my best to date, plus a lot of persons tell me that it is my best.

SG: Do you think you can surpass 'Modern Girl'?

CM: Right now I have songs bigger than Modern Girl. The songs I am doing now are heavy tunes. I am working on an album for the last seven years entitled Serious Business, on the Reggae Vibes Production label with producer Jah Mikes. We are planning to release it August 7. Two of the singles out from it are Just Like the Rain and Gideon Soldier.

SG: Do you think you can still make a positive contribution to dancehall music?

CM: Definitely.