Jazzie B on soundsystem culture and making Soul II Soul a household name

Trevor Beresford Romeo OBE, otherwise better known as Jazzie B – DJ, music producer and founder of soul music collective, Soul II Soul – speaks to Headliner about how he makes his music and the soundsystem culture that established Soul II Soul as a household name in the late ‘80s.

Soul II Soul, a group that emerged from the vibrant UK soundsystem culture, epitomises determination, resourcefulness, and an unwavering passion for music. Their journey began in London, a multicultural melting pot where diverse backgrounds converged, celebrating shared experiences and influences. In the mid ‘80s, against the backdrop of the underground warehouse scene, Soul II Soul’s creative expression flourished.

In the late ‘70s, Jazzie B and his peers often frequented The Fridge in Brixton, South London, which was the largest and most successful privately owned club in the city at the time. Camden in North West London however is where Jazzie established his stomping ground, and where the early days of the sound system began to unfold. Born out of Caribbean popular culture, a sound system consists of a group of DJs, engineers and MCs playing ska, rocksteady or reggae music.

“It was a DIY kind of culture, as it were,” Jazzie begins. “That’s what the sound systems were about; a collective of people getting together to build their solid instruments, as I like to call them.”

With their innovative sound system, Jazzie B and Soul II Soul transformed ordinary house parties into extraordinary and immersive experiences through unconventional speakers, pyrotechnics, banners, and strobes. The unique Funki Dred style they embraced attracted a devoted following of music enthusiasts, spreading their fame far and wide.

“Back in the day as a working class West Indian kid, you could never afford all the gear…” Jazzie recalls. “A lot of people making early sound systems would have been carpenters and suchlike. It was a hobby that music lovers with full time jobs would do at the weekend. I guess it got good to us when there was a sense that some money could be earned out of it. Some of the sound systems back in the day were probably much more exciting to look at than they were to listen to; they were works of art.”

After wetting his feet in the sound system world, Jazzie found himself working as a sound engineer and tape op, subsequently rubbing shoulders with the likes of Hans Zimmer, producer and DJ Howie B, and Portuguese percussionist Luís Jardim, amongst many other greats. Jazzie had soon gathered enough resources to turn the sound system culture into an entrepreneurial business, and became part of producing a sound that helped change the direction of black British music and youth culture forever.

Recognising their undeniable talent and infectious sound, Virgin Records signed Jazzie and his Funki Dreds in 1988 after witnessing the captivation of the dance floor by their original dubplates, particularly their underground hit Fairplay.

“We surrounded ourselves with people who were better than us in all aspects, and it allowed us to elevate to another level,” he recalls. “Inside the nucleus however, which was always important to me, was the sound system, which became a way of us testing sonically what the music was doing. Hence, Club Classics Vol. One” [Soul II Soul’s 1989 debut album].

Soul II Soul’s fresh, infectious, and distinctly British sound resonated with people from all walks of life, transcending boundaries with its soulful embrace. With chart-topping hits like Keep On Movin’ and Back To Life, Soul II Soul became household names, solidifying their iconic status. They evolved from a sound system DJ collective into a 25-piece band, captivating audiences on exhilarating live arena tours across the globe while staying true to their roots.

“We were in the early stages of moving away from punk, with our eyes being opened and barriers broken down,” Jazzie tells Headliner. “We were able to embrace all of those elements of hip-hop, which at the time we called electro. As a young person, you’re always trying to find your tribe, and we had this punky hip-hop style with an energy that appealed to the next generation of voices.

“When we went into these spaces the energy was incredible, because we had no inhibitions. We were all brought together by the music and the idea that expressing yourself meant you were part of something bigger – your tribe.”

In 1990, Soul II Soul went international; Jazzie B took 100 people on the road for around three months and the rest is solid gold music history. Soul II Soul’s impact crossed borders, selling over 10 million albums in more than 35 territories, while Jazzie’s versatile production contributions graced over 35 million albums across 100 territories through collaborations with James Brown, Sinead O’Connor, Nas, Destiny’s Child and more. They commanded stages in over 20 countries, receiving numerous accolades including two Grammy Awards, three Soul Train Awards, and honours from the NAACP.

However, none of it would have been possible without the help and support from others, as Jazzie explains: “Writing the record, producing the record, mastering the record; all of those elements happened because we had pirate radio, we had the sound system, and we had people in our musical community who would either give you a nod or inspire you to force that envelope. During that time it was the only thing on my mind; forcing every limiter, every compressor and every bit of oxide tape. These great engineers were able to translate the sonics from the sound systems, which were created from whatever was going on in our heads. I’ve seen the transition from analogue to digital; what I’ve learned is that it’s not just about the show, but the energy that the audience receives from the show.

“My record acts as my acoustic, and now I find myself on the end of the whole thing where the reproduction is a bit more interesting – getting the sonics and the crunches and that sound. One day I’ll be using a Funktion-One system and the next I might change it for an L-Acoustics system. That’s what I do more of now, and I like that process, because it’s arguably taking it back to that simplicity. These days, when I’ve done a performance, I do sit back and look at my music in a bit more of a jazz form in terms of the instrumentation. I’m running Ableton but I still use all my old analogue stuff, everything from vocoders to a lot of the old synth sounds, and the process for me is working. We’re locked in our groove.”

As Soul II Soul celebrates their remarkable journey, their innovative spirit and consistent artistic output continues to inspire future generations. They remain a formidable force in the music industry, touring globally, including a recent sold-out tour in Australia and New Zealand.

“All the seeds were sown from 1990 when I took 100 people on the road. Now here we are, doing another show with another experience with another generation, albeit with about 20 people with me this time. My guys are playing every week now and are well oiled,” Jazzie says with a smile as we round up the interview. “Covid made us all realise that life is a moment. The key of existence and what we live for is the magic of sound. Music is like our food, and there’s times when we enjoy different kinds of foods and the emotion it provides. I still feel that, and to me, that’s what it’s all about.”