Behind the Boards With Dancehall Producer Computer Paul

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“Reggae means everything to me,” Paul shares. “There is no other music in the world I’d rather be playing. I love reggae as much as I love Jamaica and I’m passionate about Jamaica.” He adds, “The big fear that we as the defenders of reggae have in the business right now is seeing it moving in that hip-hop direction.”

Understandable. Reggae developed as an original expression of Jamaican people, a leading sound, pioneering trends of the moment, not following them. But, Paul observes, “Reggae music is a big music that will always survive. It will never die. It’s like one of them plum trees in my neighbor’s back yard and every time he cut it down it grows back in like a month or two. It just doesn’t stop, it keeps growing. Reggae is kinda like that.”

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Plaques hanging on the well celebrate Paul’s contributions to Akon’s Konvicted and Shabba’s As Raw As Ever albums

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Fergie and Everald listen intently as Paul runs back a mix

In recent history Computer Paul has contributed to the growth of that tree working with Sean Paul, Shaggy and producing Akon’s “Mama Africa,” one of Akon’s few distinctly reggae tracks, one that captivated audiences and went double platinum. Other recent projects included working with the Jamaican Cultural Development Commission as the Executive Creative Producer of songs for the country’s 50-year independence anniversary festival. He is also collaborating with singer Jack Radics and managing singer Stevie Face. It’s safe to say he’s on his grown man business.

Defender of reggae, technological innovator in music, and creator of one of the most popular riddims in dancehall history, what does this man have to say for himself? “Them say where your navel string cut is where you always come back, and mine was cut here in Jamaica, right where my studio is… I’m still here, not disappeared yet.”

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