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KWEST GROUP
Reggae music is fruitfully blessed with outstanding vocal groups and legendary names like the Abyssinians, Paragons, Heptones and Mighty Diamonds are a few that have set the foundations. The group KWEST are a London based trio whose refreshing album ‘ Kwest 4  Lyfe’ has established them as one of the shining lights for British Reggae. This triumvir consists of Khareem Jamal, Tony Douglas and Damel Carayol and was formed in 2002. Their musical influences are varied and include the likes of Marvin Gaye, Smokey Robinson, Dennis Brown, Curtis Mayfield, D’Angelo, Bob Marley and Donnie Hathaway which gives them quite an eclectic mix.
Reggae music has numerous dimensions and musically, Kwest’s own brand reflects many of the elements epitomised by their influences - very Soulful yet remains very much entrenched in the Reggae genre. Talented songwriters in their own right, their songs talk of the issues of today’s troubled world - topics of love or politics are typical of a Kwest song. Their beautiful harmonies are on full display on ‘Kwest 4 Lyfe’ which contains gems like ‘Born In Africa’ and ‘Father In Our Eyes’, showing pride in their African Heritage. The set also holds some standout tracks such as ‘Beyond Compare’ and the very popular ‘Live It Up’, a cover of the John Legend song. The group were members of the hit musical ‘Black Heroes In The Hall Of Fame’ and have toured the world with Khareem as the musical director.
Kenny V Passley exhalts the Pioneers of the UK's Lovers Rock Music
 A wonderful period in the history of Reggae music in Britain was the ‘Lovers Rock’ era although, at the time, some were moaning that it wasn’t real Reggae. But they didn’t realise how great that era was until the Dancehall phase came in around 1983 when they would play Studio One riddims like ‘Bobby Babylon’ for an hour and a half and have fifteen Deejays chat on it until people got tired. Lovers’ Rock, as we know it, basically started in 1975 with the success of Louisa Mark’s ‘Caught You In A Lie’ - a little experiment produced by Lloydie Coxsone backed by Matumbi’s Dennis Bovell. By 1978, it was everywhere, Janet Kay had a number one hit in the British Pop charts with ‘Silly Games’ and producers looked everywhere for ‘school-girl’ singers to do big business with. Mention Tradition, Revelation, Carol Thompson, Sandra Cross, Brown Sugar, Black Harmony, Jean Adebambo, 15-16-17, Sister Love, Matumbi, One Blood, Arema, Winsome, Sugar Minott or Investigators and you’d get the attention of most ravers from back then.
One of the best Lovers Rock Sound Systems in this country during that era was ‘Sir George’ with Anthony Brightly at the controls. Around the ‘80s, they played at the Cubbies club in Dalston, East London and had over eight hundred people every Sunday night, Lovers Rocking away. Since the beginning, Reggae had always been international music but in an underground sort of way. But not everyone knows this, in particular, many of the younger generation in England at present. So many are brainwashed, ashamed of their West Indian heritage and don’t support it. With more people integrated these days and earning more money, this has caused a shift in the social class of Black people resulting in many getting involved in the ‘trendy’ practice of finding excitement in other quarters, musically and socially.
A more obvious thing about Lovers Rock is the connection between man and woman in the dances of the past and now. There was a lot of music played back then to bring people together - holding a total stranger tight and rocking away all night long was almost compulsory. However, since the invasion of Dancehall music especially Bashment, it seems that it’s not the done thing to be seen dancing with each other. The youth nowadays seem to prefer the company of their crew members rather than to socialise with others in the dance. I often get a little tip from escorts not to smile but to look serious when entering into the Bashment raves, as a common feature seems to be all about getting respect!
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