INTERVIEW WITH... TANTO METRO




After interviewing Devonte a few years ago, it is naturally the turn of his friend Tanto Metro. The entertaining dancehall deejay made his ranges within the Metromedia Sound System before obtaining an international recognition with Shocking Vibes label.
His association with Devonte gave to Penthouse one of its biggest hits, their track "Everyone Falls In Love", was a worldwide dancehall hit in 1998.


(December 2020 - penthouserecords.free.fr)


There are other artists called Tanto or Metro. Could you explain your artistic name ?
Tanto comes from the character in "The Lone Ranger", an american western. So I took that name, Tanto, as the apprentice for Lone Ranger. When I started in the music business, my artist name was Tanto Ranks.
So fortunately down the line when I met Peter Metro who was my mentor, my teacher, he brought me in the business, in the sound system which he works for, Metromedia. Everybody liked the way Peter was bringing me in the business and as a little juvenile, as a little kid, the gravity to my style. One day, Peter said to me : "You know what, your name is Metro as the apprentice". So my artist name changed to Tanto Metro.

When did you start your musical career ?
I started in the music business around 1982. That's where my music business started out as a career. Professionally now, I am known to people when I started going here and there with Peter Metro in 1984. That’s where I got the real opportunity. During the time of 1982, I was still sneaking out. I could not go to dance like that ! But sometimes I got the opportunity at times. I’m from Woodford Park, near Island Town, and Metromedia is just up the road from where I live, it’s a walking distance. You always hear music in the ghetto. Sound System comes around the area on weekends and during the weekdays.
From 84 when I became professional and started making money with the dancehall that is when I got employed in the Metromedia Sound as a worker. From there back in those days you have to make your name into the dancehall. You’re not even thinking about recording a song. Producers used to come in the dancehalls to listen to who carried the swing, who’s the boss and who had potential. That’s where it all started for me and growing up as a kid back in those days in the dancehall was phenomenal, was enjoyable, was fun. It was a great memory because we weren't doing it for the money at the time. We were doing it for fun because we just naturally love music. And to know that you were doing music chanting on the mic. The girls will come around , look at you and say : "You’re good !". The guys hitting down the fence and saying: "That’s my DJ. Boh, Boh , Boh !". That was fun for me and for the rest of those artists in those times. From there we just started doing it and doing it until the recording came along, along the way. It all started from there for me but it was fun in those times. We used to walk from one venue, one dance to go to another dance. And we were gonna teach DJing or rapping at dance. Those times were great, they were fun.

You were a Shocking Vibes artist for many years. Patrick Roberts recorded a lot of his production in Penthouse studio in the early 90s. How were these Shocking Vibes years ?
Before using Penthouse studio, Patrick Roberts recorded his songs at Tuff Gong, but all of his major hits were recorded at Penthouse. At one point, we used to have Thursdays and Tuesdays nights just for Shocking Vibes alone. We had quality time to make lots of songs. We also used to have the Shocking Vibes’ office right beside Penthouse. Before he even recorded, Patrick was a manager, he used to manage a sound called Stacks. Little Kirk recorded the first song for Shocking Vibes. Little Lenny is the one who boosted Shocking Vibes with "Gun Inna Baggy" in 1989. I was there when he recorded this song at Penthouse.
We were part of a crew, a solid crew. Beenie Man was there, but Beenie was on and off, he wasn't stabilized, he was all over the place. Until when he made a song called "Bad Man", he was a friend of ours from then, ever since. From there he decided to stay with the crew and from that Shocking Vibes exploded. We started recruiting. Alley Cat came by, then Silver Cat, Snagga Puss, Lady Saw, Tanya Stephens… It was a solid crew. Then Devonte came and joined the crew.
I met Devonte by Penthouse studio. Devonte was introduced to me by a good friend of his, Raymond Ledgister, who was a Shocking Vibe’s engineer at the time. From there, he and I started to hold a vibe. Because that was the thing about Shocking Vibes at the time. We were always two members, so one senior member always takes a younger one who wants to be in the crew, spar with them and go on show them the ropes, and go on show them how Shocking Vibes units really operates. I was the one who took this opportunity out to say : "Let’s go and roll, let’s go par, let’s go out". From there we became friends and the rest is history up until now. After this and beyond this, it will be always that’s my friend for life, my brother for life.

     


How and when did you get connected with Donovan Germain ?
Shocking Vibes was in Penthouse studio and Donovan Germain was always there. I didn’t really know him, but we’ll salute each other and he knows me because Germain is a man that used to go dance back in the days until he gradually went on Shocking Vibes and Penthouse merged together. I knew him even before Buju Banton came by, before he even started approaching Buju. Cutty was there, Marcia Griffths, Beres Hammond, Cobra, Nigger Mickey, Peter Metro... Everybody comes and record on it from there. They’re all in one complex and everybody became friends right there and opened a vibe together.
I remember clearly the first time I looked at Germain and said to him : "Germain, you're not going to voice me ? Voice me man !". Germain shut me up, he said : "No man, you’re alright !". I didn’t take it as no still. I didn’t feel ashamed, I didn’t shy. I didn’t look at it as anything wrong, embarrassed or nothing. I just said "Ok, maybe one day, one day !". Because Shocking Vibes was there and at that time Penthouse was a bigger label for Shocking Vibes, so of course, you want to get to know who’s running the place or who’s got the hit out there and go on until.
One day I was there at the studio, Germain was in foreign, and I heard them playing the Top Ten riddim. This bad riddim was released first by Bobby Digital, it was a bad riddim ! Germain has a cut off that riddim. Buju was on that riddim with "Mind Behind the Wind", a big tune, and a couple more artists. I asked them to have a voice in that riddim. Germain said that he didn’t want anyone else on that riddim. I told the engineer : "No Man, let me go round there. Voice me !", and he voiced me. Germain came back and they put out the song. It was my first recording for Penthouse. The song called "No Response".

Your second single recorded for Penthouse with Devonte "Everyone Falls In Love", was an international hit. Could you tell me more about this song ?
The riddim was made by Steven "Lenky" Marsden and Tony Kelly. I wasn’t there when they made that riddim. Germain was a man who always had musicians in his studio, they made riddims after riddims on top of riddims. Whenever he is ready, he sits down and plays with them not thinking about which riddim he’s going to put out. Devonte just had his first hit "Bashment Sitt’n" with Shocking Vibes. I had different songs with Shocking Vibes which are played all over in Jamaica. I had my household name from the dancehall. We were solo artists at the time, but throughout we caught on within a street sound.
Devonte got the riddim from Germain. I was with Beenie Man on the road. We were always touring in and out because we were supposed to be on the road. We had shows all over the States, Canada, the Carribeans. When I got back from the States, I remember picking up Devonte from Weymont Drive. Devonte said "Did you pick up that riddim from Germain ? For you know I would like us to make a tune together". I said "Alright, no problem. Put it in the cassette". Putting in the cassette in my car, turning up the volume. Devonte began to sing "Everyone falls in love sometimes…" then he turned to me and said: "I have a little style, I don’t know if you’re going to like it". I said "Sing it" then he sang "Tell me what you want, what you really, really want to do". And that was it, he didn’t have anything else. It sounded good, Devonte told me that he would like to voice this song with me, but I left the island and came back one month later. I was so busy, on the road all the while. When I finally got out, Devonte went to my apartment. I asked to put that cassette again. We wanted a little pitch something and I added another melody : "And no have have like no yo-yo. If you really love me let it flow-flow. And if you don't love me let me go-go". I had to leave again, back to America. Germain pressed Devonte to record the song alone, but he answered that he would record the song with me.
I came back three weeks later. We finally recorded it on Monday, 7 o’clock in the morning, with the engineer Michael "Coolie" Cooper. I know that the engineers always get to the studio very early because they like to work very early in the morning when there is no one around there. There were only 3 people in the studio. We recorded it one shot, less than half an hour ! The song was released and became an international hit.



How you got to complement each other on the writing of your lyrics and the way you sing together ?
We listen to the beat first and we sing what the beat is telling us. The beat tells us if we will do a love song, a rude boy song or a reality song. It depends on the vibes of the riddim. So we gravited off what the bass line or the drum or whatever. But we don’t know with certain melodies, we try, we make them. We record every melody that makes sense and we pick the best one out of the melodies and say okay. That’s how we make it. We make it with fun too because in between we always stop and wiggle and joke and then we get back to it.

Your first album with Devonte "Everyone Falls in Love" was also a Penthouse production in 1999.
That project was phenomenal. A project that I will never forget. At that time, "Everyone Falls In Love" was guaranteed international mainstream. VP wanted an album from me. Shocking Vibes gave us permission to record this album with Penthouse. So we had a deadline to record and it took us a week to record it. We wrote two songs every night and then recorded them in the morning. We didn't have time for the family, to listen to music or dance. We didn't have time for anything, but it was just a pleasure. Let’s say good comes out of hard ethical energy. When you want good projects, you work hard. So when you’re on a deadline you work on extreme pressure and you give all you’ve got. Especially if you have a good thing going right. You don’t want to drop that moment of. We really enjoyed that. That was a fabulous time, a great moment.

You recorded for this album 3 combinations with Mega Banton : "Fake Names", "Jam Party" and "Big Up Yuh Status". How did you meet him ?
I met Mega at the studio. He was a big international artist at the time. He got a break with "Sound Boy Killing". Mega and Ricky General were the ones who were on par at the time. It was a pleasure doing a couple of songs with Mega. So it was like a record of caliber. We were a crew, we were a clan together, Me, Devonte, Mega Banton because the three of us were always together in Jamaica, in the USA, in Canada, everywhere you can think of. They used to call us the DTM clan. D for Devonte, T for Tanto, M for Mega (laughs) ! So you know, we were just making music at the time, that’s where the collaboration ended up. Great artist, still a great artist because Mega is one of the most talented right now from Jamaica. He is still doing his things, he is working on something. He was supposed to come up this year, but through the pandemic and everything, he is holding back until next year. He is in the States right now. He is one of the great artists right now.

     


Your last single released by Penthouse, in 2001, was "Jackie". Why haven't you recorded for Germain anymore ?
I think we did some songs after. They didn’t come out. At the time, we were always on the street. So we hardly could get to really voice because, but up until now, whenever anything kind of cool down and clear up and everything. Penthouse is alright, it will always be our family. Me and Germain keep links the same way, last time he said that he will send some riddim to me, but he didn’t get to send them. So I guess he has his commitment and things to do and all that. That’s how music is. Sometimes you will program something, but something else distracts you. We still voice with Germain up until now. But for the past couple of years now, we haven't really worked together.

You have collaborated for many top producers. What is Donovan Germain's particularity to other producers ?
Germain was a natural born producer. You see Germain comes from the dance hall days. He used to come for dance because he knows music, he knows keys. He can pinpoint out a potential in an artist. Germain is a person who can guide you, he can school you, he can show you the ropes. He can show you how, as a breaking artist getting to the business, who is making a name for himself, how to speak to people, how to talk to the fan, how to adjust people, how to adjust to a situation, how to voice. Because if you are an artist and you cannot take telling. The producer cannot talk and can tell you “You are not an artist.” Germain is that type of person. He is a perfectionist and I like that! That’s why Germain can cook so good (laughing).

Among all your singles for Penthouse, which ones are your favorites ?
"Know Your Friends" on "Everyone Falls in Love" album is a really good song. Also on this album, the song "Jam Party" with Mega Banton is one of my favorites. This song uses a sample from the classic R&B song "Ain't No Stoppin' Us Now".

What were the differences between Donovan Germain’s Penthouse Records and Patrick Roberts’ Shocking Vibes ?
It wasn’t much of a difference because they share the same sentimental and the same attitude towards it. They come in and they hear a song and they say "You can do it better". They're gonna make it better ! And their love of music and they have the passion for it. If Germain believes in you, he is going to make you a song, and that’s Patrick ! You cannot take that away from them. You’ve some musical genius in the business where that’s their gift from God ! Germain and Patrick are one. It’s two of them. Two of the many out there from Jamaica.

You recorded in Penthouse studio and later in Shocking Vibes studio with the great riddims maker Tony Kelly, as well for his K.Licious label. Can you tell us more about him and his approach ?
Tony Kelly is a great producer. Me and Tony Kelly grew up together. When I lived in Woodford Park, Tony Kelly was a ride in Vineyard town, just a walking distance. We always used to play pinball machines back in the days as kids. Tony was a youth, he loved music, he had the passion, he had the skill and he had the knowledge and he had the ears. He is a perfectionist. He loves everything perfect. He’s never going to stop until he gets a riddim. He would not stop until it is suitable for the public. But he doesn’t make riddim for himself, he makes riddim for the people here and all over the world. He is a fun loving person and he enjoys making music, that’s normal and enjoyable, he is easy to hang around with. A good guy, he is easy to talk to, he is easy to deal with. He just loves music with a passion and he takes it very seriously. And if he believes in you, it will take him one week to sit down and write for you and you will voice one solid song if he thinks that you’re going to do that. You’ve got to learn to take Kelly, because he ain’t going to stop and he’s going to get mad until you fix that voice and fix that little one line. That’s Tony Kelly !

You have been in the reggae industry for more than 30 years. What is your opinion on the evolution of the jamaican music during these years ?
Music evolves. You have a lot of good music coming out. But yet still there are some songs which don’t give me that real authentic soul. What I find with this type of music making right now, the riddims ain’t got any bass line. I love the song where people are fun-loving dancing songs where people can dance to the song. They are doing their things as I was saying, nothing wrong with that. Because even the Popcaan and a couple more artists are singing some nice songs.
The only thing I don’t really like with these young chaps nowadays, is their lack of respect really for the man who was there before them. They are not friendly like we were normally in the 90s, now where we normally looked out for everybody. Buju Banton is the biggest artist in the whole circle. He’ll make a difference but Buju is just neutral with everybody. From the moment Buju says "Come, we go round the corner, there’s music playing". Then 10 artists follow and all of them deejay for free. We don't do business but everybody deejay for free. So we used to live in unity. You don’t really see that unity there now, like that. Music is a cycle. So I soon stand up with them singing, the musical signal is there. The youths are doing and it is nice. I am not going to knock all of them because I know that I’ve heard a lot of those sounds. That’s music !

At last, what are your plans ?
We released the song "Nah Fren" some months ago which is massive. It was produced by Geniusmintol who lives in Africa. We did a nice video a couple months ago. We did an album last year "Reggaenometrist" including the singles "Smoke Train" and "Love Song". We have about four singles that came off that album.
Now, we’re in the studio, we’ve almost completed our next album. Due to the pandemic, we keep on doing more songs towards this album. So hopefully, by April, we can get through the virus but for now, we keep on doing singles. We did a lot of songs before the pandemic came, some of them keep on coming out now.
If the pandemic wasn’t there, we would be touring because we had to put on a lot of shows. Earlier on from April, we were supposed to start touring in Africa, right down to the States side. We had gigs in Canada, in the Carribeans. The only gigs that we managed to play was the Sumfest in Jamaica and it was virtual. Hopefully we can go and represent next year.

     


DISCOGRAPHY FOR PENTHOUSE RECORDS :

- Aim For Your Gal / Mama Say (1999 - Reload riddim)
- Big Up Yuh Status feat. Mega Banton (1998 - Body Workshop refix riddim)
- Everyone Falls In Love (1998 - Up Close & Personal riddim)
- Fake Names feat. Mega Banton (1998 - Heads Roll riddim)
- Girls Ready (1998 - Heads Roll riddim)
- Have You Ever Been in Love (1999)
- If A Hold You (1999)
- Jackie (2001 - Speak Softly riddim)
- Jam Party feat. Mega Banton (1999)
- Know Your Friends (1999)
- Little Goodies (1999)
- Nuff Links (1997 - released in 2020 - Love Dem Bad riddim)
- Rude Bwoy Horny (1998 - released in 2020 - Are You That Somebody riddim)