This is the first in a 10-part series looking at the Canadian reggae scene.

NO other music has reached out to Africa like reggae. Since the early 1960s, Jamaican artistes have been inspired by the history and current affairs of the Motherland.

Toronto rapper Chop-z calls for economic empowerment on the continent in United States of Africa, one of his latest songs.

The 24-year-old, whose parents are from the Kingston community of Greenwich Town, believes Africa continues to under-achieve.

“For centuries, we have been divided which has caused a disorganisation among us as a people,” Chop-z said. “The main message in this song addresses the need for an economical, industrial, educational and social intercourse of all African people to pool resources and thrive which will end poverty, hunger and discrimination which many of us face.”

Chop-z (Teiyon McGann) recorded United States of Africa at the Waterhouse studio of producer Lloyd ‘King Jammys’ James, one of dancehall/reggae’s hit factories.

Those sessions were done with the Firehouse Crew, the band behind numerous hit songs by acts like Luciano and Sizzla. They also worked with Chop-z on Keep it Clean, which like United States of Africa, is produced by his company, LHK Recordings.

Chop-z expects both songs to attract even more attention from Canadian radio than his previous release, Cry for The Youths.

“It is getting heavy airplay up north, in Saskatchewan, New Brunswick and Vancouver, also in Toronto,” he said, adding: “It’s not hard getting it (reggae) played (in Canada), it’s hard to find the right contacts.”

A second-year student at the University of Toronto, Chop-z has been recording since he was 13. On Da Block, his first mixtape, was released in 2005.

His introduction to music came while he lived in Kingston as a ‘youth’, learning the ropes from his uncle, a producer known as B Crisas.

“He would play Garnet Silk every day, so he was my favourite singer for years and still is,” Chop-z recalled. “Around the house, dancehall and reggae music was always playing loud, so it has served as a big influence, not only musically but also culturally.”

— Howard Campbell