But this show was so big, that it was hopelessly oversold. Since Pete rarely used his, he allowed me to use both guests and half price tickets for my friends, which I used often. My partner Pete and I were both allowed one person each to let be on the guest list for every show and also one half price ticket each in addition. The Roots’ new level of popularity was in fact a source of mild contention for me and this show. Despite the importance of this gig, Pete still left it to me to man the recording room, but I was ably assisted once again by my friend Liz Farrow. Jill Scott had co-wrote that single and was to be the female vocal on the album, but was replaced by Erykah Badu at the label MCA’s insistence, though I believe Jill was touring with them and sang that haunting tune with them that night.
The Roots moved triumphantly into the mainstream with that album, garnering Grammy nominations for their hit single “You Got Me” for Best Rap Performance By A Dup Or Group to the album itself for Best Rap Album, losing to the unstoppable juggernaut of “The Slim Shady LP” by Eminem. I had taken for granted that they’d tour reliably and I’d be able to see them in small venues and on side stages of festivals, but with the release of their new album, “Things Fall Apart” less than two weeks before this show, the writing was on the wall. I had already recorded them three times at the Hall, in December of ’96, August of ’97, and again in May of ’98, not to mention seeing them open for The Fugees at one of those rare double early and late shows at The Fillmore in ‘96 and the side stage at Lollapalooza in twice in ‘95. I had drastically underestimated how huge The Roots were to become back then, but this show was indisputable proof that they were moving on to bigger things. It was also a treat to have reggae saxophonist virtuoso Dean Fraser on the bill that night and he came out to play with Luciano as well.Ĭommon & The Roots, 75 Degrees, Dangerzone, Maritime Hall, SF, Fri., March 5, 1999 Yes, this was some old time religion reggae with plenty of bible quotes and chants of “Jah Rastafari”. Maybe they were pissed at Clinton over the Lewinsky thing too, but they were steadfast against other Rastas who were exhibiting what they called “slackness”, promoting profanity and gun culture. As the name suggests, they were determined in their words “to provide people with spiritual uplifting music in there times of degradation”. He had formed Jah Messenjah Productions in his home country of Jamaica and started their own record label called Qabalah First Music. Luciano had recently joined forces with the UK born singer along with the Firehouse Crew who were also there performing alongside them that night. Jepther McClamont, AKA Luciano, and I believe that went the same for Mikey General. It was my sister Erica’s 25th birthday and I though I don’t believe she was at that show, my thoughts were of her as they always are on that day of the year. Having him there also ensured that there would be copious amounts of joints passed between the two us as well. The shows had become so frequent, especially it being March, and it was a relief to have him there, especially since it was reggae and he was infinitely more skilled and experienced to mix the music. By this time until Boots fired him in November, the number of shows I was doing there to Pete’s was easily at least ten to one. Pete had become frustrated and fed up with Boots and his shady business practices, not to mention his downright psychotic temper tantrums.
Reggae had returned once again and Pete was there on what was becoming a rarer and rarer appearance from him. Luciano, Mikey General, Dean Fraser, Firehouse Crew, Dennis The Menace, Maritime Hall, SF, Sat., March 6, 1999
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