Ever since the tender age of five years, I became aware of my mystical talent in music and with the help of my parents nurtured it. At nine years, I was old enough to join the Lockhart Elementary School band and I started by playing the trumpet. Two years later, I joined the Rising Stars Youth Steel Orchestra, where I learned how to play the lead tenor pan. Eventually, I became more musically inclined to listening and playing other types of music and instruments. I w
as introduced to the drums and I was good at beating them. It felt great to hear and feel the beats/bass/rhythm vibrating through my body; I did not want to play any other instrument. However, I always thought more of myself. I had a vision of performing in front of thousands and thousands of people, whether beating on drums, blowing the trumpet or playing the steel pan. I never knew that the Most High had a greater vision (iration) in store for me. By the time I enrolled into Charlotte Amalie High School, I was playing for the concert band, jazz band, marching band, and the school steel band. Various types of music surrounded my every daily life. My mind was made up - I would major in Music Engineering and become a top class producer.Latter Reggae music enthused me. I listened to artists such as Shabba Ranks, Bounty Killer, Beenie Man, Capleton, Buju Banton, Anthony B and Sizzla, and many more. I would purchase their compact disc (CD), memorize their songs from beginning to end and try to sing it exactly like they did. I received so many compliments from my classmates, expressing to me how well I sound and advising me to write my own lyrics. I was really into black consciousness. I was searching my inner self, seeking for my African roots and purpose in creation. My main concern in school was music, thus, academically my grades were poor. As a result, my mother sent me to the mainland (America) to live with my uncle and complete my high school education. In an effort to get me to stay focus on my academics, my uncle banned me from all the musical activities I took part in. It was only then that I stayed more to myself and reggae artists such as Capleton, Anthony B, and Sizzla who were a big strength to me in the livity of Rastafari. Thereafter, I began to write my own lyrics. In school (USA) I became well known for chanting reggae music. I sang in various talent shows around Lowed County in Valdosta, Georgia, and performed for Amateur Night at the Apollo in New York in January, 1999. It was all coming together and this was just the beginning of the vision I had for myself this is what I really wanted to do. I know that spreading a positive message through reggae music “I see Rastafari” and “Ghetto Youth.”
All my friends were in love with the songs. Everybody was talking about them, but they were never publicly broadcast. I used these demos to constructively criticize myself. Subsequently, I linked with Black Juice Records, where I was introduced to six other artists who seemed to be on the same path as I was.
We united our efforts and stepped out as the “Star Lion Family.” We all came from seven different communities with one common goal to spread the message of Ras Tafari righteousness through our musical talent. Our first time exposing the Star Lion Family was at Sizzla’s premiere to the Virgin Islands in April, 2000.
We opened the show with the “Star Lion Family Anthem”. We received a standing ovation from the audience. The very next day we were the talk of the town. Every local promoter wanted to book a show with Star Lion Family. Before long, we were opening shows for the Virgin Islands own Star Fest, and artists such as Capleton, Buju Banton, Bunny Wailer, Junior Reid, Junior Kelly, Glen Washington, etc. Individually, I opened shows in Atlanta Georgia for Sizzla, Sean Paul, Elephant Man, Midnite Band, Merciless, Mega Banton, and many more.
