REGGAEXCLUSIVE’S CHAT Station as a child. As an adult my first two releases were “Kiss All over Me” written by Vince from St Vincent, and “Trust Me” written by me, recorded by Hometown Studios, America.
YONNETTE HOOPER (Cont’d from Dec. 2013 issue)
RX: Tell us about when you wrote and recorded your first song. Which studio did you work out of and who produced the song? YH: In 1997, I was selected by E.C. Connection for the Canada tour during the Caribana period. Three nights before we were scheduled to fly out, I went to the band room and found Mark Walcott, the then band leader; working on a track which I learnt afterwards was for me. This was my first official recording in a string band. The song was called Lumber Woman, cowritten by Junior Lyken the then bass player for the band, and I. He had the chorus and hook for the song, and I came up with the verses, we also had Jumo place a chat inside of the song. That song was recorded on a TDK 60 minutes cassette. The long and short history of that song is, on the passing of my mother the following year after my father in Trinidad, I went there to bury her along with my siblings, and found it hard to leave when they did. I was asked by “Briggo”, one of Trinidad’s funniest Calypsonians to perform at his 40th anniversary held in the Boatyard. Lucky for me, my brother Jules had brought the cassette with the song on it to Trinidad with him. They liked it, and I became a hit during 1998 carnival period in a tent called “De Fresh Wata Yankees Tent”. That’s when I realized I had what it took to explore my musical ability to the next level. My next two recordings “Soca DJ” recorded in the GDF Frontline band room on a TDK Cassette and taken to the radio Station on the very night it was completed. The other was “Tek A Little Wine” written by Brian Carter and a Jamaican guy I only know as Jamakie. These songs were released in Guyana for the first Soca Monarch competition held in 1999. My real experience in a big recording was as you recall, GBC Radio
RX: We know that you had a name change sometime in your career. Where did the name Mystique come from and why the change? Also tell us a bit about the ‘Mystique’ reign. YH: I’ve learnt, over a period of time, that every artiste needs an alias for stage. Why is this so? I don’t know. On my first visit to Hometown Studios, when ask what was my stage name for the CD release compilation, I was spell bound. I had recalled members of a Belizean band I was gigging with called me Mystique Chocolate the first day I entered their band room. This I found to be very attractive. So I decided to give the recording company the name. They in turn dropped the Chocolate and kept the Mystique. I was ok with that, for it did not take long for the name to become a household name in the USA and the Caribbean. In 2006, Mystique won the female Miami Soca Monarch and repeated it again in 2011. She was also the first to acquire the Guyana International Female Soca Award 2010. RX: How many albums, singles, and videos do you have out on the road, what are the names and who were some of the producers you worked with? YH: Presently, I have four complete albums which were done collectively by some genius musicians, to put it lightly, Mark ‘Midas’ Walcott, Shawn Noel ‘Mastamind’, Spida ‘Spitrak’, Hometown Studios and Brian Carter; four videos, and still working on countless more. (Final in June 2014 issue) RX: Tell us what the genres of music you sing are and which countries did you tour if any. YH: My genre of music is reggae, soca, soul and RnB. I’m versatile, for the main reason that my music places me in different places whereby I have to please my audience. I do not put a limit on myself. You see, in order to reach a wide audience one has to be versatile. Musically, I have travelled to the UK, Canada, Barbados, Trinidad & Tobago and Suriname. I’m yet to visit many more, given time. RX: You recently formed a group called the BYG Trio, consisting of three members, now performing extensively in the USA. Tell us about that. YH: Bally, male Vocalist; Yonnette, female Vocalist; Glen, the man behind the music (B.Y.G Trio); three long term friends, we worked together in Guyana earlier. Ballys, and I met 1995 on my return from the UK. I was selected by the owner of Mischievous Guys Band, Ballys was already a member. Glen I also met that same year. He always played as a duo. I would freelance with him and Stitchy from time to time. They were called “The Undertakers”. Two years ago Glen came to the USA, Ballys was already here and we had already started working together, Glen joined us on his arrival, hence
the BYG Trio. RX: What are some of the projects the BYG Trio worked on since the group was formed? YH: We’ve done many projects to date, but the ones that stand out the most is the Tribute to Pamela Maynard and The UN Peace Project. As a group, we tour a lot in the USA, in New York, New Jersey, North Carolina, Georgia, Miami, Albany and Canada. This coming year is going to see us touring Europe and Africa. RX: What are your future plans in regards to the BYG Trio? YH: Working together for the future of music, and making a mark for the group as a whole in history. RX: Which artist/s and/or producers would you like to work with? YH: Any artiste/producer who is willing to work with BYG. No preference. RX: Do you think that Guyanese recording artists are getting their fair play on the airwaves in Guyana and what do you think can be done to improve the music scene in Guyana? YH: Honestly, no. Artists need to recognize the contribution which we bring to the common wealth of Guyana and stand up against the exploitation of promoters/producers. We are the ones who sell ourselves short by just accepting what is given to us. The radio DJs in Guyana would like to portray to the world that Guyana don’t have singers, because they are not keen on promoting Guyanese music. Why try to sell a lie. I believe more than ever, more and more there is a determination of the young minds to put out music, for the purpose of selling Guyana, but its unfortunate the Guyana Government is not supporting it. The individuals who call themselves producers only see one thing, how they can exploit that artiste talent, not how they can take the artiste to the next level to encourage others. Guyanese artists home and abroad need to form an organization to stop exploitation. We as international artists are seen as outsiders, which is ridiculous in the way we are being accepted. There is no unity. This is what is needed amongst us for changes to happen. RX: Any words of advice for young artists? YH: This road is a hard road to travel. If you are looking for overnight success, you may be approaching it the wrong way. Some people get lucky, while some struggle to get there. However, whichever way it is for you, patience is always the key. Stay steadfast in your goals. RX: Anything else you need to add? YH: Yonnette Hooper, and the BYG-Trio is going to be around for years to come, follow us in our progress and keep supporting us. For bookings call: 1-973-640-3974 or email: anzieh@yahoo.com. Also check me out @facebook.com/yonnettehooper. -- The End --
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