Check It Vol. 4: Cleaning Up 2009

Bounty Killer - Raise Hell On Hell Boy EP [Payday Music]

First up this week is a piece which I’m pretty sure I did on the last ‘Coming Soon’ post, but it’s recently been released now and is sure to be attracting quite a bit of attention. The one main unifying ‘trend’ of these five tunes is, of course, that they’re all aimed at former Bounty Killer disciple Vybz Kartel. More importantly, however, upon further scrutiny, is the fact that Raise Hell On Hell Boy, at least in my opinion, represents the best sounding version of the Killer that listeners may have heard in years. It’s nearly vintage, old angry ass carnage causing Killer and I LOVE IT! Here’s hoping he can throw eight or ten more with it and deliver his first studio album in eight years, sometime in 2010.

Best Tune: ‘Chatta Box’

Sizzla - Precious Gift EP [VP Records]

Another big name in the EP business this week (although of a certainly more satisfying kind) is Sizzla Kalonji who follows in a recent streak of artists (including Alborosie, Queen Ifrica and himself) as names pushing albums for VP/Greensleeves who are afforded these wonderful pre-album digital EP releases like so. Precious Gift is standing in a few weeks ahead Sizzla’s latest Greensleeeves’ creation Crucial Times, which is the first big album of the year and if you, like me, find it pretty hard waiting, then definitely pick up this three piece appetizer.

Best Tune: ‘Crucial Time’

Blazin’ Tracks - Gear 1 [Truckback Records]

Nice little compilation here from one of my relatively new favourite labels, Truckback Records (and if you like Dancehall, they’re one of your favourites also). Up until now, to my knowledge, Truckback has only been doing single releases, (very) nice EP’s for certain artists and riddim albums (like the WICKED Gearbox Riddim), so Blazin’ Tracks, a fairly broad and general compilation is definitely something new from them. Thankfully it’s a good something new as well. The title features not only royalty from Reggae and Dancehall such as Sizzla Kalonji, Lady Saw and Buju Banton, and also the occasional twist and turn like ‘Hustlin’ a combination featuring Erup and Anthony B and none other than BUNJI GARLIN who stars on the EPIC ‘Wease and Cry’.

Best Tune: ‘The Race’ by Assassin

Solo Banton - Walk Like Rasta [Reality Shock Records]

This one kind of bothered me because I SO much wanted to like it and it was OKAY, but it didn’t really go anywhere, and it’s nineteen tracks long. Solo Banton is an artist who, I couldn’t really tell you where or when I first heard of him, but he’s definitely been stored in the memory banks for awhile now, so when I saw he had an album forthcoming, I was definitely interested and it just so happens that Walk Like Rasta is not only “an album”, but it is the very first from the UK DJ/chanter. He has a very nice and old school type of sound (at times, he sounds like Junior Demus) and, as far as I know, the Banton is a veteran of the industry (just not as an artist), so you can definitely feel his overall experience levels with what he’s doing, he definitely has a nice sense of things and he can flow to a degree. The problem is that, at least on this album, he CLEARLY doesn’t push himself as much as he can. Despite what you’ll hear here, I would venture to say that Solo Banton is quite the inventive artist, but on tunes like ‘Herb Story’ (which plunders the melody of [Baby] Cham’s story of the ghetto variety) and Roots Rock Reggae (which is unfortunately every bit the cliché you would think it might be because of its title), like I said, things (which are interesting), just fail to materialize ultimately.

Best Tune: ‘Walk Like Rasta’

Zahair - Jah Instrument [Free Willy Records/Zojak Worldwide]

If the name Zahair doesn’t quite ring a bell with you, that’s fine. When I first saw this release I actually had to go and check up on the artist before I figured out who he was. If you happen to frequent the output of a label which goes by the name of ‘Free Willy’, then Zahair’s name is one which you might just realize. The very interesting singer has been voicing for the label for quite awhile and now, those sessions have actualized themselves in the form of Jah Instrument, his (to my knowledge) debut album. Zahair is a very ‘bubbly’ type of singer (not quite a chanter in my opinion (at least not usually), but definitely not just your everyday balladeer style of artist) and I’m slowly but surely coming to the realization that he’s also quite the writer as he tackles several VERY popular Reggae topics, but it never sounds quite clichéd or stale in anyway. And of course, working with Free Willy, Zahair is afforded some WONDERFUL old school vibed backdrops also. I’m still working with this one a bit, but maybe you can expect a review at some point this month.

Best Tune: ‘Nothing Comes Easy’

Wake Up: The People Dem Sound [Wake Up Sound]

And lastly this week is another compilation (this one of the mixtape variety). I believe ‘Wake Up’ is actually a sound (DHU) from out of France and what they’ve assembled here is quite impressive. So much so is it attention grabbing and impressive that, despite the fact that there’re a combined SEVEN tunes from two of my least favourite artists, I still had to mention this one. Making up for those two (nope, I’m not even going to tell you who they are) are the likes of Lady Saw, Prince Malachi, Lyricson and a whole heap of talented Frenchies also. (like King Daddy Yod)

Best Tune: ‘Love Another One’ by Lady Saw

Completely Random Thoughts Vol. 3: 'I Like To Write About The Pretty Music'

'I Like To Write About The Pretty

Music'

A couple of days ago, I received an email from the venerable Tuff Lion. I had been in semi-contact with the Lion for about a year or so when someone claiming to be his brother linked me to tell me of the forthcoming album Coming Of The King from the one, King Cephas. Having never actually been in contact directly with Tuff Lion however (I would, on a seemingly monthly basis, receive invites to various social networks on his behalf, but I had never actually heard from the man himself). Without revealing too much (because I didn’t ask him if I could do this), Tuff Lion essentially said thank you and he offered encouragement for the future, before telling me of his forthcoming release and his desire, essentially, to become a more active ‘player’ in the game. I’m a pretty shy and reserved person and taking compliments which extend beyond writing is kind of embarrassing for me, at times (if you want to tell me ‘thank you’ for writing something for you, definitely feel free), but the Lion’s message definitely got me to thinking. Not only that, but a week or so ago, I also received (with respect to Tuff Lion) a FARRRRRRR more wonderful compliment from this truly divine creature who allows me to hang around her, who after reading a relatively mediocre review for the Surfer Riddim, casually remarked to me, “damn that sounds good. I kind of want to listen to that now.” SHE hardly ever reads the stuff that I write here and what little feedback I’ve managed to coerce out of her is always of the ‘yeah’ and ‘okay’ variety, so HER saying anything at all is a wonderful thing.

So in taking both of those and trying to move forward with them, I can’t help but take a step back and look at the year in a whole (not to get entirely ridiculous or sentimental on you, because I’m not) and try to draw it to some type of conclusion. And again, I don’t do this to brag or to throw COMPLETELY undeserved accolades on myself (more on that in a minute), but WE’VE done quite a bit here, haven’t we. Of course the thing which interests me the most and the thing which is the most COOL about my blog is the number of reviews here. People know me, first and foremost, as a reviewer, as a critic and in support of that, there are a TRULY RIDICULOUS 171 reviews on my blog (at least) (and at the end of tomorrow, there’ll probably be 172. If you take in context that I began this blog on the first of February, 2009, which is now eleven months ago. Eleven by thirty is 330; subtract 2 because there were 28 days in February 2009 and that’s 328; add 6 because there’re seven months with thirty-one days and we’ve now been through them all with the exception of January and you end up with 334 days (wonderfully 31 short of 365 and I’m pretty bad when it comes to math) since I’ve started my blog. 171 is slightly more than half of that 334 day period, which means that I have, essentially, written a HUGE ass review every other day for the past eleven months. No to mention that my 2008 on Amazon was pretty ridiculous also and if you add all of that up, I’m sure I’m well over 300 reviews in the very long form in which they exist now and for which I have become ‘known’. I like that. I REALLY so. That is a lot of writing and is only one man who writes it and that is me. But I am not responsible for what you read ABOUT here.

So should you want to thank someone for what you read here. Here’s a list of people who you should contact:

1. Mad Cobra

2. Mavado

3. David Rudder

4. Batch

5. Revalation

6. Destra

7. Marlon Asher

8. Natural Black

9. Linval Thompson

10. Munga Honourable

11. Teflon

12. Jahmel

13. Lutan Fyah

14. Isasha & Million Voice

15. KMC

16. Cocoa Tea

17. Prince Theo

18. Jah Cure

19. Messenjah Selah

20. Dezarie

21. Natural Black

22. Nadia Batson

23. Jah Mason

24. Machel Montano

25. Lutan Fyah

26. Jah Hem

27. Daseca & Tetimus

28. NiyoRah

29. Kemar McGregor

30. Sizzla Kalonji

31. Vybz Kartel

32. Raz Bin Sam

33. Buju Banton

34. Ras Attitude

35. Queen Omega

36. Pressure Busspipe

37. Macka B

38. Perfect

39. JW Productions

40. Yami Bolo

41. Project Groundation

42. Messenjah Selah

43. Sizzla Kalonji

44. Lutan Fyah

45. Delus & Konshens

46. Ras Mac Bean

47. Harry Toddler

48. Nereus Joseph

49. Julian Marley

50. Meshach & Wevolusion

51. MALIKA MADREMANA

52. Queen Ifrica

53. Lutan Fyah

54. Jah Mason, Anthony B & Steve Machete

55. VP RECORDS

56. Norris Man

57. Perfect

58. Jah Cure

59. Ward 21

60. Shane Brown & Juke Boxx

61. Spanner Banner

62. Kemar McGregor

63. Yahadanai

64. The HD Family

65. Sizzla & Anthony B

66. Chuck Fenda

67. Ancient King

68. Machel Montano

69. Vaughn Benjamin & Midnite

70. Pressure Busspipe

71. First Born

72. Queen Omega

73. Culture Brown

74. Gentleman

75. Capleton & Anthony B

76. Lady G

77. Chezidek

78. Blenda

79. Spragga Benz

80. Alborosie

81. Jahmings Maccow

82. Luciano

83. Bushman

84. Lutan Fyah

85. Tarrus Riley

86. Mitch

87. Capleton & David House

88. Queen Omega

89. Shelly G

90. Gramps Morgan

91. Kenedy

92. Jah Mason

93. Mark Wonder

94. Tiwony

95. Mikey General

96. Vaughn Benjamin & Midnite

97. The Itals

98. House Of Hits

99. Machel Montano

100. Mr. Tipsy Production

101. Lady Passion

102. Lustre Kings Productions

103. Natural Black

104. Saël

105. Junior Kelly

106. Delly Ranx

107. LMS

108. Inner Visions

109. Elijah Prophet

110. House Of Hits

111. Homebase Entertainment

112. Turbulence

113. Boot Camp Records

114. Ras Zacharri

115. Ras Attitude

116. Stevie Face

117. Philadub Records

118. Lutan Fyah

119. El-A-Kru

120. Vybz Kartel

121. Warrior King

122. Chezidek

123. Louie Culture

124. Destra

125. Sizzla

126. Natty King

127. Greensleeves Records

128. Sabbattical Ahdah

129. Kemar McGregor

130. Sick Donkey Records

131. I Grade Records

132. Glen Washington

133. Alaine

134. Omar Perry

135. Fred Locks

136. Beres Hammond

137. Goldee

138. NiyoRah

139. Blasta Records

140. Bunji Garlin

141. Chuck Fenda

142. Black Dillinger

143. Lorenzo

144. I Grade Records

145. Pressure Busspipe

146. Mr. Lloyd Brown

147. Jerry Johnson

148. Tanya Stephens

149. Lukie D

150. Perfect

151. Raw Moon

152. Everton Blender

153. VP Records

154. Empress Robertha

155. Bigga Haitian

156. Bigga Haitian

157. Tinga Stewart

158. Lutan Fyah

159. LUTAN FYAH

160. Lion D

161. Steve Steppa

162. Special Delivery

163. Ishi Dube

164. Pow Pow Productions

165. Lustre Kings Productions

166. Malkijah

167. Lustre Kings Productions

168. Al.Ta.Fa.An

169. Caveman Sound

170. Sly & Robbie

171. Joe Fraser & Dean Fraser

172. Cousins Records

Now I don’t know where in the hell I went wrong there (dem yute deh so wicked him ah write more time than him ah write!), but you thank them. You thank all of these people who make this wonderful music. I have never written anything for something which I have created (although I hope to someday). These people make the lovely music (even when I don’t like it) and they’re the ones who should get that credit.

Who else can you thank. You can thank the wonderful individuals at Zojak Worldwide. Never before have I met a tiny group of individuals who were so nonchalantly GENEROUS AS HELL with their material and certainly it is done within the name of promotion and I do my part, however, lest there be any confusion. The honour to associate with such wonderful individuals has been all mine. Zojak is the world’s greatest virtual playground for Reggae heads. Thank you.

So, in returning to what Tuff Lion so wonderfully said in his message and to people like Zojak, Computer Paul, Mr. Lloyd Brown & Denise, Itation, Philadub, Walkup Records, VP Records, Sick Donkey Records, I Grade Records, Caveman, Dean Pond & Eno Stafford, Sherkhan, Inner Visions, Bizzarri Records, Shem Ha Boreh, Project Groundation, IM Music, Kemar McGregor, Dynamo & Tune In Crew, Zion High Productions, MALIKA MADREMANA, Ishi Dube, Jahzara, Messenjah Selah, Shelly G, Mr. Vybe, Roydale Anderson, Garsha Blacks of Wevolusion, Truckback Records, True Sound Records, New Image Promotions, Bonner Cornerstone Music, even Irie Ites, 2B1 Records, Das Vibes, Silver Camel, now Tuff Lion and quite a few others. THANK YOU! Without you lovely (most of you) people, I don’t have a damn thing to write about and the contribution you make is one of a NECESSITY. I, on the other hand, am simply filling a highly unfortunate gap. YOU are trying to heal the entire world and doing a damn good job of it.

I do try (and over try) and do good if I do say so myself and in the new year, I hope to continue to do well, although there will be a few changes:

- I simply have to cut back on the number of reviews I do. I HAVE TO. It’s impossible to write with any intensity at that frequency which is something I discovered within the past ten days. When I overdo it (and ALL of my interests, I ROUTINELY overdo) the material suffers, although I maintain it because the opinion is still honest and thought out (albeit a little shopworn). So, in 2010, I have a goal which hopefully my wonderful readers will help me workout: I want to write between 100 and 110 reviews next year. This is of course, going with the assumption that I write for the entire year (NO. I’m not planning on stopping AT ALL, but shit happens). And in doing this the method that I’ve come up with (biggup Denise) is to write reviews on a set schedule of Fridays and Tuesdays of every week. Of course you won’t notice this too much this month (hell you might), because I may be trying to ’cleanup’ 2009 and I plan to take some of February off, at least in terms of heavy writing. So January should be business as usual biggup Jah Pearl). But after that (if there is such a thing), Tuesday & Friday reviews.

- I’m changing the way it looks around here, you may have already noticed that.

- As I said, I’m pretty shy and reserved, and my general people skills are pretty awful, however, I believe that I am afforded a very unique opportunity, so I will be attempting more and more direct interviews come March or so.

- For whatever it’s worth (not much), I’m STILL getting better, so stay tuned.

Biggup my people! Biggup Zoe, Aaron, Susan, James! Biggup Zojak! Biggup the Lion. Biggup Dale Cooper. Biggup Camille and Angus from UnitedReggae.com. Biggup John B. Biggup Bredz (sitting ten feet away from me passing out). Biggup Sophia, the maddest publicist on the planet. Biggup Denise again. Biggup Mousli. Biggup Karnage. Biggup MY WIFE! Biggup the Princess. Biggup Lion Zeal. Biggup Ian Simms. Biggup Nico (list coming soon). Biggup Pavel (list already done). Biggup Asher Tafari. Biggup Marc from Walk Up. Biggup RYAN WARNBERG! WHAT! I was this close to be a feature writer on Sean Paul’s website. Biggup Heather from Truckback (“Haile Selassie I neva lose a fight yet. Like how the sun neva witness the light yet”). Biggup Tisha (I think that’s her name), from Bonner Cornerstone. Biggup Sherkhan. Biggup Dean Pond. Biggup Eno Stafford. Biggup Garsha. Biggup MALIKA MADREMANA and I think have to biggup Blaak Lung for giving me the link. Biggup Sub P. Biggup Fuzzfolk. Biggup Ricardo. Biggup Dion. Biggup all these people who’re STILL arguing on that Midnite review. Biggup Rooted In Reggae, wherever the hell you are. Biggup Jahsh Concurz. Biggup the oooooooooold John B, hope you’ve found what you’re looking for. Biggup Tuff Lion. Biggup Daniel from I and VIReggae.com. Biggup Grasshopper from Inner Visions (“it’s an everlasting love”). Biggup Shelly G. Biggup Steele. Biggup Jahzara. Biggup Jahson Ites. Biggup the Monster. Biggup Hammer and his nonsense. Biggup my entire Family. Biggup Kimberly Jordan. Biggup Joe Wiggins. Biggup Nate! Biggup Ishi Dube. Biggup Shai. Biggup Mista Vybe. Biggup The Union. Biggup Tippy from I Grade. Biggup all the boys from IM Music (who won’t answer their email, even though I wrote MY ASS OFF on that review). Biggup Xavier from Tune In Crew. Biggup Stack and Wayne from Philadub. Biggup Gardian. Biggup Computer Paul. Biggup LIZA MILLER! Biggup Beau. Biggup that dude Erlend, who sent me this most BEAUTIFUL letter of critique and praise and has seemingly VANISHED from sight. Biggup Brent from the Marley’s. Biggup Tremmell from Soul Rebel (link still over there). Biggup Guillaume. Biggup all the readers. Biggup YOU!

What another wonderful year His Imperial Majesty has given us. So in repayment, if we could ever make such a thing (and we can’t), I say we try to give it back to HIM in as good of condition that HE gave it to us in. More BIG music. More people listening to the music. I MEAN REALLY listening. More reaction. More responsibility. More good times!

I wanna see Destra win a road march! I wanna see Bounty clash Kartel. I want the old Kartel back! I want SIX BRAND FUCKING NEW SIZZLA ALBUMS! I want my Mother in law to heal up. I want Fragga Ranks to reply to my email and say thank you, so I can say . . . ‘no. Thank you.’ I want a new Louie Culture album! I want a new Capleton album (a real one!). I want the old Turbulence to come back and I want him to sing more good music. I want to see Malkijah perform. I want Lyricson’s new album. I want Lady Sweety’s new album. I want Spragga Benz’ new album. I want NiyoRah to get a #1 tune in JA. I want my parents to retire and move back (one more decade). I want Jah Mason’s new album to blow me away. I want Shelly G to repeat! I want to see Skinny Fabulous take TnT Monarch. I want Patrice to win Groovy. I want MORE PEOPLE TO WRITE REGGAE! I want Soca to get a Grammy category (or at the very least, a MySpace category). I want Rooted In Reggae to comeback and start writing. I want JC to keep writing. I want Dale Cooper to do a Sci-Fi mix to Sizzla’s most fucked up of albums, Addicted. I want to actually do spellchecks! I want Ce’Cile to have a new album. I want Damian Marley & Nas to win ALBUM OF THE YEAR in two different genres. I want Lutan Fyah to make another VP album and I want it produced by Bobby Digital. I want Jamelody to comeback and leave the Gospel. I want Gappy Ranks & Mr. Williamz to LOCK DOWN new UK Reggae artists (they probably already have). I want Nate to send me that new Sizzla album (and that Volcano and whatever else is in your bag of tricks). I want you to know that I just watched ‘Drag Me To Hell’ and it is hilarious. I want more people to make 3D videos on Youtube so I can watch. I want The Biggest ____ Anthems 2010 albums to both have two discs. Bob Marley had a billion kids, can I see an album from one of his grands now??? I want you to notice that I only put ONE DAMN PICTURE IN HERE. I want Baby Cham to voice more and I want an album when he does it. I want Spice to show everybody that besides all the crazy shit, the woman can rhyme like crazy. I want it all, I don’t want to pay extra, I do want extra tomato with it and I want it now!

I also want to wish EVERYONE a Happy New Year and I just did.

His Imperial Majesty BLESS every time

BALANCE

RasAchis

The Top Ten Contemporary Reggae Compilations of 2009

Despite rumours to the contrary, the Reggae compilation has not died a slow and painful death. In fact, in 2009 it received what is in my opinion, its biggest BOOST in recent memory with SOLID pieces coming from labels all across the board. The digitization of Reggae has brought even more and more in the way of compilations. Notice the next time you go shopping at your favourite etailer, just how many compilations of various types they have marked '2009'. So, in hopes to distinguish the GEMS in the midst of the clutter, I submit, for your approval, THE BEST CONTEMPORARY REGGAE COMPILATIONS OF 2009!

{note 1: Dancehall, yes. Soca, no.}

{note 2: No full on re-releases}

{note 3: No greatest hits (none of them would have made the list anyway I believe)}

{Honourable Mentions: Indiscretions/Dubwise Riddim, Jah Live Riddim, Culture Dem 3, Sweet Riddim, Ghetto Riddim, The Best Reggae One-Drop Anthems 2009 & Standing Firm Riddim}

#10. Strictly The Best Vol. 40 [VP Records]

This one was a bit of a nice surprise wasn’t it. Strictly The Best, although far more hospitable to established fans than it’s very popular cousin, ‘Goldy’, typically also follows the kind of case where a great deal of the tunes may be stale. And not only that, but it was expected (at least by me) that the series would remain but a single release every year due to VP having purchased the compilation heavy Greensleeves Records and deciding to maintain its release schedule. Well, they got it right this year and delivered a near KING in terms of Lover’s Rock. With STRONG entries from Beres Hammond, Bitty McLean and Courtney John on one end, all the way to up and comers like Gappy Ranks, Hezron and Maikal X, StB40 was a LOVELY piece and even John Legend approved.

See Review

#9. Sly & Robbie Presents Tune In To Merry-Go-Round [Tax/Tad’s/Zojak Worldwide]

You touch me deep within! Sly & Robbie’s catalogue of riddims is so ridiculous you could seemingly make WICKED double releases like this non-stop for the next twenty years if you wanted (and hopefully ‘you’ do). However, speaking about this one in particular, should they make this some sort of series, it would have gotten off to a WONDERFUL start with Tune In To Merry-Go-Round. Big tunes roamed freely on this thing and complimented so nicely the two old school wonders.

See Review

#8. Proverbs Riddim [Lustre Kings Productions]

The Proverbs Riddim is another one which is in this same string which you just have to take in. The distance in terms of quality between this and the Sugar Riddim is almost miniscule, the Proverbs was HUGE. Not only that, but coming form one of my favourite labels, the Kings of Lustre, it was simply not to be missed and were I to reexamine this list one day, this one, above all other, may even someday to get up to as high as #2. It was that good and it’s getting better.

See Review

#7. The Mighty Right Riddim [Philadub Records]

Gardian and the wonderful people at Philadub Records essentially put Reggae heads on notice of their arrival on the scene in 2009 and di so on the power of two magical releases. The first, I’m sure we’ll be talking about next week, the second went a little under the radar (but for people like you and I, that’s no big deal), but was definitely powerful in its own way The Mighty Right Riddim. On that other project, Philadub gave us a very nice taste of what was to come in the form of the riddim’s best tune, but who would have known joining that brilliant individual would have been the likes of Capleton, Jah Mason, Luciano and Ras Shiloh (and MORE) on EASILY one of the (if not THE) best riddims of the year.

See Review

#6. Riddim Driven: Rock Steady [VP Records]

I had three riddim albums from Kemar McGregor and his No Doubt Records label with which to work and after MUCH scrutiny I chose the Rock Steady for this list because, very quietly, it was GORGEOUS! Of course that isn’t much of an unusual thing with McGregor (his other two offerings, the Ghetto and Sweet riddim albums were also lovely), but you take a VERY close listen to the Rock Steady you’ll notice just how albums coyly brilliant this thing was and in the capable hands of the likes of Etana, Capleton and Lutan Fyah, that DEFINITELY came out to those who were paying attention.

See Review

#5. Riddim Driven: Beauty & The Beast [VP Records]

You’ll only find one hardcore 100% Dancehall release on this list and it’s a bit of a damn shame if you ask me, I think the year has been a really down one for Dancehall as a whole with the increasingly sickening ‘Gully v Gaza’ (which just replaced ‘Beenie v Bounty’ without missing a step, didn’t it). One of the brightest spots, however, has been some of the productions and this chunk of brilliance from Tetimus and the boys at Daseca had to be one of the best. This one kind of sticks out like a ‘guilty pleasure’ of mine because anything that can get Kartel to sound like the FUN ‘Vibes Cartel’ of old, is okay with me and further WICKED efforts from Aidonia and whatever the hell Ele was doing just made this one a growing monster for me through the second half of the year with a two sided riddim which was nearly devastating in both forms.

See Review

#4. Sugar Riddim [Special Delivery]

After MUCH reflection, one of the major points of contention on making a list like this would be to not only define where such a release ranks, but determining what exactly is THE BEST RIDDIM ALBUM OF 2009. The answer, by the slimmest of margins, is Special Delivery’s BEAUTIFUL Sugar Riddim (and you’ll notice that five of the remaining six positions on this list are filled with riddim albums of some sort). This thing just worked to near to near perfection and, in my opinion, produced SPECTACULAR results in the case of its two biggest tunes (at least) and was more thoroughly consistent than any other release this year! Oh yeah and it’s probably the BEST riddim of the year too!

See Review

#3. Roots Rocking Reggae Vol. 1 [Al.Ta.Fa.An/Digital Link International/Zojak Worldwide]

This thing was just so nice. Up until #2 on this list reached, I had this largely unassuming release checked in at that position and it was of course justified (and the gap between the two is very slim, still), but I don’t think too many people are going to be picking this one up which is a damn shame. It kind of doesn’t carry too much in the way of anything which would make it jump out on paper (even though the cover is very nice), but when you dig into it, the material which comprises Roots Rocking Reggae Vol. 1, while not spectacular, is about as POWERFUL and consistent as anything on this list, outside of #1. And it just came up from out of nowhere, from the vaults of one of the finest Roots Reggae labels in all the world, Al.Ta.Fa.An.

See Review

#2. Caveman Culture Sound Vol. 1 [Caveman/Afrojam]

Is a thing like this which makes me thankful that I didn’t do this list earlier, lest it be missing this wonderful release and that guy named ‘Achis’ be known as a dumb ass into perpetuity for not including it. Besides the overwhelmingly glaring reasons of history and Reggae academia, it also turned out to be the case that Caveman Culture Sound Vol. 1 was just so good. I mean it was really really good. Joining Sizzla Kalonji was an all-star cast and a potential all-star cast who just about ALL gave wonderful testaments to the strength of this seemingly forgotten PILLAR of modern Reggae music.

See Review

#1. Joyful Noise [I-Grade Records]

In respect to points of contention (and I use that term ‘contention’ VERY VERY lightly), there has never been in the case of this blog or anything else that I may have written in a galaxy far far away or while sitting on my couch a matter of being so perfectly and completely obvious as here. Joyful Noise was PERFECT. That’s it. That’s all I’m going to say, it was perfect in every conceivable and inconceivable way (it was perfect in ways and circumstances which don’t actually even exist). Arguably the best compilation of the past twenty years, at the very least.

See Review

See Classic Review

Stuff . . . Let's Call It 2010

Yow!

I wasn't going to do another one of these for the rest of the year and next year I'm thinking about replacing it (probably won't), but what the hell, here it is. Lot of interesting things going on these days, thought I'd let you know about a bit of them.

First of all, if you didn't notice, even though I said I wasn't going to do it, I just broke off 7 reviews in 7 days and I probably just have done it for the last time. 2 days before that, I did 2 more in a row, so you put that together and it's 9 ridiculously long reviews in 11 days. The last review I did for Strictly . . . was probably the longest review I've ever done. To give a context of that one, the program I usually write them on (I'm sure you didn't think I wrote them in this tiny ass box) gets about a third of the way down on page 3 when I finish. Sometimes to the middle of the page when it's really long, but that one was about 3 sentences from page FIVE. And that program also counts words and because I didn't delete it on the screen . . . yeah it was 3889 words. or about 1500 more than usual. That was a really long review, I mentioned ALL forty tunes. And I've just generally been writing my ass off. I have a kind of a year in review for the blog post coming tomorrow, so in order to save potential ammo for that, I'll leave this here.

Okay, personal stuff. If were thinking I was the lamest son in the world (then you haven't met my brother), but FINALLY we're up with the in-laws. I have seen my Mother and my Father (they still live in the same city, they're about 15 minutes from where I am now) and I'll be seeing them again tomorrow and the day after that and the day after that and the day after that . . . until we take our asses home on Monday. We don't celebrate XMas, but my in-laws do and the little one definitely had a lovely time, she got some nice things she can take home and some other nice things she'll leave here for the next time she gets to visit (at which point said "nice things" would probably have been replaced with even nicer things, you know how Grannies are). I did however have a good time 'dancing' with my recovering Mother in law and the Father in law also tried to join his son (biggup my wife's everytime. EVERYTIME. If it wasn't for him, I couldn't even do all of this stuff) and his friends in picking my brain about the music and the conversation was wonderful and that was my XMas, whatever day that was. Again, we're not going home until Monday, so hurry and send me free shit!

Yes. I have watched Sting and I have talked to people who went and briefly I'll just say that Bounty Killer potentially did one of the best things in his career recently. You have people and have had people for years talking about how overrated they feel Bounty was as a clash DJ, but I think it's almost unanimous in agreement that had Kartel walked on that stage to clash Killer during his set, then it would have been a kamikaze mission, at best! The man was on his game and I was just upset that they didn't throw SOMEONE up there to try a something with him, because it would have been beautiful. And speaking of clash, General B and whoever else in that crew can keep trying to clash Kiprich if they'd like and I'm not trying to claim Kippo to be some great thing at all, I think there were probably 10-15 artists on that show who could at least go even with him, but the man is just better than General B and always will be. No question about it and it's getting ridiculous and that's all I'll say about that (new EP, in estores now Raise Hell On Hellboy from Bounty Killer, everybody pick up a copy).

Okay, without further adieu. What's coming up:

• Next year. My feature "Completely Random Thoughts", I'm going to try and do that every week. I've gotten back SO MUCH response for that in the couple of times that I've done that (including one person who told me that a band who he just happened to play for, had the best album this year). And it's basically an impromptu article and it's fun and easy to write yeah.

• In the immediate future you can expect a couple of crazy lists. One being my favourite non Caribbean artists (basically artists who make music that I wouldn't normally speak of), best DVD's. And of course the heavy ones (which will be first), best ALBUM OF THE YEAR and best compilations and you can expect both of them next week.

• Like I said, I'm not doing 7 reviews in 7 days anymore. The shit is just too difficult and I kind of get this strange tunnel-hearing thing going on, to the point where listening to something else, even remotely critical sounds weird at times.

• And lastly (I am most certainly forgetting something, but I'm falling asleep), I will finally be taking a day off from posting, because it's Carnival season and we're going early for the first time in how long. So late January through the first half of February MIGHT be kind of sketchy (but who knows, I'm probably addicted to this shit and don't even know it).

That's all it's going to be. Biggup all of my friends, I'm doing the big post tomorrow and I'll name all of you who I can remember. And you already know what I'm posting yeah

Love yourself,

Happy Holidays

BALANCE

RasAchis

"A Return To The Days of Not So Old": A Review of Strictly One Drop Vol. 3 by Various Artists

Greensleeves circa 2005. While there were actually only two such creations, I’m sure the hardcore Reggae heads will remember the onset of Greensleeves MASSIVE Roots Reggae response their very own, equally massive, The Biggest Ragga Dancehall Anthems series, The Biggest Reggae One-Drop Anthems. Those first two years of that beautiful series were AMAZING largely based on the fact that, for the price of one album (which rendered their other series, Ragga Ragga Ragga, fairly useless in retrospect, in the case of the Dancehall Anthems side) (yeah but I bought a lot of them anyway didn’t I), listeners could get FORTY tunes from some of the biggest names in the genre, just as was the case on the Dancehall side. And I can remember thinking just how nice such a thing would be, but of course, until relatively recently (the past four years or so), Greensleeves hardly ever paid any attention to Roots music as they were, predominately a label that dealt with hardcore Dancehall and reissues. Those were the days! But we only got two years of it and subsequently the album would diet down to just one disc and a DVD and ultimately to the form in which it exists today, just a single disc (although I wouldn’t be totally surprised to see the double disc action to come back someday in the not too distant future. Until then, however, we’ll have to find other things to take that type of shine, LIKE THE EXACT SAME THING, from another company (although the first edition was a single release) Strictly One Drop from the ‘hot and cold’ running UK based Cousins. The label itself has a reputation to maintain (they kind of remind me of a less active UK ‘edition’ of Tad’s), so although they don’t have an accompanying Dancehall mix (which is find, Greensleeves is still around), they do have a NICE Lover’s Rock equal, of course titled Strictly Lover’s Rock. The interesting thing (amongst many) about this series is despite the fact that it’s now only three years deep and I LOVE it (of course), I hardly ever expect it at all and every year it has been in existence, it is a very welcome surprise. This year was certainly no exception and the results were pretty much everything you’d expect. Checking in at a wonderfully obese and ridiculous forty tracks is the latest installment of one of my youngest favourite series, the capper of 2009 (and the last fucking compilation I’m going write on until at least April) (lie) Strictly One Drop Reggae Vol. 3 (although it says 2009 on the cover, which is ultimately a better title in my opinion).

Disc One

The major difference between what Greensleeves did and what Cousins does on their compilations is generally name value. By its functional (independent) end, GS was a very big deal and while you could definitely argue that Cousins already is (with their release history with artists like Lutan Fyah, Natural Black, Turbulence and annually, Lloyd Brown (amongst SERIOUS others), they don’t pull forty tracks from forty HUGE names and I honestly don’t know if that’s necessarily a bad thing. However, largely there’re big names still and certainly on the first disc, you won’t notice anything missing in terms of star power. So, my own biases aside, I do have to admit that Alborosie is a TRULY big name and the honour of starting out the first disc of Cousins Records’ Strictly One Drop Vol. 3 is his. His tune here is also one of his best, ’In A De Garrison’, across No Doubt’s recent Ghetto Riddim. The tune isn’t amazing actually, and again, it just doesn’t get too exciting for me when it comes to Albo, but like I said, it’s definitely one of the best I’ve heard from him to date. I can’t say the same for either of the next two artists, Queen Ifrica and Perfect, although their combination tune, ’Locks A Grow’ [aka Natty Fi Grow], is one of the best tunes on either album. The tune is actually a remix of an original song which just featured Ifrica on her own (from the Fyah Muma album). Of course Perfect hypes the vibes up a bit as only he can (and Ifrica didn’t exactly need the help here). The first of two SPECIAL tunes is up next in the form of the WICKED ’Show Love & Be Strong’ [bka ’Show Some Love’ from the I-Space album]. This tune gets better each and every time you hear it, which I suppose is ‘normal’ considering how strangely it’s vibed and more than two years later on me, I song I basically LOVED the first time I heard it, is still getting better. Both ‘Locks A Grow’ (Bangarang riddim) and ‘Show Love & Be Strong’ have old school and classic overtones for one reason or a next and such a vibes is turned WAY up on the next tune as Barrington Levy enlists Gyptian for a remake of his big hit, ‘Murderer’. You’d have a hard time screwing this song up and although I’m not the biggest fan of Gyptian’s, he certainly doesn’t pull off fucking up one of the greatest tunes ever made (although I do still prefer the original definitely). Next up is an artist who thankfully pops up quiet frequently on Strictly One Drop Vol. 3, Lutan Fyah, with a tune I don’t ever actually recall hearing before, ‘Jah Is My Deliverer’. This one took a few spins to really grow on me (there’s a saxophone playing on the riddim which I just don’t think fits in very well and it’s quite distracting actually), but it came down to paying a heavy attention to the verses of the tune which is generally the case with the Fyah’s music. Big message here and definitely check that first. The poetical Tanya Stephens brings a taste of Mafia & Fluxy’s relick of the Down In Jamaica riddim for Irie Ites from a few years back with ‘I’m Not Proud’. This tune isn’t actually one of my favourites from Stephens. The riddim, in my opinion, isn’t very direct enough for her and it ultimately misses the melody of her lyrics for my tastes. [Only 33 more fucking songs to go!]. Bushman doesn’t have ANY problems at all on his nearly huge tune World Crisis. This song EASILY strolls near the head of the class on either disc here and you really shouldn’t have expected less, none at all. Bushman definitely catches this riddim and puts into it a straight knowledge track about overcoming and POTENTIALLY overcoming this oppressive society (and he sounds amazing by the way). Ginjah also does well on his tune, striking a VERY familiar riddim (which is about to get brilliantly familiar), with his tune ‘Na Go A Jail’. Yes, the tune is wonderful, one of the best. . . Yada yada yada. But the real story here is Ginjah himself. I think he’s going to have HUGE 2010 as one of the new and interesting faces in Roots Reggae (and apparently there’s an album for VP Records already in the works, produced by Kemar McGregor no less). The last tune on first half of disc one of SODV1 revisits the Ghetto riddim, as Richie Spice brings the still pretty good ‘Who Dat’. But of course sandwiched in there Lutan Fyah’s second of three tunes on the first disc alone, the MAMMOTH ‘Genesis’ which rides the same Chris Hart produced riddim as ‘No Go A Jail’. I won’t go on too much about this, because I already have, but I will say that now on two big time compilations, the best tune is the same damn song. That definitely says something about the tune, because the ‘competition’ has been fierce in both cases. ‘Genesis’ is a PERFECT tune (and maybe we can get a riddim album from that riddim in 2010).

The second half of the first disc is also very interesting and features more than its fair share of big artists and twists and turns as well. Such a twist and a turn opens things, as UK Reggae singer Adele Harley goes all Satta Massagana on the people on her SWEETLY sang tune ‘Flying Away’. I don’t know much about Harley, but a song like this and a couple of others definitely make me want to have a closer look, because ‘Flying Away’ is DAMN strong. Queen Ifrica returns and keeps it going for the fairer sex with a tune from her I don’t recall hearing previously, ‘Stand Up’. This one isn’t one of my favourites from Ifrica (might be the first time I’ve ever typed that). It has a strange energy to it and although the message (which is basically telling people to REPRESENT) is nice, as it always is in here case, I think the song itself is kind of strange actually. It’s not “kind of strange” per se, but I don’t think Anthony B quite hits his mark with the OKAY ‘Jah Jah Blessing’ (on the same riddim as Sizzla’s ‘Show Love & Be Strong’). Lutan Fyah makes his third and final appearance on disc one with his decent lover’s cut of the relicked ‘Those Guys’ riddim (which Cousins released as a riddim album). The tune isn’t anything special really, but it certainly is far from bad to my ears and I’m sure you’ll agree (every time I hear that riddim I just start singing ’Happy Hour’ by Mikey Spice in my head). Chezidek keeps the same riddim going and arguably outdoes Fyah. His voice (strange as it certainly is) matches quite well with the very ‘light randomness’ of that beautiful composition and even though he comes off as slightly too loud, he delivers a nice and inspiring vibes on ‘What I Deserve’. And as the second disc goes down its stretch we get two different riddims used for two different tunes consecutively. The first is the aforementioned ‘Genesis’ riddim (which is what I’m going to call it until corrected) from Chris Hart, which serves as the backdrop to first Turbulence’s BIG tune ‘Do You Remember’. This one is a MIGHTY and complex type of praising tune for His Imperial Majesty, the likes of which I don’t think Turbulence has written in a very long time actually. He’s not just espousing about His Majesty, but he’s relating the STRENGTH and the virtues to a woman which definitely gets the tune going in a few different directions and I’m sure it should do a big damage and definitely help a lot of people (“where is your trust, for King Negus!”). And then the same riddim is brought again for the very welcomed Natural Black on ‘Close Friends’. This is another NICE one and I’m starting to think maybe this riddim just can’t flop really (either that or Natural Black is just wicked) (the choice is yours). And the final two tunes, Gyptian’s ‘Life Ain’t Easy’ and ‘Rasta Forever’ from Turbulence, actually go on another riddim from Hart (which I know the name of), the ‘Genesis’ ( a coincidence which I JUST realized actually and am now laughing very hard, so we‘ll call the first the ‘Genesis 2‘). The latter is definitely the stronger of the two (can I get a Turbulence album produced by Chris Hart???), although Gyptian is in even stronger form than he was on Murderer). There is one tune I saved for last because it’s the second half’s biggest tune, ‘Contemplating Mind’ from Danny Red. The tune is taken from Red’s album (for Cousins) Past & Present from last year and is a remake of an old Barrington Spence tune and it is dark and BEAUTIFUL at the same time. It literally sounds like someone singing a love song (for a living person) at a funeral, so as to appear not so happy. But it is gorgeous and if you screwed up and missed the album (then get it anyway!), then definitely check it here.

Disc Two

In contrast to the first disc, while definitely coming manned with more than its fair share of big names (although not on female at all), the second disc has a more varied roster of artists (including one who I couldn’t quite put a finger on hearing before) than the first, but they also, unsurprisingly, do quite well ultimately. Also continuing to do quite well is Lutan Fyah who checks in first on the second disc of Strictly One Drop Vol. 3 with number one of two tunes on the disc, ‘It Red’. This one, which has the same riddim (again), as Sizzla’s ‘Show Love & Be Strong’, has a strange sound to it, but that you’ll ignore and STRICTLY pay attention to the what’s being said where the power of this lyrical marvel lies. This thing is KNOWLEDGE packed and is one of the many tunes of the Fyah’s career which has gone overlooked. Big voiced Natty King makes his first and only appearance on the compilation on the very same riddim and in terms of sound, he also appears to struggle at times (apparently something as strange as what Sizzla does is the only way to go after this thing) on ‘Dem A Hunt Me Down’. The message and the overall composition are nice and I guess I should be grateful because the riddim apparently forces King to stress his vocals a bit, but . . . I don’t know. Something’s missing there. Not a damn this is missing on the next tune, ‘Rasta Imposter’ from the increasingly wicked Konshens. This is definitely the finest tune on the second disc and that’s no small feat. Checking in over Young Veterans’ ‘After Effection’ riddim, Konshens apparently makes where his allegiances lie evident and in the process takes a big, necessary and HEALTHY slap who pretend to follow the such a path in life for various frivolous reasons. The tune was a hit for the young artist and more than a year later still remains one of the most wicked in his catalogue in my opinion. BIG TUNE. Laden also takes the same riddim for a spin and does so effectively in my opinion, on ’Little Shooter’. This one (duh) is ’aimed’ at the youths who run afoul and seek the violent lifestyle. Lyrically this has to be one of Laden’s more impressive outings in my opinion (“hear me likkle shoota. Weh you go rob and loot for? Weh you go stab and shoot for? You no care about your future? Ah you your mada still ah cook for”) and just one of his best, period. Big man Luciano takes on the same topic ostensibly with his tune ‘Youth Dem Dangerous’ over the aforementioned Genesis riddim (the real one). This tune is VERY STRONG. I’m getting further away from this riddim where I realize that maybe it wasn’t as good as I initially thought, but this tune is undeniably strong, definitely. Jah Mason goes after the same riddim and it just doesn’t work. Watch this: ‘Your Love’ is a BAD SONG. That’s it. You also get a pretty mediocre lover’s number, ‘Never Changes’ from Norris Man later on across a very average riddim. And down the stretch of the first half of disc two are a few pretty nice surprises. Surprises like Leroy Mafia (from Mafia & Fluxy) who gives ‘Praises’ and does so in a very nice way. This tune is growing on me more and more and were I to write this in a month, I may very well say it I LOVE it. Yes, it’s that’s good. The man breaks it down to an almost miniscule level and urges giving praises year round. Apparently when Turbulence voiced the ‘Genesis 2’ riddim, he did so under the condition that Hart also voiced his friend Prince Jahved and Jahved didn’t disappoint with his tune ‘Heart 2 Heart’. I don’t what’s going on with the group, but Jahved was/is far and away the most talented member of Turbulence’s oft-talked about, rarely materialized (to any talented degree) group, Higher Trod. But, I haven’t honestly been paying much attention to Turbulence recently (apparently I need to start to again, however, after a few solid singles). This tune is a very nice lover’s piece and I’d love to see Prince Jahved become more active because he is well talented. And the closing out the first half is the aforementioned artist I’ve never heard of, Higher Binghi who provides the obligatory ‘Mama tune’ with ‘Glory Thanks Mama’. This is a pretty nice song and I’d love to hear more from Binghi in the New Year and I’m sure I will.

On the second half of the second disc there’s a (not really) very interesting occurrence (which saves me because I’m damn tired of this album at this point), as half of the ten tunes come over the exact same ‘Genesis 1’ Riddim. The first two of the four are definitely the strongest of the bunch, as between veteran Kulcha Knox and Lutan Fyah; they create a real master class. Star Trail and David House veteran Knox reaches with ‘Children of The Sun’, which is very interesting because it’s basically a tune preaching peace and happiness, but it definitely has a discernible EDGE to the vibes also. “Jamaicans are the roughest Afrikans the queen could ever come cross”, he says right near the beginning of the tune and goes into the chorus with, “children of the sun, see them having fun”. So you get into a situation where you might think Knox is being contradictory, but I don’t think so, I think he’s saying to REALLY know who your enemy is and who it is not. Regardless his intent however, Knox delivers one of the better more recent vibes of his much underrated career. Lutan Fyah also struggles with underration (is that a word?), but his tune on the Genesis, ‘Bun Dem Selassie’, has since become one of the riddim’s biggest hits and most respectable vibes the riddim has to offer and it’s probably THE best tune on it as well. Ginjah also takes a shot on the riddim with one of its better efforts, ‘Positive Words’. The tune is one like a few you’ll hear every once in awhile of an artist basically admonishing his peers to do proper work because of the power and influence they have, especially on the youths and to not take it for granted. You’ll hear such a tune from older artists, but rarely from an artist who is not only a contemporary, but an up and coming contemporary as well (and the man IMMEDIATELY gives respect to Lutan Fyah, which is well okay for me. Maybe we could get a combination!) (I’m just saying). Chrisinti is up next with ‘Hold Dem On The Wire’. I think the tune is largely over sung, like it’s kind of hard to follow and with a voice like his, that can certainly be an issue occasionally with Chrisinti’s music. But the tune also isn’t BAD and in fact I kind of like it (just wish he could have toned it back a bit). And the final tune reaching not only on the Genesis, but the entire Strictly One Drop Vol. 3 album is ‘Love Is Here’ which comes via Spanner Banner. This one isn’t anything very special, but with the sudden career upturn Spanner has made, it certainly becomes more and more of a big deal so, hopefully fans will appreciate it and go and pick up one of the singer’s two nice albums from 2009. Joining the solid artists on the Genesis are five more solid names (actually, as a whole, they’re probably bigger names). First is Glen Washington who delivers the WONDERFUL story of badman ‘John Brown’ and the troubles and trials he has faced in his life. This tune also appeared on a pretty nice compilation from a few years back and I’ve been enjoying for quite awhile, so will you. Anthony B goes on that same (BIG) riddim and with the way it moves it makes his tune, ‘Hafi Mek It’, even better. This is the free flowing type of Anthony B that I LOVE hearing, the one who has, oddly enough, been absent for most of the past year or so (minus that very nice album), but unfortunately the song is old, so it doesn’t portend anything soon coming, but I’m sure Bobo will right the ship anyway. Big tune. Danny Red returns with another selection from Past & Present, with the very Winston Rodney-esque ‘Jah Is Here’. And the tune actually flows over an old Keith Hudson riddim (Melody Maker) as well and it is a bonafide winner the SECOND it drops in. ‘Jah Is Here’ is BEAUTIFUL and I’m really feeling to go and dig up that album because it was really nice and a couple of years on, it may be even nicer because this tune really hits the spot. Luciano also gives a tune from his own Cousins album from 2007, the title track ’God Is Greater Than Man’. Oddly enough, this tune, which is clearly very strong, isn’t amongst my favourites from that album in retrospect (that album had a funky little old school vibes to it). Not that it is a bad song, but it is largely underwhelming, unexceptional and pretty standard fare in that regard. And LASTLY (AND FUCKING FINALLY) is the newly christened The Living Fire [bka Chuck Fenda] who goes on the same Mafia & Fluxy riddim, the Warrior Charge, as Luciano and only does slightly better to my opinion with ‘Locks A Flow’. This may actually be the first I’m hearing of this tune and listening to it now it kind of sounds better than the first three times I spun through it, so who knows, maybe I’ll grow to appreciate it even more. And that’s it!

Overall, yeah I shouldn’t have to do much with this one in terms of a recommendation. This album is so big that there almost has to be something in it which will interest even the most casual of Roots Reggae fans. No, it doesn’t have the shine and glisten of The Biggest Reggae One-Drop Anthems and it probably never will. And absolute truth be told, this is one release which ultimately is made or broken on how much attention heavy Reggae heads like you and I pay it or don’t pay it and for such a fan, I would say that if you’ve paid extra close attention to Cousins releases over the past couple of years, then there may be a bit much here that you already have or are just accustomed to hearing, but thankfully its also available on the digital side, so go ahead and pick and choose. The one thing I think needs to be worked on ultimately is the album’s cohesiveness. The way they attempt to do that here is buy letting the riddims play through multiple tracks, but sometimes the artists themselves, in terms of style, don’t match up well, despite being on the same riddim. Nevertheless, despite that and how hard I may have been on the album, Strictly One Drop Vol. 3 due to, if nothing else, it’s wonderful vastness is definitely one of the better compositions as it almost GUARANTEES something for everyone.

Rated 4.5/5

Cousins Records

2009

"Mount Rushmore": A Review of The Jah Live Riddim by Various Artists

There’s a very stark contrast in terms of what’s exactly going on with this release. On one hand there’s a producer in Lloyd Campbell for Joe Fraser who I feel is quietly one of the greatest producers and labels on the planet who have been known, at least to me, for exercising such a WONDERFUL level of quality control while voicing just a select group of artists in recent years. And on the other there’s ‘quietly’ one of the best known, and just BEST, producers in the world (if one can do such things and still be “quiet”) and a man who not only has worked with some of the best talents in Reggae music, but has DEVELOPED quiet a few of them and is currently in the process of doing the exact same thing again and will probably continue doing so for the rest of his days, in Dean Fraser. Between Fraser and Campbell, I feel you have two of the (ACTIVE) ‘keepers’ of a type of vibes in Reggae which you just need to have - that old school sweetness which so easily translates into this era. Campbell and his label, Joe Fraser Records, has definitely carved out a niche for themselves over the years (especially recently) of making BIG time new school Lover’s Rock with new artists (and in that capacity, they’re probably the greatest at doing it on this side of the globe and maybe even in the entire world altogether). They also have this kind of tight cache of artists with whom they record and as of late, the label has been pretty active, releasing STRONG material from a few of those artists (more on that in a bit). On Dean Fraser’s side, things are a bit more complicated, but not VERY given his history. Years and years ago Fraser was ‘charged’ with developing talents like Luciano and Mikey General and Sizzla and later Turbulence and Chezidek amongst others as artists working with Philip ‘Fatis’ Burrell’s Xterminator Productions. You take a look at that list of artists and quickly examine (particularly in the cases of Sizzla & Luciano), just who has been leading figures in Roots Reggae over the course of the last decade plus and you see just how instrumental Fraser has been. Oh! And not to mention the fact that currently the man is doing the exact same thing again with a few artists (one in particular) who, a decade from now, will most likely be leaders of the very same pack. Taking that angle of looking at things, something which comes with BOTH Lloyd Campbell’s and Dean Fraser’s name attached to it (I don’t care if it’s a doggie bowl or a designer toilet) is something that I need to take a listen to. Oh and that other Guy’s name on the project doesn’t hurt things either.

What other guy? Robert Nesta Marley, of course. Within the ridiculously large and the ridiculously legendary catalogue of Marley are a ridiculous number of gems which have resonated and familiarized themselves with not only the Reggae listening public, but casual and mainstream fans all over the world and his music definitely continues to do that. Every few years or so one of Marley’s pieces is redone and does a nice amount of damage amongst the masses and you also see a fairly steady rotation of his riddims used for ‘one-off’s’ and such things virtually year round (and not only in Reggae I should add), much to the delight of his filthy rich estate, I’m sure. Well, aside from the estate (which I’m sure has NO problem with what we’re about to discuss today), with names like Dean Fraser and Lloyd Campbell, I’m sure Marley himself would be quite happy with the fact that the two Reggae MASTERS have taken on one of his perhaps more overlooked, but definitely no less powerful creations, the Jah Live Riddim. You may very well find yourself Googling, Yahooing or Binging (does anyone use that thing yet?) that tune because you may not actually remember it offhand. Unlike some of the other tunes of Marley’s which have reached album form through remakes (like the ‘Redemption Song’, which was subsequently revived as the ‘Old Pirated (yes dem rob I)’ by Harvel Hart a few years ago I believe) (and it was WICKED), I don’t think ‘Jah Live’ was as casually popular and although, like everything else Marley did, it is definitely still respected, it definitely isn’t to the degree of a vast majority of its reincarnated peers. So, that being said I can imagine quite a few people heard and looked upon this ‘spanking new’ release as the very first time such a thing has been done, well they were wrong. The release comes courtesy Joe Fraser Records (in conjunction with Cannon) and is distributed via the largest label in the world VP Records (who apparently is quite high on it and are quietly promoting the hell out it. The VP link was pretty much a given as both Frasers have worked extensively with the label over the years and have funneled their own releases through the label, with Joe Fraser having several (ALL of those artists being on this album) just recently and of course Dean’s work goes without saying at this point (although I’m going to say it anyway in a little while anyway, I’m sure). The two entities have come together to deliver various artists’ take on Marley’s masterpiece, voiced over the past couple of years or so and yes it’s becoming a bit redundant this week, but what they come up with is definitely one of the finest riddim albums you’ll have heard in 2009. No question about it.

For the most part, in terms of the artists chosen, Lloyd Campbell and Dean Fraser play it fairly simple on the album and the results reflect that. Sometimes (and you should know) I do love the labels who take a chance just start mixing up the vibes, but certainly in some cases (this being one of them, obviously) it becomes a matter of less being more and entrusting something so special into the capable hands of people who know what in the hell they’re doing (for the most part) or at least people who seem like they might. You don’t have to worry (AT ALL) with the very first choice on Lloyd Campbell’s and Dean Fraser’s update on the Jah Live Riddim, because ‘they’ go with none other than VETERAN Glen Washington, the most accomplished Lover’s Rock singer and the most experienced artist, period, on the entire project, who opens things with the SPARKLING ‘Mi Did Tell You’. Of course Washington has recorded extensively with Campbell, including the very nice Destiny album from early this year and I had to go back to that album to see, because I didn’t recognize this wonderful vibe and sure enough, it isn’t there. Washington was all but mandatory on this piece and it was clear and he more than lives up to the lofty expectations on this very strong opener. Washington is (respectfully), however, outdone with one of the strangest selections of artist on the entire riddim, BIG Guyanese quintet (I think they‘re all still on board), who brings the equally BIG ‘Not Afraid’. I definitely just gave Campbell and Fraser a big respect for not going too far with who they chose for the Jah Live, but in this case, although the styles match up well, they did step out a bit with this choice, but they were wise in doing so (just as they did on the 'She's Royal' riddim) because First Born DEFINITELY hit a homerun with ‘Not Afraid’. The tune has been making impacts all over the place, worldwide, and hopefully they can continue to ride it and prove my prediction wrong and have an album in 2010 (hope I am wrong) (“anything you can do, I can do dreader than you. I am not a weak soul. Selassie made me brave and BOLD!”). Definitely love that tune and get into the lyrics. Then there’s the first direct sign of Dean Fraser’s handiwork as the divine Etana steps forth on the Jah Live with the nearly brilliant and self affirming ‘Learn To Love’. This one has a WONDERFUL message of pleasing and learning oneself even before attempting to do such things with another person which is something which should be common sense, but unfortunately isn’t to some degree and especially, as in the song, when apparently coming off a bad relationship or a busted friendship. BIG tune.

The extreme allure to the Jah Live Riddim was largely built (in my opinion) on the strength of three tunes. One of which, of course, was done by Nesta himself and the other two were through Dean Fraser’s utmost brilliance and that of his finds. The first which appears on the album for the riddim just so happens to be the biggest as the incomparable Tarrus Riley devastates the riddim with its finest effort altogether ‘Love Created I’. This song is EPIC. Seriously, apart from being a Rasta affirming tune and one which I’m sure has helped a lot of people (especially the youths) trying to find their ways in life, I use it as one which tells people to be careful where we draw our proverbial lines and in front of whom, because not everyone feels how you do! This thing was just MAGIC! And the other tune was from Fraser’s other big young artist, Duane Stephenson, who offers the title track of his 2007 debut album ‘August Town‘. This tune is a MAMMOTH autobiographical tune to my ears and one which so definitely caught the attention of the public and, again, particularly the youths who were actually growing up in similar situations as the future star Stephenson. And of course the two young artists aren’t on their own here, there’re a few other big names voicing the riddim as well. Such as, unsurprisingly, the aforementioned Luciano who comes with the second title track (after Marley) for the riddim,. Okay I don’t really like this song. It just doesn’t do very much and to be perfectly honest after really scrutinizing it, it almost seems as if Luciano is just kind of going through the motions. This one was a piece, I feel, was desperately in need of a combination. Maybe Luci could have tapped UK Reggae master Mr. Lloyd Brown who has no such troubles distinguishing himself with a recent top notch effort from his brand new album For Your Consideration, ’Know Yourself’. I’ve been listening to this one going on two months now and I’ve loved everything about it from the start. The tune basically just goes to people who aren’t living right, by choice or by circumstance. As Brown says, “and if you look inna the mirror, you know like the reflection - full time that you know yourself”. Indeed. Another artist (like Washington) who had a recent album with Joe Fraser Records (Walk A Mile) and is a favourite of the label is Mikey Spice. Spice brings a tune, ’I Cry, You Cry’, from that album which is nice and is a standout here just as it was on that project. ANOTHER artist with a recent Joe Fraser album (More Than Words), is the downright adorable Fiona who brings a tune from her album, one of the few conscious lights, ‘Stop Talking‘. I don’t care what Fiona does, I’m always pretty interested. She never gets the respect she deserves (apparently not even from me, I haven’t reviewed her album, but plan to in the new year) but she sounds excellent, each and every time out and this tune is definitely no exception. AND YET ANOTHER artist who has a recent album for Lloyd Campbell and Joe Fraser (. . . Now), veteran angelically voiced Sandra Cross, is apparently trying to make the people cry with ‘Beautiful Places’. The song is . . . Well it’s beautiful and she isn’t playing at all! The thing is GORGEOUS and one of the riddim’s/album’s finest outings. And I’m pretty sure I know who sweet singing Steele is and he features on two tracks. The first, ’Love Yourself First’, is a combination with a female artist, Mandy Wood (who I’ve never heard of prior to her tune here) (or since), and it very much so follows in the proven format of Etana’s tune (and Brown’s as well to a degree), of taking care of oneself before going outward with your emotions and Wood, like every other female on the Jah Live sounds very good, so keep an ear out for her. And Steele returns to close the album out all on his own with ‘Know For Sure’. This tune is very nice and I say that despite the fact that I’m still working on grabbing the tune lyrically to a point because I think I might disagree a little with the message (in terms of going entirely too detailed as I tend to do or, it may just be that he makes an unusual connection, rather than one that I actually disagree with). Basically what he’s saying is that you should be careful what you do because you “should know for sure” that you’re going to have to pay for your actions one day. And the gist of the tune (which is what that is) I certainly agree with and even if I didn’t, I wouldn’t call it a bad tune because it isn’t. It is, however, very nice and a very good note on which to end things (and Steele apparently has an album out of his own by the name of The Man, The Music, definitely check that out if you can get your hands on it).

Overall, if you like modern Reggae then you probably wasted your time reading this big ass review because you pretty much already knew that this thing was top notch, didn’t you? You have two masters of the music working on bringing back the music of the greatest master of them all, you just can’t go wrong on that. Furthermore, Dean Fraser, as an artist, has recorded the music of Marley quite extensively and has had (at least) two albums reflecting just that (curiously enough, however, I was unable to find him playing this riddim). The Jah Live Riddim is an exquisitely done project and it doesn’t even seem like they spent so much time piecing it together meticulously and that’s exactly what you would expect from this class of producers - effortless work. The artists themselves, of course, are who will ultimately be remembered first, but I’m sure in both the cases of Lloyd Campbell and Dean Fraser, were Nesta around to do so, he would certainly congratulate them both on a job well done.

Rated 4.25/5

Joe Fraser Records

2009

"Hum A Merry Tune": A Review of Sly & Robbie Present: Tune In To Merry-Go-Round by Various Artists

I’m picturing a beautiful time in the future when I’m around forty-five or fifty where some of my favourite producers will have been afforded the time in the business which will allow them to build up this storied type of catalogues and histories, even more than they already have. This particularly will be interesting considering that quite a few of our producers are heading in directions where they will SURELY be legends in the game to any perceptible degree and you could even make the case that some of them already are. Despite my urges to do otherwise, I’m going to start with the example of Don Corleon as a producer who already has such a strong base for himself, despite being very young still, to my knowledge. Corleon is to the point where, amongst people my age and maybe a little older and younger (talking in the range of about 25-35), he already has surefire, bonafide CLASSICS in his vast catalogue. Now you take that same catalogue and assume that he’ll remain relatively active and give Don Corleon TWO MORE DECADES of material to make and imagine exactly what kind of damage he can do over that time. To speak of him in the class of great Dancehall producers (and don’t even get into his one-drop work which is becoming increasingly vast on its own) like King Jammy and Dave Kelly, in my opinion, wouldn’t be too much of a stretch either. Now of course, you knew I would mention him, but do the same thing for the even younger Kemar ‘Flava’ McGregor. Twenty more years of him making this sprawling and beautiful Roots riddims and he may very well etch his name, considering the era in which he’s in, as THE greatest Roots Reggae producer of all time. And not only that, but in terms of McGregor and Corleon (and surely the younger McGregor, Stephen ‘Di Genius’ who very well may have another HALF A CENTURY with which to play, considering changes in the game and both Corleon and Flava may very well also to some degree), they’ll also have the opportunity as the dominant Jamaican producers to DEFINE the era. You’ll look to the biggest Jamaican artists to do that in Reggae music and definitely where they spend their time mostly will also be carried right along with them, in terms of legacy and those actually making the music can virtually decide how the histories are written. Of course I’ll have to get in my magic time machine to ensure that this goes all according to plan, that no retires or just finds something better to do with their time (whatever her name may be), but thankfully I have a few names at who to look as the ‘blueprints’ of how everything should work.

Like Sly & Robbie - I won’t even bother going into the detailed history of the group (because even with as unquestionably long winded as I am, even I don’t have that type of time), but I will say that with a history going back nearly forty years together, the famed ’Taxi Gang’ may very well be the most active Reggae producers/musicians of all time. Period. And in their years of working, they’ve amassed enough riddims and compositions that they could probably release projects like this into perpetuity with new artists and a great deal of younger listeners may not even notice that they’re not making anything NEW, but simply emptying and reemploying their sizable vault. Of course I’d notice, but I wouldn’t complain, just as I won’t complain if when I’m fifty in 2031 Don Corleon decides to do the same thing with the Drop Leaf or the Seasons or if the mood strikes Flava to runback the Triumphant or Rub-A-Dub riddims. You won’t hear a peep out of my old ass. Just like you didn’t hear anything negatively out of me when I first laid eyes on this particularly BEAUTIFUL creation Sly & Robbie Presents: Tune In To Merry-Go-Round. The album, which features two of the duos old school powerful vibes with new(er) artists rinsing through them (the ‘Tune In’ and the ‘Merry Go Round’) (DUH!), comes via Tad’s and takes the same route as most of Tad’s releases and goes digital through the wonderful homosapiens at Zojak Worldwide. The music here is a mix of tunes predominately recorded in the past couple of years or so and with artists who wouldn’t have been around (at least not recording) (at least not most of them) back in 1980 or so when both of these pieces first dropped, I believe. Also, you have material here which has done serious commercial numbers, as evident by this album’s very existence perhaps, you definitely have a few hits and besides that (or maybe even BECAUSE of that) you definitely have another one of the best riddim albums of 2009 (find myself saying that more and more these days for some reason) AND an album which, by its very being, certainly has ‘legs’ and its potency should definitely carry it well into the new year, just as it has for these two riddims for the past thirty years or so.

As for the riddims themselves, they’re not very different in terms of vibes as you might imagine, in terms of how they’re put together. Both are from the same era, so that cool ‘dusty’ classic Dancehall sound is definitely in abundance here and thankfully Sly & Robbie have linked artists who are more than capable (in most cases) of handling it. And the way the actual album runs, of the nineteen tracks, the first ten are for the Merry Go Round, while the final nine go to the Tune In. And as I said, the Taxi Gang has tapped artists who are WORTHY, unfortunately that isn’t the case with the very first tune of their album Sly & Robbie Presents: Tune In To Merry-Go-Round, on the Merry Go Round riddim as they link Chuckle Berry for his hit ‘The Good Life’. Okay, I HATE this song! HATE IT! Millions of people around the world love it and you probably will too, but I cannot stand it, so I’ m just moving on (and even if that’s the only video that I can find on that riddim on YouTube, I’m not using it!). Okay Courtney John puts the world back in proper order next when he brings the nearly outstanding lover’s piece, ‘Back In Love’. John has a very interesting spot in Reggae because he is seemingly one of the artists on the brink of mainstream success, but the hardcore heads who follow him do so religiously (which is doesn’t sound like it should be, but it is kind of strange, think about all of the backlash someone like Sean Paul got just for getting famous) and it is largely due to SWEET love songs like ‘Back In Love’. Speaking of sweet love songs, one of the greatest purveyors in the world of such things is up next in S&R favourite, UK singer Bitty McLean with definitely one of the best tunes on the riddim and album also, ‘Talk Talk [aka ‘Let Them Talk’]’. It stands out here just as brightly as it did on McLean’s album Movin On from earlier this year (which I didn’t like for some reason) (but you probably will, go pick it up). McLean is quickly outdone (as is everyone else who voices the riddim) by another Taxi Gang favourite, Anthony Red Rose, who brings what is the single best tune to be found on the entire album, regardless of riddim, the MASSIVE ‘Under My Skin’. This song is so damn sweet that listening to it gave me a fucking cavity! It’s that nice! You want that slow happy grinding thing to go on with you and that special someone, tune in this track and don’t worry at all! MASSIVE song. The late Junior Delgado ‘tunes in’ the original classic title track for the Merry Go Round riddim and I was so happy they decided to include this one here as most certainly it would be lost to some of the younger listeners and by its quality, ‘lost’ isn’t somewhere it should be. Lukie D is also present with the very strong ‘On Fire’. No, he isn’t one of my personal favourites, but I’ve always maintained that Lukie is a very talented singer and you can REALLY see why on tunes like this. And veteran George Nooks also follows nicely with his love song ‘Lonely Won’t Leave’ which is a very CLEVER piece and we always like to see Nooks’ name pop up almost anywhere and Tune In To Merry-Go-Round is definitely no exception. The other three vocal tracks on the MGR riddim are reserved to contemporary Roots artists and the results are mixed. First is Lutan Fyah who does well enough with his own sweet love song ‘Wild Fire’. This one has been growing on me a bit recently (even RIGHT NOW) and I may like it even more in the future, but as for now, its OKAY. At the opposite end of the scale, not quite okay, is Anthony B, whose ‘Take Time To Know Her’ is kind of strange and just doesn’t work AT ALL ultimately. Right in the middle, between them both (literally and figuratively) is the Bushman with his most recent big hit, the wonderfully vibed social commentary ‘World State’. You should REALLY take in this song, just don’t vibe it, really pay attention to what he’s saying. It’s a powerful tune, the second best on the riddim and maybe even on the album in full.

And then there’s the Tune In Riddim. This riddim is slightly more colourful than the MGR and it features a few big names of its own, as well as two very high profile combinations as highlights. The first tune is one of those combinations as it features Jimmy & Tarrus Riley on the huge Father & Son shot, ‘Pull Up Selector’. For obvious reasons this tune was/is a pretty sizable hit going on the old school Dancehall vibes and love and updating it today. Big tune from the elder Riley‘s recent album of the same name. Speaking of updates, the other big combination here features Sugar Minott, who originally sang the title track for the riddim alongside the completely clashless Bounty Killer. I might be the only one who thinks such, but I think this tune is actually better than the Rileys’ combination actually. The mix here is EPIC and it’s not just a spin of Minott’s original tune like Junior Delgado’s (for obvious reasons), but it is a version which acknowledges its time frame and acknowledges the Killer so at least for me, old modern ass me, it’s also a better tune than the original and definitely one of the biggest on either side of this album. Besides the two combination tracks, you also have a few pretty big names as well voicing the new Tune In. Such a person comes in with the over animated ‘Hype’, as Sizzla delivers his somewhat typical overaggressive vibe for this riddim. His tune isn’t horrible, but it certainly isn’t up to not only his standards, but some of the others on the riddim also. Lutan Fyah makes up for my favourites with the riddim’s and album’s closing track, ‘Out A Line’. This one is a BIG tune and is definitely one of my favourites on the riddim altogether and I’ve been enjoying it for more than a minute (Africa album). You go after the song on any type of scrutinizing level (like for a review) (something like that) and not only does it hold up, but the more keenly you listen, the more it excels actually (and it also reminds me of ‘Bad Traffic’ for some reason or another). Like the Fyah, Courtney John also returns on the Tune In from the MGR, with ‘Ready To Go’. Seriously you can’t help but REALLY like this tune and that’s so even though I prefer ‘Back In Love’ over it, but both are very big. VETERAN Brian Gold (sans brother Tony, at least as far as I know) also pushes a BIG spiritual tune with ‘The Most High’. This one is so nice, especially at the beginning where it goes almost straight á cappella. So even though it borders on Gospel (which I generally don’t enjoy, but is a VERY interesting direction in which to take this riddim), I’m still a fan of this tune and INFINITELY biggup Brian & Tony Gold definitely. Another veteran vocalist, Ambelique also tunes up the Tune In with his own tune, ‘Worker Man’. This tune has a kind of a funky/bluesy type of vibes to it (like something you’d hear in some dark club in the middle of the bayou) and it’s definitely not one of my favourites here, but I also kind of sense it growing on me a little so . . . Ask me in a month. Of course Sly & Robbie rarely drop anything these days without linking it through Ms. Cherine Anderson (thankfully) who I have to slide in over Lutan Fyah as the riddim’s best tune because ‘Talk If Yuh Talking’ is MASSIVE. It’s a tune about a woman giving her man everything (she thinks) he would want and treating him like a king, but he still goes astray once he gets a little hype. It goes from Anderson using that powerhouse of a voice she hides in that tiny little body, to her coming out straight deejay style later on when she says, “I was the dayshift, the lateshift. Come back, I was your nightshift. Support this. We build this. Put up with all your slackness”. Anderson has talent just saturating the places she visits and this tune was definitely one of her biggest hits and one of her better tunes altogether. And lastly (because there aren’t any riddim tracks) (dammit), is another artist like Cherine Anderson (and dozens, if not hundreds, of others), who Sly & Robbie have helped develop along their way, Chaka Chaks. Be not misled by his absolute atrocious choice of name (he was a Demus fan reportedly), Chaks is potentially a BIG artist who has this wonderful old school HEAVY deejay style which distinguishes him almost immediately when you hear him (it’s like half DJ/half chanter, but close to the Dancehall style) (and I don’t want to hear anything about a damn Chuckle Berry comparison). His tune here ‘African Daughter’ is definitely a highlight for the album and going into the new year, you definitely keep an eye on Chaka Chaks (and I guess that’s Ghost singing in the background). Chaka Chaks turns things over to the aforementioned Lutan Fyah who ends things on a very nice note for the album.

Overall, definitely you should have this one somewhere in your collection. Despite its pretty clear odes to the past era, new fans should well be onto appreciating Tune In To Merry-Go-Round, definitely. And in cases like this, where it actually WORKS (which is surprisingly rare) in mixing the eras, I don’t want to say that you’re dealing with anything SO SPECIAL, like a landmark/transitional type of thing, but definitely this one is certain to carry a vibes for quite awhile or at least until the next time Sly & Robbie may want to pull out these two again. So, while I do just have to relax and either wait for the next few decades or so until some of my favourite producers have their time like this or until someone can create a time machine, right now thankfully there are people like Sly & Robbie - walking, talking, living, breathing LEGENDS.

Rated 4.50/5

Taxi/Tad's/Zojak Worldwide

2009

Sly & Robbie

Sly & Robbie & Myspace