This article was a long time coming as we are definitely no proponents of Andy Narell or anything that he represents in the world of Pan and negroes in general. But in order that this article received as much backstory as possible, it was essential that we highlighted the consistent pattern of satanism within the steelpan industry as we have already done. If you are new to the KaribPAN blog, please read the articles we have published during the past month, which prove beyond a shadow of a doubt that satanism is pervasive in both the steelpan and handpan industries.
Our most recent article focused on the satanic activity of Jonathan Scales and the amateurish, non-apologetic manner in which When Steel Talks tried to cover it up. In the previous article in question, we exposed WST as the groveling, biased website that it is concerning its promotion of and pandering to satanic pannists like Jonathan Scales. As WST presented a golden opportunity for KaribPAN to expose both them and Jonathan Scales in one fell swoop, we seized upon it and will now use that opportunity to in turn, expose Andy Narrell, who also happens to be a favorite satanic pannist of WST and its aging active members who suffer from Willie Lynch syndrome.
To many people who were brought up in the Caribbean steelband culture and remain firmly in this culture, Andy Narell is an extremely corny fellow, who lacks flavor and naturally displays off-putting physical movements which tend to distract from his mainly dry, soul-less performances.
Any reader who frequents WST is well aware that its active membership consists mainly of a clique of a few expat Trinidadian, senior citizen-aged men, most of whom have not been back to Trinidad in years if not decades, and have no desire to return. Effectively, the ownership of WST and its most active members are ''foreign minded'' in the sense they have completely removed themselves from Trinidad and for the most part, are so comfortable living in North America that they have succumbed to ''Stockholm Syndrome'', and are completely out of touch with the direction in which the youth of today are steering the Pan.
The manner in which WST and its active members engage in group think and sing their praises for Andy Narell, even when Andy Narell is not a subject of conversation, has consistently been an eyebrow raiser. This is to say that WST and its active, long-time members tend to go out of their collective way to name-drop Andy Narell even when the occassion does not call for it, often to the detriment of Trinidadian steelpan culture on the whole.
Andy Narell is a cultural misappropriator in the worst possible sense. In the first instance, Andy Narell is Jew-ISH, meaning he wishes to be a Jew or is ALMOST a Jew. He is not an original Hebrew Israelite from the tribe of Judah, from which all Jews originate. Proof of this lies in the fact that Andy Narell is a European AshkeNAZI, convert Jew from the Synagogue of Satan.
Revelation 2 (KJV)
9 ''I know thy works, and tribulation, and poverty, (but thou art rich) and I know the blasphemy of them which say they are Jews, and are not, but are the synagogue of Satan.''
Revelation 3 (KJV)
9 ''Behold, I will make them of the synagogue of Satan, which say they are Jews, and are not, but do lie; behold, I will make them to come and worship before thy feet, and to know that I have loved thee.''
The true Biblical Jews are negroes, and for the most part can be found in the western world as they are the descendants of the slaves who arrived to the west via the transatlantic slave trade according to Biblical Prophecy. The true Jews of the Bible fit the curses of Deuteronomy 28, which was touched upon briefly in a recent article entitled, ''Panyard Inc., An Apartheid, Demon Possessed, Parasitic Patriarch of the International Pan Market''.
At this point, getting into a long digression about the Khazars, who are the Asiatic ancestors of the modern day AshkeNAZI Jew-ish peoples is not necessary. If the reader is not already aware of this grand global theft of cultural identity by people like Andy Narell and every other European masquerading as a Jew today, please go and educate yourself on this suppressed history as there are numerous sources available which contain this information.
Now that we have established that Andy Narell is fundamentally a culturally misappropriating impostor due to the fact that he has in effect stolen the cultural heritage of the Biblical Jews from the 12 Tribes of Israel (Yahweh's chosen people), and has benefitted from this theft while still maintaining his European-ness and claim to white privilege, let's look at some other proof that Andy Narell provides us via his website which proves that he is attempting to claim achievements in the world of Pan that do not rightfully belong to him. Thus, Andy Narell proves that he is a cultural thief on many levels, and not merely just a cultural heritage thief, but a culturally misappropriating music thief as well.
From the official website of Andy Narell, we got the following disinformation:
''With his first solo album in 1979 Andy Narell took the steelpan out of the steelband and brought it into the jazz band,.''
The above sentence, which was taken from his ''Bio'' page was the first sentence of his bio. This is to say that from the very beginning, Andy Narell is spreading propaganda, which is reminiscent of the manner in which Felix Rohner and PANart tried to re-write the history of steelpan through their documentary which was recently debunked by us. The first words of the PANart documentary were bold-faced lies as well, upon which PANart attempted to base their subsequent lies that followed. Andy Narell exhibits very similar tendencies the closer we look at him.
Andy Narell, through sly words and insinuation, leads an uninitiated reader to believe he was the first pannist to play the steelpan in a jazz band. To be perfectly clear, Andy Narell was not the first pannist ´who ''took the steelpan out of the steelband and brought it into the jazz band''.
Othello Molineux is an earlier pannist who ''took the steelpan out of the steelband and brought it into a jazz band" called the Weather Report, which was fronted at the time by Jaco Pastorius, who is arguably the preeminent virtuoso bassist that has ever lived. Jaco Pastorius personally insisted that Othello Molineux join the group and they began recording and performing steelpan infused jazz music as early as 1974.
On the Youtube channel ''Jaco Universe'', a Weather Report demo tape from 1974 was published and states the following in the video description:
''These are the demos that Jaco Pastorius went into Criteria Studios to record in March of 1974, and probably the tape he gave Joe Zawinul after their famous first encounter later that year. The then 22 year old Jaco is at the top of his game in every way throughout these sessions, making this an essential album!
Musicians: Jaco Pastorius - bass & fender rhodes, Bobby Economou - drums, Alex Darqui - piano, fender rhodes, Othello Molineaux - steel drums, Sir Cederik Lucious - steel drums, Don Alias - percussion.''
I have a personal friend who is a veteran jazz/blues/funk drummer from Miami, who happens to have been a friend and high school classmate of Jaco Pastorius when Jaco was still alive. My friend in question, who is intimately familiar with The Weather Report and their music has also confirmed that Othello Molineaux began playing with them as early as 1974.
By now, perhaps the reader is thinking that since Andy Narell did not claim outright that he was the first pannist to bring the steelpan into a jazzband, we are being factually incorrect. To the reader who is inclined to feel this way, here is another link to the iTunes review for one of Andy Narrell's many Satanically inspired albums, ''The Long Time Band'' which states,
''Andy Narell introduced the steel drums to jazz as a solo instrument, playing not only Caribbean and Latin melodies but R&B, funk, and some straight-ahead jazz.''
With the above link, we are presented with direct evidence of the fact that Andy Narell is being credited on major platforms with achivements that do not rightfully belong to him. Instead of Andy Narell setting the record straight and demonstrating a shred of artistic integrity, of which he appears to be devoid, he perpetuates the myth that he was the original steelpan pioneer in the world of jazz.
However, dishonesty and lies are to be expected where satanic artists of the darkside are concerned. Let us take a look at some of Andy Narell's album covers in yet another KaribPAN exercise of decoding satanic symbolism in the steelpan world:
In what initially appears to be a stick figure image of a panman with two sticks raised in the air in preparation to strike some notes on a pan, we subliminally see an all-seeing-eye of Lucifer, pyramid symbolism and 666. The all-seeing-eye of Lucifer is obvious, but the 666 is a lot more subliminal and can be easily decoded upon viewing similar 666 symbolism in the logo for AUDI, the German automaker and subsidiary of VW, the official vehicle manufacturer of Hitler's Nazi regime:
Andy Narell has more albums where he features the 666 on the cover, and for those of you who read our article entitled, ''Pantheon Steel and Saraz: Leaders of the Satanic Handpan Agenda'' this particular 666 imagery should be quite familiar by now:
Andy Narell is either so completely devoid of artistic creativity or so devoted to his master, Satan, or both, that he included the identical 666 logo on his greatest hits album:
Obviously, this consistent promotion of 666 is no accident or coincidence on the part of Andy Narell.
More proof lies in another album of his, ''The Hammer'':
If the fact that Andy Narell pilfered, as a Jew-ish descendant of ancestors who were persecuted by the Nazi regime, the subliminal 666 logo from Nazi automaker AUDI was not enough, he also displays his Nazi/satanist sympathies with the above album cover which features Thor's hammer as it's centerpiece.
Whale.to descibes the symbolism behind Thor and his hammer as follows:
''The SS symbol was based upon two lightning bolts, representing lightning bolts from Thor's hammer, the Germanic/Nordic pagan god of Thunder.
Eliphas Levi, a nineteenth-century satanist whose works inspired the writings of Albert Pike, the Sovereign Grand Commander of international Freemasonry. Levi enthusiastically reports: The pentagram with two horns in the ascendant represents Satan, or the goat of the Sabbath. (The horn) downward naturally represents the demon, that is, intellectual subversion, disorder and folly. Esoterically, the star symbolizes man as deity, as the universe embodied. It also stands for Sirius, the "Dog Star" or planet where Satan dwells. It stands for "Thor," the ancient Nordic God, and it stands for Baal, or Bel, the demonic God so often mentioned in derisive terms in the Old Testament.''
Satanic pannist Jonathan Scales who is a friend of Andy Narell, also promotes the Satanic/Nazi Lightning bolts descirbed above:
As Andy Narell is obviously a thoroughly satanic character, he presents us with more 666 symbolism on another album:
Our blog readers who have been following us wil recognize this particular 666 symbolism above as we decoded it previously in the aforementioned article entitled, ''Pantheon Steel and Saraz: Leaders of the Satanic Handpan Agenda''. This is similar 666 symbolism to that which is present in the Saraz logo.
Andy is also featured with his arms crossed, decked out in full black, which seems to be a favorite outfit of his.
The ''X'' also represents the skull and bones:
For more detailed descriptions of the ''X'' symbolism behind Andy Narell's crossed arms as pictured above, please edify yourself at the Codex Magica page.
On the following Andy Narell album, ''Slow Motion'', we are presented with demons manifesting as orbs in a dark, foreboding setting with a European street sign post which indicates that this is a no parking zone! There is also another street sign on the wall which indicates ''DO NOT ENTER''. Indeed, where Andy Narell's albums and performances are concerned, we would urge the reader to park at your own risk and furthermore, DO NOT ENTER!
Demonic Orb Outside of a Haunted House:
It is quite obvious the fate of Andy Narell is sealed and his soul is guaranteed a place in hell. By the looks of the following photo, it appears that Andy Narell is well aware of this fact:
As the old saying goes, where there is smoke, there is fire.
This Sounds Racist. – Ignorant and Tribal. I am not a Fan of Andy Narel. I am a Fan of our Steelband and its Culture. We Can’t Blame Andy for Pan Present State. Anyone Can Buy the Instrument like any Other Instrument and Play. To Demonize Andy just Because He Plays an Instrument Created by Trinis is Very Childish. I Cant Believe a Big Man Can write So Much Garbage.
Alright Nigel, you see it, I see it. We know that black Trinis have been doing all of these things before Andy came along, so how is it that this myth is allowed to be perpetuated for the historical records?
There is also Rudy Smith who was out in Europe much earlier than that I believe
I’m sure othello was into the Jazz thing before 1974, but 1974 was the earliest hard evidence I could find in order to debunk Andy Narrell’s claim of being the first.
Thanks for your contribution!
Tello as we called him I know of his intro into the Jazz world back in the late 60s Lennox Church Scofield Pilgrim Clive Bradley on a Sunday before going to the Pent House playing his heart out on the soprano pan in Church’s mothers kitchen