The Untold History of Welsh Reggae Sound Systems in 1970s Cardiff
In the 1970s, Black youth in Wales felt profoundly isolated. Lawrence "Tylo" Taylor recalls, "It was like we were cut off from the rest of mankind. There was nothing for young Black people." Despite Cardiff hosting one of the UK's oldest Black communities, dating to the 19th century, racism was rampant. Tylo describes police abuse and belittlement in schools, leading to deep disillusionment.
A Cultural Shock and New Identity
Andrew "Bingham" Binns moved from London to Cardiff in 1970 at age nine, calling it a culture shock. After travels to New York, London, and Jamaica, he embraced Rastafarianism as a defence mechanism and devoured reggae music. When invited to join a sound system crew, he eagerly accepted, marking the start of his involvement in an obscure yet significant music scene.
Both Tylo and Bingham became key figures in Welsh reggae sound systems, a largely undocumented part of British music history. While cities like London and Bristol are famed for their dub scenes, Wales's contributions have been overlooked. This obscurity fostered a fiercely competitive and cherished African-Caribbean culture.
The Rise of Sound Systems in Cardiff
Black International was Cardiff's first sound system, followed by Conqueror Hi Power Sound System, founded by Gilbert Anthony Watt in 1975. Tylo and Gary Jemmett later established Countryman in 1981, alongside crews like Lionheart and Emperor, creating a bustling scene. Kervin Julien, who joined Conqueror after moving from London, noted Cardiff's isolation, with few venues or record shops, but this lack of infrastructure strengthened community bonds.
Sound system organisers travelled across the UK, from London to Huddersfield, to clash with other crews and acquire new records. At Cardiff's Butetown carnival, they drew tens of thousands. Bingham says, "When we played, you didn't have to find out where the carnival was. You just followed the bassline."
Rivalry and Unusual Parties
Rivalry among crews was intense. Jemmett claims Countryman took on all challengers, with rivals resorting to sabotage, such as breaking into speaker lockups or cutting wires during performances. Parties often occurred in unconventional settings, like accidentally tapping power from the lord mayor's house or playing at a double-booked 18th birthday party that ended in a brawl with bikers.
Preserving a Fading Legacy
Despite playing alongside legends like Aswad and Jimmy Cliff, this rich history risks being forgotten. Historian Ashish Joshi has spent years digitising audio and video footage, racing against time as recordings disappear. He says, "It's a race against time. I'm trying to rescue stuff because it's being chucked away."
Local researcher Yasmin Begum has taken up the cause, using Instagram to showcase footage. She notes, "I grew up with this culture, but I don't see it reflected within galleries, libraries, archives or museums." Her family's deep connection to Cardiff's Tiger Bay area fuels her efforts to celebrate this culture.
A Refuge from Racism
Sound systems provided purpose for those feeling ostracised. Tylo reflects, "We were nobodies, we weren't even looked at. We had no future, so we tried to make a future for ourselves." Parties were held at venues like the Black-owned Casablanca Club, as Eric "Beefy" Howard explains, because "we couldn't go to the white clubs in town." Despite its dilapidated state, the club offered a vibrant escape.
National Recognition and Ongoing Challenges
Cardiff's scene gained attention, with TV features and local band Bismillah performing on the show Ebony. Benji Webbe, a former Bismillah singer now with Skindred, credits Conqueror for his success. However, the lack of local industry hindered progress, and racism persisted, such as when Julien faced threats after opening a reggae shop.
By the early 1990s, the scene declined with the rise of dance music, the closure of Casablanca Club, and a hiatus for Butetown carnival. Bingham laments the scattering of the community, while Begum and others advocate for better preservation and funding, questioning why institutions don't support this culture as they do others like opera.
Today, Countryman continues, and Butetown carnival has revived, but there's a pressing need to honour this vital strand of Black and Welsh heritage before it fades further into obscurity.
