Get Down goes reggae

The Get Down returned in style last Saturday with the Prince Fatty Sound System ft Horseman.

Emily Burden spoke to Fatty's alter ego Mike Pelanconi about the appeal of analog recording and working with Lily Allen...

After a long-awaited return last Saturday The Get Down was back at the Fermain Tavern last Saturday.

On the bill, was Prince Fatty featuring Horseman on vocals with support from DJs oneofakind and Limey Banton.

Unfortunately singer Hollie Cook, who was scheduled to perform was unable to make the gig due to illness.

Prince Fatty is a group put together by producer/engineer, Mike Pelanconi (the man behind the desk of Lily Allen's debut album Alright Still).

Fatty's sound is a collection of rock-steady reggae beats coupled with a hint of jazz, hip-hop and dance.

Saturday night's set was filled with 60s/70s reggae classics as well as reggae remixes of grunge, dance and hip-hop tracks.

Before the show kicked off, I had the opportunity to catch Mike aka Prince Fatty for a chat and to find out more.

EB: How and when did you first start getting into performing/producing?

MP: Ever since I left school I've been working in studios, learning how to sound and record, and I kind of ended up on a journey drifting between studios, learning about the craft all the time.

But from a very early age I was interested in sound.

My first addiction was video games, and at the age of eight I found myself recording bootlegs of old records onto tape to sell at school so I could make money to buy video games.

Even then I found myself getting annoyed when the vinyl sounded rubbish recorded onto tape, I always wanted it to sound perfect so I used to run between tape decks trying to get a better sound.

When I left school I started working in studios, I learnt most things in about a year but I yearned for more.

Over the years I've had to deal with a lot of patronising people in the business, especially at the big studios such as Abbey Road and Olympic – assistant engineers hated the fact I was so young and getting paid more – they just didn't get it.

EB: How did you decide which members to invite to the Prince Fatty project?

MP: For me it was down to quality.

I use singers as instruments, depending on what I want and how loud or soft etc, I choose singers who are best for a particular track.

If I want some ambience I'll use Hollie (Cook, daughter of the Sex Pistols drummer Paul Cook), but if I want something rough and dirty, I'll use Horseman – I like to mix it all up.

Some people who embark on projects like this have certain limitations, but I didn't, which was nice.

EB: How would you describe the group's sound for those who do not know?

MP: I tried to update the traditional reggae sound and bring it forward but without losing its spirit.

Reggae and jazz have a lot in common, but when it comes to reggae people like to revert back to the 60s/70s sound and for selfish nostalgic reasons I wanted to bring it back.

EB: You've worked alongside/for many people over the years including Lily Allen and Graham Coxon of Blur, how was that experience for you?

MP: Lily's brilliant.

When I mixed the songs for the album I said this is going to be a smash, but no one believed me at the time.

For me, I always thought her lyrics were brilliant.

At the time, she was fresh and therefore for me it was a real positive experience.

All in all it took about a week to mix the songs – it was very quick.

In the record there are loads of samples which I introduced, referencing old reggae producers and labels like Studio One.

In the tracks LDN and Smile you can hear these influences and all the drum samples came from my drummers.

EB: In 2005 you released an instrumental track for clothing label Stussy, which received a lot of airplay on radio one, was that a surprise success for you?

MP: It most certainly was a nice surprise.

Normally stations such as Radio One tend not to play instrumental tracks, so yeah it was a surprise.

Stussy approached me after they originally tried to license some original 60s reggae, but couldn't do it.

Somebody mentioned to them that Prince Fatty could knock something up, and I did, it took me a day.

EB: You followed with an album 'Survival of the Fattest' how was the recording process for you after years of being the other side of the desk?

MP: It was nice, I didn't have to argue with myself.

I have to say big props to Mr Bongo (record label) who are the best, a lot of labels interfere, but Mr Bongo didn't tell me who to be, there was no interference at all.

They just let me get on with it.

They have great taste in music and it was a pleasure to be put out on a label that is home to some great artists.

EB: For the recording process you used vintage analog equipment, why was that?

MP: Because it's cheap.

In the 90s studios, the BBC especially, were throwing out loads of equipment, some of it top of the range analog equipment which are now vintage antiques.

People didn't want it anymore, so I got loads of it.

EB: Is it important for you to use vintage equipment?

MP: Put it this way, analog is the oven and digital is the microwave.

If you put something in the oven to slow cook the better it tastes.

It's the same with analog equipment, I find it has a better sound.

But if you want something quick then digital is the way forward.

EB: Is this your first visit to Guernsey and what can the gig-goers expect from your set tonight? Mike: This is my first time to Guernsey and I'm impressed.

Flying in on a propeller plane felt good.

Well I have some massive tracks on me, some that have never been played before, so we have some debuts for sure.

I have some hip-hop remakes and even some Nirvana reggae remixes.

The crowd is in for a good night for sure.

*

On the night over a hundred people turned out to see Prince Fatty play and everyone in the room was beaming.

The set was full of old reggae gems infused with the 60s/70s sound that Mike loves so much.

As soon as he came on stage the crowd were swaying to the beats, as Guernsey was given a true taste of Jamaica.

Keeping to his word earlier on in the evening, we saw some reggae remixes of hip-hop and dance tracks including The Prodigy's Outta Space.

He effortlessly delivered, clearly a master of his craft – he has mixed some great tracks over the years and on Saturday night we witnessed this as well as being treated to some fresh debuts from the man.

It was up-beat, positive and delivered in an organic funk fashion.

Horseman as an MC is clearly a great crowd pleaser, and marched the stage showing off his skills as a traditional reggae front man.

At one point in the evening he was pouring drinks for the adoring crowd.

The night ended on a high with not one but two Nirvana reggae remixes, Lithium and Come As You Are.

All in all the night was a great success and it was brilliant to have the Get Down back.

I'm looking forward to the next one.