For our friends in London, you can now purchase
THE PROCESS MEETS GHETTO PRIEST: THE LION OF JUDAH HATH PREVAILED
At ROUGH TRADE!
Rough Trade West
130 Talbot Road
London W11 1JA
T: 020 7229 8541
Friday, April 22, 2011
Tuesday, April 19, 2011
THE PROCESS MEETS GHETTO PRIEST NOW AVAILABLE AT ERNIE B'S REGGAE
The Process Meets Ghetto Priest:
The Lion Of Judah Hath Prevailed
is now available through Ernie B's Distribution!
Ernie B's is the one-stop distributor of reggae vinyl & CD's! They stock virtually every reggae music item from around the world (1 million+ items in stock). No other company has a reggae selection that comes close. They are also the most efficient and customer-friendly distributor in the entire music industry.
Sunday, April 17, 2011
THE PROCESS MEETS GHETTO PRIEST PLAYED ON THE BBC
THE PROCESS MEETS GHETTO PRIEST PLAYED ON THE BBC,
Saturday, April 16th!
On The Wire is a radio programme broadcast on BBC Radio Lancashire.
It is presented by Steve Barker and is the longest running program of it's kind on the BBC!
Thursday, April 14, 2011
Robert "Bo" White's Review of THE PROCESS MEETS GHETTO PRIEST in REVIEW MAGAZINE
THE PROCESS MEETS GHETTO PRIEST
"The Lion Of Judah Hath Prevailed"
The Process Release a New CD of Power and Beauty
From Issue 724 (Published April 14th, 2011)
Written By Robert 'Bo' White
I’ve always liked The Process and the incredible full body blast sound that heats you up like a nuclear meltdown whenever you catch them live, or through recordings. The Process has never strayed too far from their unique vision of reggae music and their molten embrace of social consciousness and spirituality. They have a tenacious grasp on a perspective that music can be more than just another silly diversion.
This is all good and true but our airways and information highways are clogged with the stuff that keeps the public isolated, uninformed, and preoccupied with meaningless spectacles such as sports, instant celebrity, and mass-produced disposable culture.
It seems that the more we are plugged in, the more we are tuned out. So unplug your X-Box, I-Pod, DirectTV and Notebook and listen to the real thing. The Process creates astonishingly complex and beautiful music in layers of sounds and rhythms with a voice that speaks an uncompromising truth.
This is the thinking man’s soul music - warm, passionate and political. Even if you don’t ascribe to Rasta principles and practices or the deification of Haile Selassie, you will still be able to dig the music. If you are Rasta, well. You are there.
The Lion of Judah CD is a seven track gem that was three years in the making. It was a painstaking labor of love featuring an international cast of characters including Ghetto Priest aka Squids from London’s eclectic music scene, Skip McDonald from Sugarhill Records house band, seminal techno wizard David Harrow, Adrian Sherwood from the UK Reggae scene, Congo Natty aka Rebel MC and, of course, the members of The Process including Seth Peyton.
The CD was recorded in London, Los Angeles, and Michigan. It was worth the wait. This is one of the most thematically rich and concise bodies of music to emerge since Good Morning Magpie by Murder by Death or John Mellencamp’s No Better Than This. The Process are motor city metal madmen that will take it to you like a full body slam and then pick you up, dust you off and punch you in the face - musically speaking. You may not realize what just happened, but you will beg for more even though your face is bloody and your body is bruised and aching. This is a modern spiritual music. Listen to the gospel.
The music and lyrics are inspired by the story of Haile Selassie’s life and his belief that God’s spirit would prevail over the forces of evil. This is heavy karma in the day and age of never ending war. In Rasta culture, the Lion of Judah represents Emperor Haile Salassie of Ethiopia. Rastafarians hold that Selassie is a direct descendant of the Israelite Tribe of Judah through the lineage of King David and Solomon and that he is the Lion of Judah mentioned in the Book of Revelation. (Revelations 5:5).
The EP contains all of the original mixes of The Lion of Judah Hath Prevailed – Little Axe Mix, Adrian Sherwood mix, Congo Natty’s well toasted mix, Adrian Sherwood’s Mix plus a bonus Dub-Step version by David Harrow. There is a bonus track entitled Ghetto Life by Ghetto Priest from his upcoming CD Sacred Ground.
The Music:
The disc opens with the original mix of The Lion of Judah Hath Prevailed with David Asher and Ghetto Priest switching off on vocals. The sound is pristine with just enough echo and the vocals mixed up front. There is a solid interplay of instruments with the rhythm section, bass and percussion mixed back and echoed guitar.
Version two is a Chilled Mix worked out by Little Axe. This mix has a softer sound with an emphasis on mixing the sweet harmonies up front in the mix. The drum machine is less effective but never interferes with the message or overall sound. Skip McDonald’s guitar work is splendidly understated. He riffs in an economical melodic style that gives this mix emotional grit.
Adrian Sherwood is the featured producer on the next three mixes. This one features Congo Natty on vocals with Asher. The rhythm section is used to greater effect on this mix. Drum/percussion and Bass lines are more prominent. Natty has a raspy rapping style that drives the power of the message.
Sherwood’s “Toasted” mix brings Congo Natty back in a free-form rap of the Rasta gospel and praise His name. This is the only version that strays from the original lyrics written S.G. Townsend, David Asher and Garrick Owen. There is more of an electronic/synthesized vibe to this mix. It sounds great and Congo Natty’s inspired vocals elevate this version to an almost perfect mix. Sherwood’s final effort, “The Dub” mix - is primarily an instrumental workout that experiments with empty spaces, echo, electronica and synthesized surges of sound and fury
David Harrow mixed the sixth and final version of the Lion of Judah. It is slowed down and has abrupt stops and starts with some wah wah guitar mixed with synthesized squibbles, blurts and conga beats. At times the vocals are accapella and echoed giving this version a minimalist edge
Bonus Track: Ghetto Life by Ghetto Priest from the forthcoming Ghetto Priest CD “Sacred Ground”
Ghetto Life has a sparse arrangement to an unobtrusive reggae beat with occasional electronic doodlings. The musical backdrop includes a somber keyboard riff that weaves in and out of the mix. The vibe is laid back but the lyrics tell a tale about the horror of poverty, violence and exploitation. The contrast is powerful. Ghetto Priest sings in a distinctive tenor that is reminiscent of Sting during the heady days of The Police. A masterful performance!
The Lyrics
It is essential to the overall experience of the CD to know the words that support the music. The lyrics are repeated in each of the six mixes with some degree of variation
The Lion Of Judah Hath Prevailed
Standing like patience on a monument, smiling at grief
Blood sweat and tears for the sake of peace
He sits upon the highest regions, overlooking all
the harder they came is the harder they fall
When I see the lightning and I hear the thunder
I know man and woman have made a blunder
Jah makes the winds His messengers, flaming fire His ministers
At his word the mountains rose and the valleys sank down
The Lion Of Judah hath prevailed
Sunday, April 10, 2011
The Process Meets Ghetto Priest Receiving Radio Play
The Process Meets Ghetto Priest: "Lion Of Judah Hath Prevailed: is receiving radio play on the following stations so far:
The Echo Chamber features selections from "THE PROCESS MEETS GHETTO PRIEST: THE LION OF JUDAH HATH PREVAILED",
as well as more tunes from THE PROCESS and lots of other great music.
Click the link for The Echo Chamber program 4/6/2011 to stream the show!
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CJAM'S DUB, ROOTS REGGAE, DUBSTEP, AND MENTO SHOW...
HEARD EVERY FRIDAY NIGHT FROM 10 P.M. TILL MIDNIGHT ON 99.1 FM IN WINDSOR & DETROIT OR WWW.CJAM.CA
April 08 2011
(Right click and Save-As) to hear the program.
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The Luver Edition
Hosted by Don Campau
April 2011
No Pigeonholes is a program of underground, independent and home recorded music presented on several different stations.
Radio Marabu hosts the European Edition, KKUP broadcasts the show to the San Francisco and Monterey Bay Areas,
and The Luver.com plays the show every Tuesday night at 8 PM Pacific Time.
Each show features different material.
Listen to past podcasts of No Pigeonholes:
This includes KKUP, Radio Marabu and past shows on The Luver.
------------------------------
Purchase Compact Discs of The Process Meets Ghetto Priest: "Lion Of Judah Hath Prevailed
Purchase Digital Downloads
i-Tunes
Tuesday, March 29, 2011
Just Released: THE PROCESS MEETS GHETTO PRIEST: THE LION OF JUDAH HATH PREVAILED!
At Long Last, Just Released:
THE PROCESS MEETS GHETTO PRIEST: THE LION OF JUDAH HATH PREVAILED!
Featuring: LITTLE AXE, ADRIAN SHERWOOD, DAVID HARROW and CONGO NATTY AKA REBEL MC.
Over three years in the making, recorded in LONDON, LOS ANGELES and MICHIGAN.
The new 7 track EP is finally unleashed on the world!
Click this link to BUY THE CD and hear sound samples.
Go here to BUY DIGITAL DOWNLOADS and hear sound samples.
To buy the release on i-Tunes GO HERE.
Go here to read ABOUT THE ARTISTS involved in the release.
Visit this link to read the AMAZING STORY of the making of
"THE LION OF JUDAH HATH PREVAILED!"
Don't let this extraordinary and unique recording fall off your radar!
Check out THE PROCESS MEETS GHETTO PRIEST:
On TEMPLE GONG RECORDINGS™.
Tuesday, March 08, 2011
THE PROCESS has received Four Nominations in the 2011 DETROIT MUSIC AWARDS!
THE PROCESS has received Four Nominations in the 2011 DETROIT MUSIC AWARDS!
Outstanding Reggae/Ska Artist/Group:The Process
Outstanding World/Reggae/Ska Vocalist: David Asher
Outstanding World/Reggae/Ska Songwriter:David Asher
Outstanding Urban/Funk Musician:Gabe Gonzalez – ( drums )
Friday, April 15th, 2011 will mark the 20th Anniversary of the Detroit Music Awards.
The Awards are Held at the Fillmore in Detroit.
2115 Woodward Avenue Detroit, MI 48201-3469
Voting members may cast their votes at www.detroitmusicawards.com
Thank you all for your support!
Saturday, March 05, 2011
ABOUT THE ARTISTS Involved in "THE LION OF JUDAH HATH PREVAILED".
ABOUT THE ARTISTS involved in "THE LION OF JUDAH HATH PREVAILED".
THE PROCESS MEETS GHETTO PRIEST
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THE PROCESS:
The infectious grooving sounds of Detroit's legendary rock reggae sensations THE PROCESS are making believers of the masses with their blend of high energy rock and the grooving warmth and passion of reggae. On a mission to fight ignorance, apathy and social retardation, THE PROCESS has been at the center of attention and controversy , while breaking new ground with their uncompromising attitude and performances. THE PROCESS catalog of recordings crosses barriers and breaks down stereotypes that will keep even the most discriminating listener interested.
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GHETTO PRIEST:
Ghetto Priest aka Squidz is one of the most flamboyant, creative performers to have emerged from the London music scene in the past few years. Like the community from which he hails, Ghetto Priest is a man at ease with multiple musical visions. Walk through the streets of London and you begin to grasp the flow and the rhythm that has produced his unique sound. It’s a community of exchange; African/Caribbean and Irish, Asian and English, each mixing and informing the other, lending beats and grooves, keeping things fresh and new.
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SKIP "LITTLE AXE" MCDONALD:
Little Axe is the alias of Skip McDonald, a blues performer whose list of credits also included work on some of rap music's most influential records. As a member of the Sugarhill Records house band, Skip, along with Doug Wimbish and Keith LeBlanc played on a number of the most seminal records of the era, including the Grandmaster Flash classics "The Message" and "White Lines." After exiting Sugarhill's ranks, the group worked at Tommy Boy Records, where they teamed with producer Adrian Sherwood to develop his famed On-U Sound. Sherwood subsequently convinced the trio to relocate to London, where they were rechristened Tackhead and fronted by vocalist Gary Clail. By 1992, McDonald adopted the name Little Axe and returned to the blues of his youth, albeit a brand of blues informed by his latter-day musical experiences.
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DAVID HARROW:
Producer and programmer David Harrow is one of the busier and more elusive figures in techno, often shrouding his assorted activies under a variety of aliases. Among Harrow's earliest projects was a remix of the 1990 Depeche Mode hit "Enjoy the Silence". He later collaborated with artists ranging from African Head Charge to Psychic TV to Gary Clail, and also worked with the On-U Sound System and Andrew Weatherall. He also recorded under the guises Technova and James Hardway.
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ADRIAN SHERWOOD:
Long one of the most influential and innovative figures on the U.K. reggae scene, producer Adrian Sherwood and his famed On-U Sound label pioneered a distinctive fusion of dub, rock, and dance that made waves not only in roots circles but also in the pop mainstream. Since the mid-'80s, Sherwood is among the most visible producers and remixers in all of contemporary music, working on tracks for artists as varied as Depeche Mode, The Cure, Simply Red, Sinead O'Connor, and Ministry. He became involved in industrial music, producing tracks for Cabaret Voltaire, Skinny Puppy, KMFDM, and Nine Inch Nails, and although On-U Sound continued to reflect its leader's eclectic tastes, the label has remained a top reggae outlet. Sherwood has recently released two solo albums on Peter Gabriel's Real World imprint.
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CONGO NATTY A.K.A. REBEL MC:
Congo Natty A.K.A. Rebel MC is an English jungle producer and toaster.
The '80s popster turned proto-jungle revolutionary was born Michael West in 1965 in London. He formed "Double Trouble" in the early '80s with Michael Menson and Leigh Guest, releasing the ska-pop hit "Street Tuff." Rebel MC later gained fame in England as a pop/rapper, but by 1991 he had released "Black Meaning Good", an album that presented jungle with hardcore techno married to dub basslines and ragga toasters such as Barrington Levy and P.P. Arnold. His 1992 singles "Rich Ah Getting Richer" and "Humanity" also showed the new direction. "Code Red" -- released as Conquering Lion -- became an outright jungle smash in 1994, bringing the jungle movement to the British masses.
The Amazing story behind the making of "THE LION OF JUDAH HATH PREVAILED"
THE PROCESS and GHETTO PRIEST, RELEASE “THE LION OF JUDAH HATH PREVAILED”
A New seven track EP from Detroit’s premier Reggae Rock band and London's Sublime and Enigmatic Vocalist GHETTO PRIEST.
It was three years ago, on a January morning, when the seeds of “The Lion of Judah Hath Prevailed” were sown.
In London, Ghetto Priest, always one to embrace and explore new collaborative possibilities, approached THE PROCESS vocalist and writer David Asher, with an idea to work together.
Considering the exciting proposition, Asher sent Ghetto Priest a video link to "The Footsteps of The Emperor,” a British film about Ethiopian Emperor Haile Selassie, “The Lion of Judah,” who, in the 1930s, was exiled to England, where he escaped the forces of fascist Italy who had occupied his country.
Inspired by Selassie’s story, Ghetto Priest emailed his “Lion of Judah” vision to Asher. Ghetto Priest saw "The Lion of Judah Hath Prevailed" as a musical tribute to The Ethiopian Emperor’s courage and unwavering faith that God’s spirit would always prevail over the forces of evil.
Less than two weeks later, Asher received a first “THE LION OF JUDAH” mix from Ghetto Priest, who was inviting Asher to add his own verses to the composition.
With the help of PROCESS bandmates, Garrick Owen, Bill Hefflefinger, Gabe Gonzalez and Seth Payton, Asher and the band made a series of demo tracks with Asher singing all the vocal parts.
Now, with a number of assembled tracks in hand, the group recruited Billboard Charting Producer Gee Pierce to cut a first full version of “THE LION OF JUDAH,” which was immediately sent back to London for Ghetto Priest’s review.
Joining Ghetto Priest in the ON-U SOUND studio, were guitarist/vocalist SKIP "LITTLE AXE" MCDONALD (formerly of the Original Sugar Hill Records house band) and MIKKI SOUND, who arranged and sang backing vocals.
Pleased with the song’s continued evolution, McDonald asked to do the next re-mix himself, re-cutting all the instruments, and adding his inventive interpretation to the song.
Reconvening in Flint Michigan, with Platinum Producer Bernard Terry, and the London sessions vocals, THE PROCESS then mixed it's version of the track.
At the same time celebrated British electronic music producer DAVID HARROW, now based in Los Angeles, remixed a wicked “Dub-step” version of “Lion” for inclusion on the release.
The final pieces of “THE LION OF JUDAH” puzzle came together when Dub producer ADRIAN SHERWOOD brought in bassist GEORGE OBAN, and Junglest CONGO NATTY (A.K.A. REBEL MC) and mixed three alternative “THE LION OF JUDAH” tracks.
Using elements of both THE PROCESS, LITTLE AXE, and CONGO NATTY, SHERWOOD brought another creative perspective to “THE LION OF JUDAH” party, resulting in a Vocal Mix, a Congo Natty “Toast,” and a Trippy-Dub version of the tune.
The EP (extended play) also contains a bonus track, "Ghetto Life" from Ghetto Priest's forthcoming "Sacred Ground", his full-length album produced by Adrian Sherwood for On-U SOUND.
So now, let us present: The Process meets Ghetto Priest, Featuring Skip “Little Axe” McDonald, Adrian Sherwood, David Harrow, and Congo Natty ... A statement to all who hear, friend or foe, that Emperor Haile Selassie I Hath Prevailed.
-Dave Hogarty
Wednesday, February 23, 2011
Coming in March 2011: THE PROCESS MEETS GHETTO PRIEST
Coming in March 2011 on Temple Gong Recordings:
THE PROCESS MEETS GHETTO PRIEST: "THE LION OF JUDAH HATH PREVAILED".
Featuring Skip "Little Axe" McDonald, David Harrow, Adrian Sherwood & Congo Natty a.k.a. Rebel MC.
A special 7 track extended play. Stay tuned for release information very soon!
Saturday, February 05, 2011
Shaolin Sound System 2011 White's Bar Schedule
Shaolin Sound System is a joint venture between David Asher and Seth Payton. Specializing in Reggae, Ska, and Dub Music, with an emphasis on music from the "Golden Age" of Roots Reggae.
Wednesday, January 12, 2011
Rock & Reggae Madmen
By Judy Seifert Staff Writer
VASSAR – Rock reggae’s madmen, The Process, are celebrating their 20th anniversary this year and part of that celebration is a rare appearance in their hometown of Vassar.
The show is set for Saturday, Jan. 15, at The Vassar Bar, 120 E. Huron Ave. The cost of a ticket is $5.
“We are really looking forward to seeing our friends and family at the Vassar show,” said David Asher, who heads up the group. “It’s been three years since we’ve been back. It will be fun.”
During his 20 years, the band has released an impressive catalog of music beginning with “Mystery Babylon”, “Bald Head Vex”, and “Craven Dog”.
According to critics, the group’s music is groundbreaking, an innovative fusion of rock, reggae and metal. Some of the songs from these releases have become instant classics and fan favorites.
The Process was formed in 1989 by Asher, the group’s vocalist, with Garrick Owen on guitar, and Bill Heffelfinger on bass. Gabe Gonzalez, formerly of George Clinton’s P-Funk All-Stars, now completes the group on drums.
The group has performed in New York, Los Angeles and Chicago.
“Our concerts include the use of lasers, props, costumes, theatrics,” Asher explained. “Our awe- inspiring finale of Pigman is legendary.”
The band was recognized as Outstanding Reggae Group in the Detroit Music Awards in 2007.
They are currently working with producer Adrian Sherwood.
Sherwood is best known for his incredible live shows with his On-U Sound Record label, Asher said. Sherwood has produced Nine Inch Nails, Depeche Mode, The Cure, Skinny Puppy, Ministry, Dub Syndicate, Lee ‘Scratch’ Perry, Tackhead, Ari Up of the Slits, and phenomenal Jamaican artists Prince Far I, Mikey Dread and Bim Sherman, among others.
The group will release “The Process Meets Ghetto Priest, The Lion of Judah Hath Prevailed,” this coming spring. The CD was recorded in London, Los Angeles and Michigan.
You can also check out their website at www.theprocessonline.com, or www.myspace.com/theprocessmusic.
Thursday, January 06, 2011
Reggae stars, The Process, coming to Vassar Bar
The Process, from left, Bill Heffelfinger, David Asher, Garrick Owen and Gabe Gonzalez, celebrates the band's 20th anniversary Saturday, Jan. 15, at the Vassar Bar, 122 E. Huron in Vassar.
A rather spirited night followed The Process — David Asher, Garrick Owen, Bill Heffelfinger and Gabe Gonzalez — as the members headed for the Vassar club where they’ll celebrate 20 years of rocking reggae next weekend and give fans a taste of what’s to come.
“This is Pigman’s hometown,” said Asher, the band’s lead singer, as he pulled up a chair in the dimly lit stage room. “This is where it all began.”
OK, not exactly the Vassar Bar — playing there is a first for the self-proclaimed Rock Reggae Madmen. Opening for them Jan. 15 are Neighborhood Muscle and Thick as Thieves.
“It’s so much fun to have you in,” said Jerry Warner, who, with his wife, Karen, owns the bar.
“We never thought you’d say yes,” Asher said, laughing.
“We’re more agreeable than we look,” Karen Warner said.
The Process has raised a few eyebrows through the years, and not just for the novelty of finding a pocket of reggae in this rural Tuscola County village. There’s Pigman, of course, the towering pink porker that serves as the band’s mascot of sorts, along with the skull and the dreadlocks and Heffelfinger’s Kabuki makeup.
From the start, Process stage shows were performance art, from dramatic entrances to sweeping light shows. And its music, fueled by Asher’s lyrics, engaged the mind, introducing concepts that took it beyond the concert halls to festivals at the now legendary Rainbow Farm, where a stand-off with police left its founders dead in 2001.
It has been a long journey with more than a few twists and turns, but nearly a dozen albums later, The Process looks ahead to a new round of opportunity, one that could take it to Europe in coming months.
“I’ve got a good feeling about this,” Asher said of the collaboration that began with a Brazilian publicist named Micki and grew to include Skip McDonald, Ghetto Priest, Adrian Sherwood and Congo Natty.
“It’s a great cast of characters, coming from different directions, and with the help of the Internet, it all came together in the real world. Ghetto Priest is a visionary artist, and he’s got this R&B side, beautiful ballads. Adrian is amazing. They would send three or four tracks from Great Britain, and we’d do our tracks, working with Bernard Terry and with G Pierce before he had that terrible fire in his studio.”
Europe’s “Godfather of Techno” David Harrow worked on the mix, and — God willing, Asher said — the seven-song extended play “The Lion of Judah Hath Prevailed” will come out this year.
“We should be over in England,” bassist Heffelfinger said. “As soon as some have their passports,” Asher added. “We’re getting along, even without the support of a label. We’ve done it ourselves.”
Seth Payton will sit in Jan. 15. “He’s our unofficial fifth member,” Asher said. “He’s always there with whatever’s needed.”
Former drummer Sam Metropolous is expected to stop by, too, though Arik Aneszko, who was the first to play the skins, lives in Chicago now and might not be able to come around.
As for the core of the group, “I’ve known Bill since high school,” Asher said, “and Garrick lived right around the corner.”
“But he was seven years older than I was,” said Owen, who first took up guitar when he was 13 after seeing one in a store window while shopping with his grandma in Sarnia. “She didn’t buy it for me, but I did get one shortly after that. David came around to see my sister, but then he heard me play and we started working on a band together.”
The Process started as a cover band, back in the 1980s, playing Iggy Pop, Cream, a little Rolling Stones; that influence is still there, particularly in the album “Pop O.D.: The Songs of Iggy Pop.”
“Then we finally decided to go original with our reggae,” Asher said. From the beginning, with “Mystery Babylon,” there was an undercurrent of social reform, anchored in the Rastafari movement. More a way of life than a religion, the Jamaican-born ideology embraces the Christian trilogy while standing up for truth, rights, justice and equality. Reggae artists are often the movement’s most visible spokesmen, and its support of marijuana use, as in The Process’ “Jah Made the Herb,” its lightning rod of sorts.
Gonzalez, whose credits include performing with George Clinton and the P-Funk All-Stars, brought still another element to The Process.
“He livens the show up, and changes the vibe from show to show,” Asher said.
“I’m really rock, but I like to change it up,” said Gonzalez, who lives near Detroit. “I’ll evaluate the record, but might throw in a dance hall beat when we’re live.”
“It’s like Bad Brains, that same type of energy,” Owen said.
“He continues to amaze us,” Asher added.
And The Process continues to gather accolades, if not mainstream success. They’ve appeared in everything from High Times to Guitar World, Modern Drummer and The Beat. Heffelfinger, who works with high school bands in Vassar and Grand Blanc, was also profiled in Gothic Beauty for the Goth field routine that took the Bad Axe school band to the state finals when he was its director.
Band members have four corporate endorsements, Asher said, and the band has won numerous honors, including two prestigious Detroit Music Awards and ASCAP nods for 11 years running.
“That brass ring has been so very close,” Heffelfinger said.
They’ve collected memories, too, such as the time, driving home at 2 in the morning, their straight-stick Horizon hit a patch of ice and spun out, taking them within inches of plunging into a deep ditch full of ice-cold water.
“That was maybe 10 years ago, during a snowstorm where the drifts were 4 feet high,” Asher said.
Then there were the concerts, playing Detroit’s Renaissance Center, the Rainbow Farm festival “that was just like Woodstock,” Heffelfinger said, along with showcases in New York City and Los Angeles. Check out the album “Live in Los Angeles,” along with the compilation “Detroit Music Awards 2003 Nominees” to relive the moments. Others sure to surface in Jan. 15’s musical retrospective come from “Craven Dog,” “Blood + Bones” and “Weapons of Mass Percussion,” Asher said, along with “Rasta Soldier.”
The band is reissuing back copies of the early albums, “but when we’re live, there’s an energy level that transcends anything we’ve recorded,” he said. “The power that comes when we’re together raises and elevates the music.
“The live shows are our specialty,” Owen agreed.
Looking back on it all, “we’re not rich but we’re richer in a different way,” Asher said. “We’re smart enough to know that God’s wiser than some people give him credit for, and that this has allowed us to do things on our own terms, the way we wanted to do it.”
They’ve seen a lot of bands come and go in those 20 years, Asher said, and they’ve spread out on their own as well, Asher working as a DJ on occasion and Gonzalez preparing for the release of his own solo projects.
But the best, they promised, is yet to come.
“We’re more polished now; we’re more professional,” Asher said. “You’ll see a real progression at the anniversary show. We know a little more of what we want now, and we have the focus. It’s by the grace of God we’ve been going this long; we’ve taken a lot of unexpected journeys along the way, but it’s brought us to where we are today.”
• What: The Process 20th Anniversary Show
• When: 9 p.m. Jan. 15
• Where: Vassar Bar, 122 Huron, Vassar
• Admission: $5
Thursday, December 23, 2010
Review Magazine: Musical Lions of Judah, The PROCESS Celebrate 20 Years
Musical Lions of Judah:
The PROCESS Celebrate 20 Years of Groundbreaking Music & Social Conviction with 20th Anniversary Show on January 15th
By Robert E. Martin
Read the article at Review Magazine Online here.
Few musical groups performing in the Tri-Cities over the past 20 years have remained intact and consistently evolved to create a defining musical legacy; but true to form, the Vassar-based reggae/rock warriors known as The Process are the exception to that rule.
Consisting of songwriter, vocalist, and visionary spiritualist David Asher, guitarist Garrick Owen, bassist/arranger Bill Heffelfinger, and ex-P-Funk drummer Gabe Gonzales on the pagan skins, The Process have not only survived but more important, flourished as an all-original group, writing and performing their own material while pursuing a very defined musical and cultural vision that truly places them in a league of their own.
To celebrate 20 years as a vital, creative, and ground-breaking musical & social force in the mid-Michigan area, The Process will be staging their 20th Anniversary Show on Saturday, January 15th at 9:00 PM in their hometown of Vassar at the Vassar Bar, 122 Huron Avenue. Special guests will include Neighborhood Muscle and Thick as Thieves, which offer fans and newcomers a rare and intimate concert experience.
When I first met David Asher back in 1989, we ended staying up until the wee hours of the morning as he explained to me the power, basics, and history of Rastafarianism – a Jamaican ‘way of life’, more so than a religion; which I found to be fascinating, as the stereotype of most Rastas is that of a dread-locked, dark skinned, bone-smoking shaman.
Rastafarianism is much about recasting society. When the grid and the iron and the bars closed in on societies everywhere, the Rastafarians loosened themselves from it by refusing to work for Babylon, which is the equivalent of being taken into slavery. Basically, they cast themselves as the Lost Tribe of Judah and their deity exists in the form of the Emperor Haile Selassie.
Beginning in 1991 with Mystery Babylon and leading through Weapons of Mass Percussion, released in 1996, The Process have released ten stunning albums that mix rock, reggae, wisdom, and insight into a blender that seeks to break down barriers and claim fresh territory.
So on the eve of their 20th Anniversary gig, it seems fitting to sit down with Asher to discuss the trials, tribulations, in-roads, and landmarks of this vital musical force on the verge, as I was soon to learn, of breaking in a very big way internationally.
Review: You’ve been carrying the torch and walking the gauntlet against global totalitarianism and the New World Order for two decades now. From Nixon to Noriega and now with the mess in Afghanistan, do you have a sense of foreboding about the state of world affairs?
Asher: Actually, my mood is optimistic. We’ve kicked against the darkness and tried to shed a little light on things; but yes, a lot of the leaders you reference are like a gallery of evil masks, but they all fail. I’m always hopeful and optimistic. Humanity is ultimately flawed, but ultimately we also have the potential to be divine, in spite of our human nature.
Review: Have your objectives for The Process changed since when you first started the band 20 years ago?
Asher: The basic inspiration has not changed, nor our desire to express our need to communicate truth, human rights, justice and equality. Our message in the beginning is still our message now. What has changed is the ways to say it.
Review: If the message hasn’t changed, is it harder to restate it?
Asher: I don’t think so. Rastafari inspired a lot of the music to me and it’s like an unending stream that keeps flowing and refreshing one creatively, so you don’t get stale. I get frustrated that we don’t have the money constantly coming in to record new material, but people I’ve admired for years share that frustration. We keep writing new material, though.
Review: A lot of sacrifice is involved with any type of art and The Process has definitely sacrificed; yet remained steadfast with your message. You’ve kept at it and have developed an impressive legacy over two decades and are still based in the mid-Michigan area. Plus you get feedback from all over the world. How have your audiences expanded?
Asher: Thank God for the Internet, you know! In terms of units we sell more online and the same amount at live shows as we ever did. What I’ve noticed is that five people want to buy a disc at a show, 10 more will follow suit. It’s human nature. In terms of our fan base, the USA is still our biggest country and Michigan our biggest state. The second is the United Kingdom.
Review: What’s going on with your latest project? I understand you have some heavy hitters involved.
Asher: It’s very exciting and started three years ago when I was visiting my parents in Florida. While I was on mySpace, I wrote the guy handling the Tackhead page, and he introduced himself as David Hogarty, a publicist and writer from Florida, who worked with both Tackhead and Living Color. We got to be friends and he’s worked with Al Dimeola and wrote for a Jazz magazine and gets very excited about art.
Through him I was introduced to Micki, this Brazilian girl that works with legendary Dub Producer Adrian Sherwood, who’s worked with artists as diverse as Lee Scratch Perry, Primal Scream, Nine Inch Nails, and Sinead O’Connor. He is also the founding father of legendary dub label On-U-Sound.
I admire that label the most because it was pivotal in fusing reggae with punk rock, which kind of formed the template for The Process sound. From that point things snowballed. That same weekend I met Ghetto Priest – this amazing singer from London who possesses an amazing palate of sound. He has a voice like Nat King Cole that is amazing. So I wrote to him and he wrote back and we both admired each other’s work.
Micki works with Skip MacDonald, from the original Sugarhill gang and before I knew it, Ghetto Priest sent an email to me saying, I’m feeling a collaboration coming on. What can I do?’
I started getting brain block and then he sent me an MP3 the next day inspired by this video about Rastafarians living in a Roman town during Mussolini’s reign that were in exile from the Italians entitled Footsteps of the Emperor. He sent me the phrase, ‘The lion of Judah Shall Prevail’ and then sent me a bridge to the song the next day. From that I pieced a song together and wrote the third through fifth verses, which I sent to London, and they sat there for a while.
We couldn’t figure where to record, so he fished around and finally spoke to Adrian, who agreed to record the tracks at On-U-Sound. Micki got Skip MacDonald involved with production, who did a mix with Bernard Terry over the summer. Meanwhile Micki and Skip did backing vocals on some tracks, which was amazing, because those guys played with Mick Jagger and Jeff Beck. Skip did the whole mix and then finally, David Harrow from the On-U-Sound collective hit me up and said he wanted to mix our tracks.
Harrow was one of the busier and more elusive figures in techno, often shrouding his activities under a variety of aliases. Among Harrow’s earliest projects was a remix of Depeche Mode’s Enjoy the Silence; and he later collaborated with artists ranging from African Head Charge to Psychic TV. When Harrow visits Germany today, he is hailed as ‘The Godfather of Techno’.
So throughout this amazing network, we’ve got some collaborators on our new tracks and all of this should blow up shortly. We’re in negotiations with a German label and hope to have the new disc released before the spring.
The title will be The Lion of Judah Shall Prevail.
Review: Let’s talk about the rest of the members in The Process. Garrick Owen and Bill Heffelfinger have been with you since the beginning. Can you share some impressions about working with these guys in terms of ways they surprised you with their contributions?
Asher: They constantly surprise me because they’re such great musicians they make it look easy, even when it isn’t. They both know their theory and there isn’t a lot of ego, even though they are both flamboyant characters and unique in their own way. They’re both Leos, which I know how to deal with. My parents are Leos. Garrick and Bill are like two towering lions roaring away, so I let them rip. But I’m a Rastaman, so I like to be around lions.
What gave us a second life was getting Gabe Gonzalez. His history with P-Funk is legendary, but he’s a rock drummer fundamentally. I was watching him play with Funkadelic on youtube the other day, doing Maggot Brain. He’s an amazing rock drummer and there’s not a lot that he can’t do.
Review: If you were going to rank your top three gigs over the past 20 years, what would they be?
Asher: That’s a tough one. I’ve enjoyed a lot of them. I really enjoyed the Rainbow Farms gig, which wasn’t our best, but because of the significance of what it represented. (Editor’s Note: Rainbow Farms was a collective that was raided by the DEA and ended in violence, with the owners of the collective murdered during the height of the Drug War).
Hearing the crowd sing to Craven Dog and that sound coming back to us was amazing. I didn’t know most of these people, but they knew our music. Plus there are dozens of little gigs that were great. We’re really blessed. A lot of the musicians from the days that we started are still around, but not a lot of groups have lasted this long. Why we have I really don’t know. I guess it’s the grace of God and the message we try to put forward.
Review: Let’s talk a bit about the Rastafari religion. What has it brought to The Process?
Asher: Well, I don’t consider it a religion but more a way of life. It’s not like Christianity. It wakes me up and activates my mind and puts me into action in the NOW. It’s like a direct connection to the creator without edicts. I’m like a gentile among the Rastafari, but there are many mansions in the house. I’m not so strict about certain edicts, but some I am. Basically, it’s allowed me the freedom to find my own spirituality. It offers a freedom that orthodox religions don’t afford. At times I’ve succeeded at times I’ve failed, but being flawed is human. It continually fascinates me and I’m always finding new things about it, or pictures and stories that I’ve heard.
When I was working at an eyeglass place a few years ago, this guy came in who was a friend of Peter Lawford – his drive back in the sixties. He would drive with the Kennedys. Anyway, he got to drive Haile Selassie one day back in 1963 and he said that he was a ‘little man but bearing a presence on him like no other man’. He also told me Selassie had this little dog and the two of them spoke in a language – an animal tongue – which I think is amazing.
Every time I speak with someone that met Selassie, they tell me similar things – that he was ‘more than a man’. I think it’s a focused radiance. You see it in photos of him. You can’t hold your gaze on those eyes.
Review: How about outrageous rock ‘n roll moments? Do you have any memories of things that stood out over the past 20 years of performing with The Process?
Asher: I remember this naked hippie slide at Rainbow Farms and this gigantic fat woman sliding down an oily slide while we were performing, which was pretty outrageous.
Review: You mentioned the Rainbow Farms gig, but what about other shows that stand out?
Asher: The Rock a Rolla Benefit was important. (Editor’s Note: Rock-a-Rolla Records was a music store chain that sold paraphernalia and in the early 1990s was closed down and raided by Saginaw County law enforcement. This was one of the first ‘seizure’ cases prosecuted in the area and the case wound up in Judge William Crane’s court.)
It made me angry that our Process tapes and CD’s were seized by law enforcement from Rock-a-Rolla. Basically, they seized our property and never gave it back. How many people those tactics have injured is disheartening.
Review: You also pioneered a lot of local approaches when it came to promotion back in the early 90s by putting together shows featuring three or four bands, as opposed to a night with one act at the clubs.
Asher: Yeah, the scene was different back then and we sponsored a lot of groups. Not a lot of clubs allowed us to bring in original music, so we were one of the pioneers. We didn’t change the scene single handedly in the tri-cities, but we had a lot to do with it. And a lot of bands started up because of our example. Many have told me so.
Review: Any other thoughts you’d like to share on the eve of this momentous 20th Anniversary gig?
Asher: Yes, I would be remiss if I didn’t mention Seth Payton, who’s our unofficial fifth member and a versatile musician, whether playing keyboards, percussion, horn, or bass.
Apart from that, I’m excited for the future, more so not than when we started. The walls are starting to come down. England will be our next frontier. We’ll be jumping the pond. We’ve performed in L.A. and New York City, so it’s the next move.
The PROCESS Celebrate 20 Years of Groundbreaking Music & Social Conviction with 20th Anniversary Show on January 15th
By Robert E. Martin
Read the article at Review Magazine Online here.
Few musical groups performing in the Tri-Cities over the past 20 years have remained intact and consistently evolved to create a defining musical legacy; but true to form, the Vassar-based reggae/rock warriors known as The Process are the exception to that rule.
Consisting of songwriter, vocalist, and visionary spiritualist David Asher, guitarist Garrick Owen, bassist/arranger Bill Heffelfinger, and ex-P-Funk drummer Gabe Gonzales on the pagan skins, The Process have not only survived but more important, flourished as an all-original group, writing and performing their own material while pursuing a very defined musical and cultural vision that truly places them in a league of their own.
To celebrate 20 years as a vital, creative, and ground-breaking musical & social force in the mid-Michigan area, The Process will be staging their 20th Anniversary Show on Saturday, January 15th at 9:00 PM in their hometown of Vassar at the Vassar Bar, 122 Huron Avenue. Special guests will include Neighborhood Muscle and Thick as Thieves, which offer fans and newcomers a rare and intimate concert experience.
When I first met David Asher back in 1989, we ended staying up until the wee hours of the morning as he explained to me the power, basics, and history of Rastafarianism – a Jamaican ‘way of life’, more so than a religion; which I found to be fascinating, as the stereotype of most Rastas is that of a dread-locked, dark skinned, bone-smoking shaman.
Rastafarianism is much about recasting society. When the grid and the iron and the bars closed in on societies everywhere, the Rastafarians loosened themselves from it by refusing to work for Babylon, which is the equivalent of being taken into slavery. Basically, they cast themselves as the Lost Tribe of Judah and their deity exists in the form of the Emperor Haile Selassie.
Beginning in 1991 with Mystery Babylon and leading through Weapons of Mass Percussion, released in 1996, The Process have released ten stunning albums that mix rock, reggae, wisdom, and insight into a blender that seeks to break down barriers and claim fresh territory.
So on the eve of their 20th Anniversary gig, it seems fitting to sit down with Asher to discuss the trials, tribulations, in-roads, and landmarks of this vital musical force on the verge, as I was soon to learn, of breaking in a very big way internationally.
Review: You’ve been carrying the torch and walking the gauntlet against global totalitarianism and the New World Order for two decades now. From Nixon to Noriega and now with the mess in Afghanistan, do you have a sense of foreboding about the state of world affairs?
Asher: Actually, my mood is optimistic. We’ve kicked against the darkness and tried to shed a little light on things; but yes, a lot of the leaders you reference are like a gallery of evil masks, but they all fail. I’m always hopeful and optimistic. Humanity is ultimately flawed, but ultimately we also have the potential to be divine, in spite of our human nature.
Review: Have your objectives for The Process changed since when you first started the band 20 years ago?
Asher: The basic inspiration has not changed, nor our desire to express our need to communicate truth, human rights, justice and equality. Our message in the beginning is still our message now. What has changed is the ways to say it.
Review: If the message hasn’t changed, is it harder to restate it?
Asher: I don’t think so. Rastafari inspired a lot of the music to me and it’s like an unending stream that keeps flowing and refreshing one creatively, so you don’t get stale. I get frustrated that we don’t have the money constantly coming in to record new material, but people I’ve admired for years share that frustration. We keep writing new material, though.
Review: A lot of sacrifice is involved with any type of art and The Process has definitely sacrificed; yet remained steadfast with your message. You’ve kept at it and have developed an impressive legacy over two decades and are still based in the mid-Michigan area. Plus you get feedback from all over the world. How have your audiences expanded?
Asher: Thank God for the Internet, you know! In terms of units we sell more online and the same amount at live shows as we ever did. What I’ve noticed is that five people want to buy a disc at a show, 10 more will follow suit. It’s human nature. In terms of our fan base, the USA is still our biggest country and Michigan our biggest state. The second is the United Kingdom.
Review: What’s going on with your latest project? I understand you have some heavy hitters involved.
Asher: It’s very exciting and started three years ago when I was visiting my parents in Florida. While I was on mySpace, I wrote the guy handling the Tackhead page, and he introduced himself as David Hogarty, a publicist and writer from Florida, who worked with both Tackhead and Living Color. We got to be friends and he’s worked with Al Dimeola and wrote for a Jazz magazine and gets very excited about art.
Through him I was introduced to Micki, this Brazilian girl that works with legendary Dub Producer Adrian Sherwood, who’s worked with artists as diverse as Lee Scratch Perry, Primal Scream, Nine Inch Nails, and Sinead O’Connor. He is also the founding father of legendary dub label On-U-Sound.
I admire that label the most because it was pivotal in fusing reggae with punk rock, which kind of formed the template for The Process sound. From that point things snowballed. That same weekend I met Ghetto Priest – this amazing singer from London who possesses an amazing palate of sound. He has a voice like Nat King Cole that is amazing. So I wrote to him and he wrote back and we both admired each other’s work.
Micki works with Skip MacDonald, from the original Sugarhill gang and before I knew it, Ghetto Priest sent an email to me saying, I’m feeling a collaboration coming on. What can I do?’
I started getting brain block and then he sent me an MP3 the next day inspired by this video about Rastafarians living in a Roman town during Mussolini’s reign that were in exile from the Italians entitled Footsteps of the Emperor. He sent me the phrase, ‘The lion of Judah Shall Prevail’ and then sent me a bridge to the song the next day. From that I pieced a song together and wrote the third through fifth verses, which I sent to London, and they sat there for a while.
We couldn’t figure where to record, so he fished around and finally spoke to Adrian, who agreed to record the tracks at On-U-Sound. Micki got Skip MacDonald involved with production, who did a mix with Bernard Terry over the summer. Meanwhile Micki and Skip did backing vocals on some tracks, which was amazing, because those guys played with Mick Jagger and Jeff Beck. Skip did the whole mix and then finally, David Harrow from the On-U-Sound collective hit me up and said he wanted to mix our tracks.
Harrow was one of the busier and more elusive figures in techno, often shrouding his activities under a variety of aliases. Among Harrow’s earliest projects was a remix of Depeche Mode’s Enjoy the Silence; and he later collaborated with artists ranging from African Head Charge to Psychic TV. When Harrow visits Germany today, he is hailed as ‘The Godfather of Techno’.
So throughout this amazing network, we’ve got some collaborators on our new tracks and all of this should blow up shortly. We’re in negotiations with a German label and hope to have the new disc released before the spring.
The title will be The Lion of Judah Shall Prevail.
Review: Let’s talk about the rest of the members in The Process. Garrick Owen and Bill Heffelfinger have been with you since the beginning. Can you share some impressions about working with these guys in terms of ways they surprised you with their contributions?
Asher: They constantly surprise me because they’re such great musicians they make it look easy, even when it isn’t. They both know their theory and there isn’t a lot of ego, even though they are both flamboyant characters and unique in their own way. They’re both Leos, which I know how to deal with. My parents are Leos. Garrick and Bill are like two towering lions roaring away, so I let them rip. But I’m a Rastaman, so I like to be around lions.
What gave us a second life was getting Gabe Gonzalez. His history with P-Funk is legendary, but he’s a rock drummer fundamentally. I was watching him play with Funkadelic on youtube the other day, doing Maggot Brain. He’s an amazing rock drummer and there’s not a lot that he can’t do.
Review: If you were going to rank your top three gigs over the past 20 years, what would they be?
Asher: That’s a tough one. I’ve enjoyed a lot of them. I really enjoyed the Rainbow Farms gig, which wasn’t our best, but because of the significance of what it represented. (Editor’s Note: Rainbow Farms was a collective that was raided by the DEA and ended in violence, with the owners of the collective murdered during the height of the Drug War).
Hearing the crowd sing to Craven Dog and that sound coming back to us was amazing. I didn’t know most of these people, but they knew our music. Plus there are dozens of little gigs that were great. We’re really blessed. A lot of the musicians from the days that we started are still around, but not a lot of groups have lasted this long. Why we have I really don’t know. I guess it’s the grace of God and the message we try to put forward.
Review: Let’s talk a bit about the Rastafari religion. What has it brought to The Process?
Asher: Well, I don’t consider it a religion but more a way of life. It’s not like Christianity. It wakes me up and activates my mind and puts me into action in the NOW. It’s like a direct connection to the creator without edicts. I’m like a gentile among the Rastafari, but there are many mansions in the house. I’m not so strict about certain edicts, but some I am. Basically, it’s allowed me the freedom to find my own spirituality. It offers a freedom that orthodox religions don’t afford. At times I’ve succeeded at times I’ve failed, but being flawed is human. It continually fascinates me and I’m always finding new things about it, or pictures and stories that I’ve heard.
When I was working at an eyeglass place a few years ago, this guy came in who was a friend of Peter Lawford – his drive back in the sixties. He would drive with the Kennedys. Anyway, he got to drive Haile Selassie one day back in 1963 and he said that he was a ‘little man but bearing a presence on him like no other man’. He also told me Selassie had this little dog and the two of them spoke in a language – an animal tongue – which I think is amazing.
Every time I speak with someone that met Selassie, they tell me similar things – that he was ‘more than a man’. I think it’s a focused radiance. You see it in photos of him. You can’t hold your gaze on those eyes.
Review: How about outrageous rock ‘n roll moments? Do you have any memories of things that stood out over the past 20 years of performing with The Process?
Asher: I remember this naked hippie slide at Rainbow Farms and this gigantic fat woman sliding down an oily slide while we were performing, which was pretty outrageous.
Review: You mentioned the Rainbow Farms gig, but what about other shows that stand out?
Asher: The Rock a Rolla Benefit was important. (Editor’s Note: Rock-a-Rolla Records was a music store chain that sold paraphernalia and in the early 1990s was closed down and raided by Saginaw County law enforcement. This was one of the first ‘seizure’ cases prosecuted in the area and the case wound up in Judge William Crane’s court.)
It made me angry that our Process tapes and CD’s were seized by law enforcement from Rock-a-Rolla. Basically, they seized our property and never gave it back. How many people those tactics have injured is disheartening.
Review: You also pioneered a lot of local approaches when it came to promotion back in the early 90s by putting together shows featuring three or four bands, as opposed to a night with one act at the clubs.
Asher: Yeah, the scene was different back then and we sponsored a lot of groups. Not a lot of clubs allowed us to bring in original music, so we were one of the pioneers. We didn’t change the scene single handedly in the tri-cities, but we had a lot to do with it. And a lot of bands started up because of our example. Many have told me so.
Review: Any other thoughts you’d like to share on the eve of this momentous 20th Anniversary gig?
Asher: Yes, I would be remiss if I didn’t mention Seth Payton, who’s our unofficial fifth member and a versatile musician, whether playing keyboards, percussion, horn, or bass.
Apart from that, I’m excited for the future, more so not than when we started. The walls are starting to come down. England will be our next frontier. We’ll be jumping the pond. We’ve performed in L.A. and New York City, so it’s the next move.
Wednesday, October 13, 2010
Coming in early 2011: THE PROCESS MEETS GHETTO PRIEST
Coming in early 2011:
THE PROCESS MEETS GHETTO PRIEST
"THE LION OF JUDAH HATH PREVAILED"!
Featuring Skip "Little Axe" McDonald, David Harrow, Adrian Sherwood & Congo Natty a.k.a. Rebel MC.
A special 7 track extended play. Stay tuned for release information!
Monday, September 20, 2010
THE PROCESS® have just received a 2010 ASCAP PLU$ SPECIAL AWARD
David Asher and Garrick Owen of THE PROCESS® have just received a 2010 ASCAP PLU$ SPECIAL AWARD.
The award is given to writer members of any genre whose performances are primarily in venues not surveyed; and/or writer members whose catalogs have prestige value for which they would not otherwise be compensated. This is the 10th consecutive year Asher and Owen have received this cash/recognition award.
Wednesday, September 08, 2010
THE PROCESS to work with legendary producer ADRIAN SHERWOOD
Breaking News... THE PROCESS to work with legendary producer ADRIAN SHERWOOD.
Adrian is best known for his mind-blowing productions, releases and incredible live shows with his On-U Sound Record label and sound system, as well as his influential productions for Dub Syndicate, Lee ‘Scratch’ Perry, Tackhead and phenomenal Jamaican artists including Prince Far I, Mikey Dread and Bim Sherman, among many others.
Over the years, Adrian has also brought his production skills to releases and remixes for the likes of Nine Inch Nails, Primal Scream, Depeche Mode, The Cure, Skinny Puppy and a long list of other renowned musical artists.
Adrian has signed on to mix two versions of "The Lion of Judah Hath Prevailed", the forthcoming single by THE PROCESS and GHETTO PRIEST.
The single also includes contributions from acclaimed producers David Harrow (Technova, Depeche Mode) and Skip "Little Axe" McDonald.
Stay tuned for updates!
Saturday, September 04, 2010
Arts, Beats & Eats 2010
THE PROCESS Live In Concert
ARTS, BEATS & EATS FESTIVAL, ROYAL OAK MICHIGAN 2010
Friday, August 13, 2010
THE PROCESS to perform at Arts Beats & Eats!
THE PROCESS to perform at Arts Beats & Eats!
Fri Sep 03 10 04:00 PM Royal Oak, MI US
Downtown Royal Oak, Royal Oak, MI, US
Friday 9/3 @ 4pm on Vince & Joe's Stage.
Ford Arts, Beats & Eats, presented by Citizens Bank was founded to celebrate the quality of life in Oakland County by offering a culturally unique presentation of artists, musicians and food exhibits, from the Metro Detroit area, and throughout the United States. In November of 2009, Arts, Beats & Eats announced it would be moving from its former location in the City of Pontiac to Downtown Royal Oak.
The festival was designed to provide outstanding family entertainment at a very low cost. In 2009 the festival added an admission fee. This $3 admission fee supports the festival and community as follows: .25 to Arts Advocacy, .25 to the City of Royal Oak, and 50% of the remaining admission fees to 13 local charities after gating costs. For a list of non-profit partners that will share our admission fee, click here. To date, over $2 million raised by Ford Arts, Beats & Eats has been donated to charity.
Now entering its thirteenth year, Arts, Beats and Eats has celebrated many successes, including attracting large crowds each year, earning top rankings for its juried fine arts show, securing top national entertainment, and providing unique interactive programs for the family. Past music performers at Arts, Beats & Eats have included Brian McKnight, Montgomery Gentry, Live, The B52's, Wilco, The Isley Brothers, Collective Soul, Paul Rodgers of Bad Company, Martina McBride, G Love & Special Sauce, David Benoit, Jodee Messina, Blues Traveler, 38 Special, Rick Springfield, and many more. The festival has something to offer to everyone, in a child-friendly, safe and secure environment.
http://www.artsbeatseats.com/
Fri Sep 03 10 04:00 PM Royal Oak, MI US
Downtown Royal Oak, Royal Oak, MI, US
Friday 9/3 @ 4pm on Vince & Joe's Stage.
Ford Arts, Beats & Eats, presented by Citizens Bank was founded to celebrate the quality of life in Oakland County by offering a culturally unique presentation of artists, musicians and food exhibits, from the Metro Detroit area, and throughout the United States. In November of 2009, Arts, Beats & Eats announced it would be moving from its former location in the City of Pontiac to Downtown Royal Oak.
The festival was designed to provide outstanding family entertainment at a very low cost. In 2009 the festival added an admission fee. This $3 admission fee supports the festival and community as follows: .25 to Arts Advocacy, .25 to the City of Royal Oak, and 50% of the remaining admission fees to 13 local charities after gating costs. For a list of non-profit partners that will share our admission fee, click here. To date, over $2 million raised by Ford Arts, Beats & Eats has been donated to charity.
Now entering its thirteenth year, Arts, Beats and Eats has celebrated many successes, including attracting large crowds each year, earning top rankings for its juried fine arts show, securing top national entertainment, and providing unique interactive programs for the family. Past music performers at Arts, Beats & Eats have included Brian McKnight, Montgomery Gentry, Live, The B52's, Wilco, The Isley Brothers, Collective Soul, Paul Rodgers of Bad Company, Martina McBride, G Love & Special Sauce, David Benoit, Jodee Messina, Blues Traveler, 38 Special, Rick Springfield, and many more. The festival has something to offer to everyone, in a child-friendly, safe and secure environment.
http://www.artsbeatseats.com/
Monday, July 12, 2010
THE PROCESS LIVE IN CONCERT
Blue Water Fest
Friday, July 16, 2010
8:00 - 9:00 PM
Downtown Port Huron MI
The corner of Glenwood Ave. between 10th St. and River St.
Port Huron, MI
The Blue Water Fest is free of charge with more than 100,000 spectators expected and will feature non-stop entertainment, activities and special events. Included will be a wide variety of national and local music talent on four stages; a juried fine art fair; a kids’ stage, carnival and arts and crafts; an outstanding display of sailboats; as well as delectable culinary offerings from some of the region’s most renowned restaurants and caterers.
The Process July 16th performs Friday at 9:30 to 10:30
http://thebluewaterfest.com/
Friday, July 16, 2010
8:00 - 9:00 PM
Downtown Port Huron MI
The corner of Glenwood Ave. between 10th St. and River St.
Port Huron, MI
The Blue Water Fest is free of charge with more than 100,000 spectators expected and will feature non-stop entertainment, activities and special events. Included will be a wide variety of national and local music talent on four stages; a juried fine art fair; a kids’ stage, carnival and arts and crafts; an outstanding display of sailboats; as well as delectable culinary offerings from some of the region’s most renowned restaurants and caterers.
The Process July 16th performs Friday at 9:30 to 10:30
http://thebluewaterfest.com/
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