Elk Hunt Part 1 Song

[Rita Seliba]

Nomatter how you want to spin it, Dylan was far ahead of his time. He was modeling in big campaigns far before the fashion world became obsessed with skateboarding, and he was one of the main forces that brought skating away from its emphasis on tech and back to focusing on doing clean and simple tricks with refined taste and style.

How did you guys go from a working relationship to a true friendship?

I got to be pretty close with Dylan quickly. He was maybe sixteen or seventeen, and I was probably in my early-to-mid thirties, so I was quite a bit older than him.

I edited Mind Field out in Ohio. Alien Workshop had an office with a little edit suite right behind a garage area where Mike Hill [co-founder Alien Workshop] and Chad Bowers were doing all the animations. I was out there for a few months, and people would come out and sit, watch their part with me, and also do some of the visual stuff with Mike and Chad.

I think the credits song was by Danny Garcia. Back then, he was Native Baron, not Reverend Baron. We had to clear everything and it was so much easier when you can use stuff your friends made. I love that ending song, too. It has a trippy feel to it.

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Since I left that church at the end of February, I did a lot of the groundwork to set them up for success. One of the last things I gave them was my to do list. By the time Easter weekend rolled around they had hundreds of families show up and the event was a huge success.

So, I moved my Egg Hunt to Palm Sunday weekend. It worked just as well and people still came to church on the following Sundays. For many communities, Easter is a weeklong event. You can move it around to fit your church.

I found that having one big hunt zone where different age groups search at different times worked better than having them go all at once in different areas. Doing one big zone allowed parents to watch/participate with all their kids instead of having to choose.

If you have the right team with you, your event will be that much more of a success. I usually started recruiting in February for my top leader positions and continued to recruit up to the week of the event to get all my spots filled.

(Sighs) It's too much discomfort. When I was working with Byron Lee, Duke Reid, Derrick Harriott, all of them, Dennis Brown, blah blah blah, I was still playing music for the Jamaican Philharmonic Symphony Orchestra. So I felt good about that. I didn't care about money like musicians now. You see Monty who just walked out? He said if he had money he'd never tour again. But it's only now that I am over 60 that I say I want money. Just to make sure that if I become 70 I don't have to come to the studio and beg for money. But I didn't care about money back then. I was a Rastaman pickney.

So I told Byron Lee "I will tell you what - leave me off the tour". But once I joined the band, any band I joined I became important. I just know more music than a lot of people around me. So the band depended on me. If a foreign singer came I would get the music and I would write it out, rehearse the band and write out the horn parts and give them to the horn players and make sure they knew their parts. I wasn't even the band leader but I was getting the same money as the band leader. You can print that. Neville Hines. He was the band leader. He never knew I was getting the same pay as him! Byron said don't tell him! I was getting the same pay as the band leader from the first day I joined the band. But I was doing extra. So when Byron Lee said we were going to go to Miami and drive I said "No".

So I'm just giving you the little Byron Lee episode. I am not really proud of it. It is always on the Internet all about me and Byron Lee. The only thing I was proud about, about Byron Lee was that he was a staple person in the reggae music industry and I am on the cover of one of his albums. I bet you don't know that. I am on the jacket of one of the albums.

One of his albums. I think somebody posted it on Facebook and I saw it and I saved it somewhere. So I was with Byron Lee doing two shows a night and I didn't like the system. 17 players and when you come out of your hotel room you see 17 plates of pork. I am a Rastaman so I don't eat pork. I never eat pork. And I am always saying, "Listen, I was a prisoner." I tell him "I was a prisoner in Stony Hill. I went to boys prison, joined the army and now Byron Lee's band. And even in prison you don't give everybody pork. You have a choice."

Byron Lee didn't like that. So we had a disagreement and I asked to go home. And I came home and ended up right in the military jail! (Laughs) Because Byron Lee and them just called the military and told them I was coming and they pick me up right at the airport. They approach me from behind. And they walked me right to jail. That was it. And that was my episode apparently. Nothing more. So I'm not proud of that.

I hate to say that I started to work with Byron Lee - me and Tyrone and a lot of other people were working before Byron Lee. I was working with In Crowd band, Hells Angels band. That was the first band. In fact, they were the ones who took me out of the army. I was playing Beethoven. I was a little boy but I was conducting the band every day. The bandmaster would sit down and watch me and say "Clive Hunt, practice Beethoven's fifth with the band". I would go in there even with men who were my grandfather and I will be there conducting and directing. So those things are more important to me than the Byron Lee episode. I want you to write that.

But anyway, when I reach the studio it's only me. There was no singer. So I just went on the piano and I just started to sing (sings bass line to Milk and Honey) and then Fish Clarke, who is Johnny Clarke's brother and I didn't even know him before, he came in and asked Errol Brown "Wha gwaan". Errol said that I was doing a session and he asked who the drummer was. We told him that we had no drummer. He volunteered to play the drums so I decided to kind of write the song quick. Quick, quick, quick. I took the bass from Duke Reid - Jackie Jackson actually made that bass famous. He was the one who configured the bass with some sponge in it and all of that.

So Fish played and I just played (sings bass-line) and we did the bass and drum. Then I played the piano. Then I went on the organ and if you listen to the organ nobody else ever did that - it was a totally different thing. If you listen to Milk and Honey nothing in reggae is like that. And when I finished that I did the horns. I played the trumpet and then I went back and I wanted to imitate the sound of a trombone. I used the trumpet with a piece of rag. (Imitates the horn sound which sounds like a trombone). Then I sang the song and Karl Pitterson came there now with BB Seaton from Gaylads. They came into the studio and saw me and liked what I was doing. Karl played the guitar and BB sang the harmony with me. And we just finished and mixed the song. I remember that that was out of the same thousand dollars. I did the stamper, the label, and I pressed a thousand copies.

And then when I went downtown to Randy's, which is VP.I had a taxi to take me with a thousand records. I went in with 50 records, two boxes of 25. So I went to Miss Pat and I said "Everybody can know that I produced now". She told me to give her so I gave her two copies from two boxes with only 50 records. Remember I have 950 records in a taxi outside, I don't know this taxi man and I have to pay him. When she heard the record she told me to give her 25 on consignment. I didn't know what consignment was. I didn't know what the word meant. So I went outside and I asked the gate man, the security guy what consignment meant. And he said "Whenever it sells you get paid".

So it was a Friday evening, I remember, and I drove up to Aquarius where all of the sound system people would buy. It was full all the time. So I went to Aquarius with the same taxi man and when I went in there with the two boxes of records. I just walked up with the boxes of records and Herman Chin Loy who owns the record shop - we were friends too because we used to do a lot of work for him. He knew I was finally producing a song.

So when I went in he said "Clive! Record that?" I said "Yeah". He said "What happened to you?" And I said "Nothing" because I thought he was going to tell me the same foolishness. So he said "Let me have it" and he took the two boxes and he took out to records and he had two turntables and he put them on it and he started playing them! When the intro came in I saw everybody in the shop say "Give me one of that!" And he said "Clive, how much do you have?" I said "A thousand". He said "Sell me".

Friday evening he bought the thousand records and he paid me cash. Then Monday morning at 5:30 in the morning he came to my house and knocked on my door and woke me up at the window. I said "Herman! What happened?" He said "I want a thousand more records!" And Herman, every other day from that day, I will tell you Monday, Wednesday, Friday, Monday, Wednesday, Friday - a thousand copies. And he bought 10,000 copies from me.

And then Geoffrey Chung contacted me and told me that the record was selling so much that I couldn't handle it so I should give it to a distributor. I respected Geoffrey and anything he said. Anything he said was like law to me. Except when it came onto music! He told me about Tommy Cowan because Tommy Cowan had the Talent Corporation and he had Inner Circle and all of these people. He told me that Tommy wanted to distribute the record. So I gave him and that was the last of it. I never heard anything again!

Yes, club and dance and play. And I had a problem with that because (laughing) I will tell you something - Robbie Lynn was a part of Now Gen, Mikey Boo was a part of Now Gen and Mikey Chung who was in and out of In Crowd was a part of Now Gen. I was like an honorary part of Now Gen. And they wouldn't make a record. So I was trying to encourage them to do recording. So when I did the recording I didn't want my name to have anything to do with it. All I wanted on the record was "produced and arranged by Clive Hunt" on the thing. I didn't want my name to be on it. So I decided to put "In Crowd band". So when the record started to blow up and was playing on the radio and suddenly they were playing it at gigs and then they were talking about doing an album. A big hit album. And they put the song on it.

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