This was "MTV Unplugged, Heritage style." Inside a spacious New York City club made intimate with clustered sofas and soft lighting, Morgan Heritage was celebrating the release of their latest album, "Don't Haffi Dread" (VP Records/71 Records). "We're gonna do something a little different--an acoustic set," Peter announced as he and his four siblings took the stage. Seated on stools, accompanied only by Lukes' guitar and Mr. Mojo's bongos, the band performed a short set drawn from the album. The folk-hymn "Freedom," "Heart of a Child," and the laid-back remix of "Don't Haffi Dread" felt right at home in the setting, and felt just right artistically, showcasing the harmony and versatility that make the group unique in contemporary reggae.

These offspring of Jamaican singer Denroy Morgan straddle multiple cultures: Jamaican, American, Rastafarian, and the MTV/internet generation. Una, 26, Gramps, 25, Peter, 24, Lukes, 23, and Mr Mojo, 21, were raised in Springfield, Mass., spent weekends in Brooklyn, N.Y. rehearsing with Denroy, and grew up on Jamaican music as well as stateside urban radio. Gramps has said, "We played R&B and Rock 'n' Roll to develop our musical chops." "We followed artists like Neneh Cherry, Duran Duran, and the Eurythmics," says Una, adding that their musical tastes remain eclectic. "Mojo just bought Jewel and Alanis Morissette, and Peter has everything by Sizzla." "And I love listening to movie sound tracks," says Gramps, "but we always knew that our base was reggae, and that's what we always came back to."

The group released two early albums before regaining creative control and busting out on "Protect Us Jah," a Bobby Digital/Denroy production. "One Calling," and "Morgan Heritage Family and Friends, Volume 1" followed. The new 18 track album (produced by Digital) reflects the distinctive Heritage mix, characterized by Peter as "spirituality, social issues, and lover's rock. It's about the realism of life, and teaches that you've got to love." On the new disc, the band adds fresh sounds and inventive harmonies, taking it to the next level with Mr. Mojo's rap, gospel/folk on "Ready to Work" and "Freedom," and jams like "Reggae Roadblock," featuring Dean Fraser's jazzy sax riffs.

"The persons that we are onstage--well, we try to live our music," Gramps says. "It's not just 'it's lyrics and you're talkin' one thing and livin' another.' What we speak is what we live." Lifestyle changes over the last few years have undoubtedly played a role in the group's creative development. One such change came three years ago. "Our father really missed Jamaica, and wanted to go back," says Una, "so we left Brooklyn and settled in St. Thomas [parish]. And I'll tell you, it's totally different; you go to the beach, hear the music, and you get such a strong vibe!"

In Jamaica, the siblings formed a close relationship with a respected Rastaman. "Earthquake," a passionately spiritual song, begins with a spoken dedication in his memory. "Bongo Casha," Peter explains, "was a Nyabinghi elder from Portland who lived with us for the last two years. He inspired us, and he moved me when he said 'Peter Tosh came and touched me, but this Peter came to shake them down.'"

In addition, the band just returned from their first tour as headliners, performing in the U.K., France, Italy and Switzerland (they'd opened for Buju on his '97 U.K. tour). They toured six cities in France, and four cities in Italy, including Milan. "It was unbelievable," says Una, "we'd get into town and think 'reggae?' " Gramps finishes her thought, adding, "I mean, it's Europe! You walk around and see these grand 18th and 19th Century buildings, y'know, and it's like 'wow!' Is reggae really here?' " Nonetheless, the response was so positive that in Paris there was a real "reggae roadblock."


"Reggae is such a very mystical music, y'know? " explains Gramps. "And reggae music is at an all time low now, yet reggae artists can still tour and are sellin' out places. This is our first time goin' to Europe, and most of these places were sold out. In Paris, there was a road block--we had to get out of the taxis and walk to the venue! There was 800 people inside and 300-400 people outside--they had to keep another show. We could not believe it!" Adds Una, "You started your song and the people were so loud, I mean, there were big speakers, and the people were so loud you couldn't even hear yourself singing!"

Una has a ready explanation for the sell-out crowds and their familiarity with the music. "The music got to them! Reggae is such a thing over there, next to Hip Hop. Reggae is music, music is universal, and once they can feel the beat, they can go there. In Switzerland we heard Lauryn Hill on the radio, then Bob Marley right after--in prime time! They just play reggae as part of their programming."

Asked what it's like to perform for enthusiastic crowds, Gramps explains, "It's a vibe, man. When you're onstage, you become a vessel; you transform and become this vessel just to make the Almighty work--work his powers through you. And after you're offstage it's like a different vibe--you actually have to come down off of a high. It's like when you start praying and your spirits get lifted; it takes a while for your spirit to come back. It's the same vibe, and when you come down, it's like wow, y'know?

But world tours and sold out performances weren't always the norm when the group was coming up. "On our first tour of the U.S. we kinda set ourselves a certain level--that you don't make your expectations too high," said Gramps. "One time in North Carolina, I remember playin' for one person, well actually two persons--one was our road manager! When you go through those things, your expectation is not that great, and anything else you just consider a blessing. Even if just one person comes through you perform your best, same way as if it was 1,000 people."

The family is optimistic about reggae's future. "Morgan Heritage tends to be user-friendly," says Una. "We don't, thanks to God and his inspiration, scare our listeners away. We talk about issues that anyone in the human race can relate to; the White man, the Black man, a Spanish Man, an Indian man. They listen to "Heart of a Child," and they can put it to their child, they listen to "Voices Crying Out" and can look back into their ghettos and oppressed people and say 'wow.' They can look into their jobs, and say 'Man, this is me.' Our song "Liberation" was number one in Europe, and not just on a reggae station. But reggae doesn't have someone like Sony's Tommy Mottola to give it that little push. Bob Marley's fans aren't only reggae fans, they're rock fans as well, and that's what Island Record's Chris Blackwell figured out." Gramps agrees, "We really do have to give thanks to VP Records, all the smaller labels, and everyone in the little 45's record communities for still believing in the music and really keepin' it alive. The music just needs to get play. I think that in the next millenium, though, it's gonna be one of the leading musics because it's the one music that has not been burned out."

"Reggae had become a little bit diluted because dancehall started to arrive," says Una, "similar to what happened to R&B vs. Hip Hop--same thing. But we hope with all the uprising artists such as Buju, Luciano, and Morgan Heritage, we can make that turn again, and nothing says it can't happen again." There's a Morgan family pedigree and precedent. Papa Denroy had a chart-busting crossover hit, "I'll Do Anything for You." It's a good bet that these five--blessed with talent, good looks and positivity--are poised to make it happen again, bringing their joyous music to the reggae massives and the masses.