John Sinclair – Mohawk. The full length documentary….. John Sinclair, the renegade poet, scholar and cultural revolutionary releases his new album on 24th March 2014 on Iron Man Records. John, has been described as an Archetype of the 1960’s art, music and literary synthesis, and who today, is still kicking with both feet on his trajectory for cultural transformation. His new record features ten tracks from his book of verse: always know: a book of monk. Twenty poems planted firmly in a single-shot session, and carefully trimmed down to ten exhibits for this album. Beatnik poems, great odes and personal reflections of the Be-Bop jazz persuasion, all flowering together. First conceived of in Detroit City, spring 1982, and developed throughout the 1980s with streaks of fresh edits leading right up to the session itself, John navigates some of these texts for the first time in over twenty years, free-styling his energized sincerity and attention to every word, transforming the text on the page into his unique unmistakable spoken word. The music was written and arranged by Steve Fly who mirrored John’s poems in the music by initially combing the tempo of the original songs recorded by John ‘Dizzy’ Gillespie, Charlie ‘Bird’ Parker and Thelonious Monk.
Steve The Fly is a native of Stourbridge UK, now an Amsterdam resident who plays drums, spins vinyl, writes novels and literary and cultural commentary. He also maintains a flock of websites and works in various other art forms without visible restraint. His other music projects have included New Flesh, Garaj Mahal, and now full time with John Sinclair. These songs are further utilized by John’s poetic method so that each title and the rhythm of his poetry can piggy-back upon the same song title, and rhythm, of an original composition set in history, for extra rooting. Steve put down drums, turntables, cello-bass, flute, and glockenspiel, shooting to play around the vocal lead lines and diverse expressions from John. “to take the hair off the sides of the head & leave just a strip along the top, scalping pretense for the baldness of statement building a new music on the bones of the old” — John Sinclair from the title track “Mohawk”
The album was recorded diligently by Tim Egmond at Ei Studios, Amsterdam and passed along to Simon Reeves at Framework Studios, Birmingham for mastering. Tim Egmond is a music producer, engineer and studio whizz, based in Amsterdam, who has worked with scores of international and locally based artists on a wide variety of projects. Simon Reeves has completed many projects for Iron Man Records already and he has been described as one of Birmingham’s finest independent studio engineers who has worked with bands from Napalm Death to Police Bastard, and a host of other brutal metal and punk bands.
His neighbours were Jacob Miller and Ranking Joe. Ranking Joe took Freddy under his wing and taught him the basics skills of performing. Freddy’s natural ability meant he was quickly enlisted to work with Lt. Stichie (of “Natty Dread” fame) and then later with Sugar Minott. It was performing on Minott’s soundsystem that founded Freddy’s fame in Jamaica. He recorded his first single (“Zoo Party”) in 1985 for Studio One.
He released his first album, Body Lasher, in 1986, and that year had six top ten hits in Jamaica, including a number one with “Joker Lover”, a collaboration with Pinchers. After successful touring in the US under the Chrysalis record label, Freddy came to England in 1987. His first UK work was a collaboration with Asher D called, Raggamuffin Hip-Hop. This album created a new style of music that was a fusion of Jamaican ragga and UK hip-hop. The anthemic title track has the much sampled vocal, “The ragga-muffin, the ragga-muffin, hip-hop”. Freddy also managed to influence and support fledgling UK reggae stars, Top Cat, Tenor Fly and Prento Youth who went on to the legendary Coxsone Sound and the record label Congo Natty.” — https://en.wikipedia.org/wiki/Daddy_Freddy