Unlike in most genres of music, I find that in Reggae music, we as fans tend to be, thankfully, more and more accepting of our artists when they are truly talented. While I do often fret and am disgusted by the fact that so many of our elder artists often have to leave the island completely in terms of recording (or even LIVING in many cases) simply in order to continue to enjoy the status which they previously enjoyed. And while, of course, time changes things and the elders have to make room for the youths, it is just so distressing that so many of our once SUPERSTAR names have to go and find their fan bases a foreign or risk ending up in Jamaica still, but terribly impoverished. BUT. The wonderful part of that, if there is such a thing is that these places do exist for some of the artist to STILL find people who enjoy their music, beyond the classics and often DEMAND new material, keeping them in the limelight constantly; exactly where they belong. For example, take the case of the recently deceased legendary Alton Ellis. Ellis spent the latter portions of his life living in Europe where he apparently enjoyed a very large status, which he deserved of course (now, in his death, his status as one of the greats is eternally secure). The thing about that, however, is that in Alton Ellis’ case in particular, he was one of the few who could have gone virtually ANYWHERE there were fans of Reggae music because his music is just that timeless and even later in his life (THANKFULLY) he retained the ability to sing his classics sounding nearly just like the youth he was on the day he recorded most of them. Another and more current nice example would be that of Prezident Brown. I don’t rightly know where Prezident Brown lays his head these days, but I find it simultaneously so unusual, yet comforting that nearly EVERY TIME I get a promo of a new tune of his, or even a full blown album, it is almost an official accounting of his worldly travels of sorts (like a blog!) because they’ll come literally from ANYWHERE on the planet. From the UK to the US and everywhere in between (there’s actually nothing in between. . . Bermuda) and that is just LOVELY as the Reggae family extended keeps he who is purely one of the most talented Reggae artists to ever walk the planet in our thoughts. If you have proven, certifiable and unquestionable talent like Brown, like Ellis and so many others there will always be a door open for you in Reggae music.
Especially when is you who helped to build the frame on which the door swings. Unfortunately, what is often the case of albums with foundation artists which are new is that they’ll come out for some very random and obscure type of label and, at least to my eyes, I’m SO used to identifying such albums as merely greatest hits or other type of compilations, whether the picture on the album cover is new or not. That’s just the way it is. However, late 2008 and here in early 2009 two releases in particular have caught my eye as not being like that and actually being well done and well presented. The first is Horace Andy who is out with the album Inspiration Information 2 alongside UK based musician/producer/engineer, Ashley Beedle. II is being promoted VERY well and despite the fact that I don’t like it (AT ALL), it is so nice to see Andy getting that type of spin. And, of course, there is the equally legendary Linval Thompson who is coming through with the SPARKLING Ghetto Living! Thompson’s name is one which arguably holds as much weight as anyone’s in the Reggae business (arguably) EVER. Thompson comes from the school/class of artists which included the likes of Freddie McGregor, Cornell Campbell and, of course, the Crown Prince of Reggae himself, Dennis Brown. Thompson’s place amongst these legendary figures is SO secure and even a bit different than most as he has a long career as a producer during which he has produced all three of the aforementioned names, pennacling with the CLASSIC Big Ship for McGregor; both the song and the subsequent album of the same title, both of which are regarded as staples not only for McGregor and Thompson but the entire genre of Reggae music, as a whole. Recently, Linval Thompson’s hasn’t been a name which has been resonating very much in terms of actually doing work, he has, to my knowledge spent what time he has contributed to the music on the road, for the most part throughout Europe and in the States as well. Thus, even the possibility of a new full length studio album (of which the promotion boasts is his “first new studio album in fifteen years”) is very appetizing for hardcore Reggae heads worldwide (especially Europeans because they are currently receiving a tour from the legendary singer apparently). Simply put, Linval Thompson’s Ghetto Living is SERIOUS business! It is a more than welcome return to the scene of one of the genres greatest practitioners ever and it is currently receiving quite a buzz all over the place and I’m really appreciating that fact (again, particularly from the Europeans). Ghetto Living is released through Thompson’s own longtime label, Thompson Sounds and is distributed (digitally only as far as I know) through Zojak (which is the best and biggest named digital distributor of Reggae music, having recently worked with the likes of Anthony B, Cocoa Tea and Anthony Red Rose (apparently not getting to Amazon yet, although the website describes that as “pending”) for the masses. Ghetto Living as expected, features production from Thompson himself AND, unexpectedly, from one of my favourite producers of all time, Philip ‘Fattis’ Burrell from the legendary Xterminator label (who I figured was retired from the business, but hopefully Ghetto Living marks a full on return from Thompson and Burrell alike). It also, perhaps even more importantly, features quite a bit of input from Thompson’s own twelve year old son (the next Genius!). So how would a foundation artist remake himself in this modern day and age to score a winner? Maybe he wouldn’t remake himself at all and score even bigger because of it.
Ghetto Living as a whole virtually transports the listener back to the 1970’s as he RARELY makes a concession to any aspect of time, WONDERFULLY. And I’ll also mention, going in, that if this is the first time you’ve heard Linval Thompson’s music, you’ll first probably notice that CLASSIC earthly tone to his voice which on Ghetto Living sounds nearly as good as ever. My ears literally jumped on the first tune that rings in the album, the downright blessed Natty Africa. This is a sweet sweet vibes about repatriation and HOME and love in general and really one so crucial and yet so simple that it is, to my ears, pretty essential and easily one of the finest efforts on the album altogether. There is better material on the album, but I doubt any of it would have sounded better starting things off. The title track rolls in quite early on in the second spot and although, to my ears, it trails Natty Africa a bit, given the nature of the album which follows it and its strength as well, its quite evident why it was chosen as the title track. If you’ve ever been a person living in the ghetto then there is definitely some aspect to this tune (and by extension, the album as a whole) which you’ll more than be able to relate to (and as someone who was raised in the country, I can even relate a bit to it from my side, country ghetto we used to call it). The tune does develop quite a bit and, although it remains quite simple throughout, what you need to focus on is in the lyrics, anyway. Big tune. Hustler completes the all around stellar opening for Linval Thompson’s Ghetto Living and its actually somewhat similar to the title track which precedes it. Hustler is a tune which is just about what the title indicates but in the positive sense; doing whatever one has to do to help one’s family. Having definitely been in that position myself (but not anymore, thankfully) the tune hit me especially and for me ranks amongst the class of the album.
Its unique that, as I mentioned, Thompson hardly ever makes any concession to the age having passed in terms of the vibes here, however, when he does makes a most obvious concession, he does so in GRAND fashion. The first single from Ghetto Living, Bad Boys, features Thompson alongside criminally underrated modern chanter Warriour King and it is a wonderful thing! Certain to be the one tune having the most spins I love the combination between the two and hope to see Thompson take on more such projects in the future (do we see Linval Thompson - Etana???!!!). That being said, to my ears, Ghetto Living’s greatest musical success comes with Thompson riding all alone when the MAMMOTH Jah Jah Is My Father rolls in! The tune literally brought tears to my big grown man eyes! It comes in on the breath of “Jah Jah is my Father. Jah Jah is the Creator!” INDEED Mr. Thompson. The vibes remain that high throughout and seriously, this tune is as best as the legendary singer has EVER done, period. For all old school Linval Thompson fans, anytime you can get him anywhere near an herbalist type of tune you’re potentially working with magic like what he gave us with I Love Marijuana so many years back and he gives it quite a nice run on the album with Free Marijuana and if you loved that old tune (and I did) this one just may hit you on similar levels. Free Marijuana is a rather clever (if you are a HARDCORE STRANGELY DEEP Linval Thompson fan then you’ll notice some very ‘familiar’ vibes in that one which I won’t spoil for you here). Roots Princess also has a very familiar vibes in it and is just a SWEET lover’s piece for the ladies and, as is typical for Thompson’s vibes, its so UNDERSTATED, its barely even there, easily overlooked, but should you dive into the tune, the reward is well present, trust. Natural Beauty is a similarly vibed tune (this one even more of a pure lover’s) which has a more updated riddim backing it (probably one of the Xterminator blends, even though I don’t recognize it) although I do still favour Roots Princess. And just to complete that thought check the tune Empress which features loud and slightly agitated Empress Thunderous (who I have heard of before) on the tune. To my knowledge, Thunderous was the last find of Xterminator and she was (awkwardly) afforded some of the labels vaulted riddims a few years back where she sounded better (at her core she is kind of a Dancehall voiced roots DJ), but she sounds quite awkward here indeed. As Ghetto Living winds down, it still saves space for some VERY impressive material. Speaking of material, check the WICKED All Is Vanity which may be a good choice for a single should they choose to do another. Even stronger, however, is Love Brother, Love which. . . Is somewhere in Reggae stratosphere. If you like dub (more on that in a minute) then check the nearly forty second long intro on the tune which brings in a vibes circa 1972 and when Thompson begins his singing, the guitar jumps in and several other pieces to bring in easily the best backing track on ANY song on Ghetto Living. The tune itself is a reminder to just ease back a bit and let go of the violence and pick up some love instead. One the album’s best, easily. And ending things is the very familiarly vibed Halla Dem A Bawl. The tune comes in across a relick of the same riddim which supports Cocoa Tea’s well powerful Criminality tune (and it may be a remake from some other source as well) and it’s pretty much on that level (if not better) and a truly excellent way to take things out.
Now, briefly I’ll mention the presence of two dubs from Free Marijuana (Marijuana Dub) and Roots Princess (Roots Princess Dub). Besides having worked with artists like Dennis Brown, Freddie McGregor etc. Brown has also worked alongside Dub legends such as Lee ‘Scratch’ Perry, King Tubby and even the Scientist (who dubbed out some of Thompson’s riddims on his own). This was a very nice touch and I’m sure the old hats will appreciate it and this younger hat does as well. To my ears, Marijuana Dub is more solid but Roots Princess definitely holds its own (especially when the saxophone kicks in). WOULD HAVE LOVED TO SEE ONE FOR Natty Africa and Love Brother, Love as well. All in all: Very well done Mr. Thompson.
Overall, not too long ago, earlier this year, Daweh Congo released a next project by the name of Ghetto Skyline. Both that album and Linval Thompson’s Ghetto Living are closely related in terms of vibes and the sounds on the albums, respectively. Therefore, I’m also instinctively compelled to compare the two together. Ghetto Living is a better album. As it was officially released two or three weeks shy of the end of the year, it will be more closely associated with 2009 and thus is an early favourite for album of the year! Its that good. What Thompson and company have done here is prove that, like I said, good talent is always to be appreciated in Reggae music. I don’t know if this marks a full fledged return to the scene for the legendary singer (I don’t think Thompson even knows himself) but another effort like Ghetto Living and we may have to stop thinking of him as a and old time foundation artist; and start thinking of him as one of the best of today. AMAZING! GO GET IT!
Especially when is you who helped to build the frame on which the door swings. Unfortunately, what is often the case of albums with foundation artists which are new is that they’ll come out for some very random and obscure type of label and, at least to my eyes, I’m SO used to identifying such albums as merely greatest hits or other type of compilations, whether the picture on the album cover is new or not. That’s just the way it is. However, late 2008 and here in early 2009 two releases in particular have caught my eye as not being like that and actually being well done and well presented. The first is Horace Andy who is out with the album Inspiration Information 2 alongside UK based musician/producer/engineer, Ashley Beedle. II is being promoted VERY well and despite the fact that I don’t like it (AT ALL), it is so nice to see Andy getting that type of spin. And, of course, there is the equally legendary Linval Thompson who is coming through with the SPARKLING Ghetto Living! Thompson’s name is one which arguably holds as much weight as anyone’s in the Reggae business (arguably) EVER. Thompson comes from the school/class of artists which included the likes of Freddie McGregor, Cornell Campbell and, of course, the Crown Prince of Reggae himself, Dennis Brown. Thompson’s place amongst these legendary figures is SO secure and even a bit different than most as he has a long career as a producer during which he has produced all three of the aforementioned names, pennacling with the CLASSIC Big Ship for McGregor; both the song and the subsequent album of the same title, both of which are regarded as staples not only for McGregor and Thompson but the entire genre of Reggae music, as a whole. Recently, Linval Thompson’s hasn’t been a name which has been resonating very much in terms of actually doing work, he has, to my knowledge spent what time he has contributed to the music on the road, for the most part throughout Europe and in the States as well. Thus, even the possibility of a new full length studio album (of which the promotion boasts is his “first new studio album in fifteen years”) is very appetizing for hardcore Reggae heads worldwide (especially Europeans because they are currently receiving a tour from the legendary singer apparently). Simply put, Linval Thompson’s Ghetto Living is SERIOUS business! It is a more than welcome return to the scene of one of the genres greatest practitioners ever and it is currently receiving quite a buzz all over the place and I’m really appreciating that fact (again, particularly from the Europeans). Ghetto Living is released through Thompson’s own longtime label, Thompson Sounds and is distributed (digitally only as far as I know) through Zojak (which is the best and biggest named digital distributor of Reggae music, having recently worked with the likes of Anthony B, Cocoa Tea and Anthony Red Rose (apparently not getting to Amazon yet, although the website describes that as “pending”) for the masses. Ghetto Living as expected, features production from Thompson himself AND, unexpectedly, from one of my favourite producers of all time, Philip ‘Fattis’ Burrell from the legendary Xterminator label (who I figured was retired from the business, but hopefully Ghetto Living marks a full on return from Thompson and Burrell alike). It also, perhaps even more importantly, features quite a bit of input from Thompson’s own twelve year old son (the next Genius!). So how would a foundation artist remake himself in this modern day and age to score a winner? Maybe he wouldn’t remake himself at all and score even bigger because of it.
Ghetto Living as a whole virtually transports the listener back to the 1970’s as he RARELY makes a concession to any aspect of time, WONDERFULLY. And I’ll also mention, going in, that if this is the first time you’ve heard Linval Thompson’s music, you’ll first probably notice that CLASSIC earthly tone to his voice which on Ghetto Living sounds nearly as good as ever. My ears literally jumped on the first tune that rings in the album, the downright blessed Natty Africa. This is a sweet sweet vibes about repatriation and HOME and love in general and really one so crucial and yet so simple that it is, to my ears, pretty essential and easily one of the finest efforts on the album altogether. There is better material on the album, but I doubt any of it would have sounded better starting things off. The title track rolls in quite early on in the second spot and although, to my ears, it trails Natty Africa a bit, given the nature of the album which follows it and its strength as well, its quite evident why it was chosen as the title track. If you’ve ever been a person living in the ghetto then there is definitely some aspect to this tune (and by extension, the album as a whole) which you’ll more than be able to relate to (and as someone who was raised in the country, I can even relate a bit to it from my side, country ghetto we used to call it). The tune does develop quite a bit and, although it remains quite simple throughout, what you need to focus on is in the lyrics, anyway. Big tune. Hustler completes the all around stellar opening for Linval Thompson’s Ghetto Living and its actually somewhat similar to the title track which precedes it. Hustler is a tune which is just about what the title indicates but in the positive sense; doing whatever one has to do to help one’s family. Having definitely been in that position myself (but not anymore, thankfully) the tune hit me especially and for me ranks amongst the class of the album.
Its unique that, as I mentioned, Thompson hardly ever makes any concession to the age having passed in terms of the vibes here, however, when he does makes a most obvious concession, he does so in GRAND fashion. The first single from Ghetto Living, Bad Boys, features Thompson alongside criminally underrated modern chanter Warriour King and it is a wonderful thing! Certain to be the one tune having the most spins I love the combination between the two and hope to see Thompson take on more such projects in the future (do we see Linval Thompson - Etana???!!!). That being said, to my ears, Ghetto Living’s greatest musical success comes with Thompson riding all alone when the MAMMOTH Jah Jah Is My Father rolls in! The tune literally brought tears to my big grown man eyes! It comes in on the breath of “Jah Jah is my Father. Jah Jah is the Creator!” INDEED Mr. Thompson. The vibes remain that high throughout and seriously, this tune is as best as the legendary singer has EVER done, period. For all old school Linval Thompson fans, anytime you can get him anywhere near an herbalist type of tune you’re potentially working with magic like what he gave us with I Love Marijuana so many years back and he gives it quite a nice run on the album with Free Marijuana and if you loved that old tune (and I did) this one just may hit you on similar levels. Free Marijuana is a rather clever (if you are a HARDCORE STRANGELY DEEP Linval Thompson fan then you’ll notice some very ‘familiar’ vibes in that one which I won’t spoil for you here). Roots Princess also has a very familiar vibes in it and is just a SWEET lover’s piece for the ladies and, as is typical for Thompson’s vibes, its so UNDERSTATED, its barely even there, easily overlooked, but should you dive into the tune, the reward is well present, trust. Natural Beauty is a similarly vibed tune (this one even more of a pure lover’s) which has a more updated riddim backing it (probably one of the Xterminator blends, even though I don’t recognize it) although I do still favour Roots Princess. And just to complete that thought check the tune Empress which features loud and slightly agitated Empress Thunderous (who I have heard of before) on the tune. To my knowledge, Thunderous was the last find of Xterminator and she was (awkwardly) afforded some of the labels vaulted riddims a few years back where she sounded better (at her core she is kind of a Dancehall voiced roots DJ), but she sounds quite awkward here indeed. As Ghetto Living winds down, it still saves space for some VERY impressive material. Speaking of material, check the WICKED All Is Vanity which may be a good choice for a single should they choose to do another. Even stronger, however, is Love Brother, Love which. . . Is somewhere in Reggae stratosphere. If you like dub (more on that in a minute) then check the nearly forty second long intro on the tune which brings in a vibes circa 1972 and when Thompson begins his singing, the guitar jumps in and several other pieces to bring in easily the best backing track on ANY song on Ghetto Living. The tune itself is a reminder to just ease back a bit and let go of the violence and pick up some love instead. One the album’s best, easily. And ending things is the very familiarly vibed Halla Dem A Bawl. The tune comes in across a relick of the same riddim which supports Cocoa Tea’s well powerful Criminality tune (and it may be a remake from some other source as well) and it’s pretty much on that level (if not better) and a truly excellent way to take things out.
Now, briefly I’ll mention the presence of two dubs from Free Marijuana (Marijuana Dub) and Roots Princess (Roots Princess Dub). Besides having worked with artists like Dennis Brown, Freddie McGregor etc. Brown has also worked alongside Dub legends such as Lee ‘Scratch’ Perry, King Tubby and even the Scientist (who dubbed out some of Thompson’s riddims on his own). This was a very nice touch and I’m sure the old hats will appreciate it and this younger hat does as well. To my ears, Marijuana Dub is more solid but Roots Princess definitely holds its own (especially when the saxophone kicks in). WOULD HAVE LOVED TO SEE ONE FOR Natty Africa and Love Brother, Love as well. All in all: Very well done Mr. Thompson.
Overall, not too long ago, earlier this year, Daweh Congo released a next project by the name of Ghetto Skyline. Both that album and Linval Thompson’s Ghetto Living are closely related in terms of vibes and the sounds on the albums, respectively. Therefore, I’m also instinctively compelled to compare the two together. Ghetto Living is a better album. As it was officially released two or three weeks shy of the end of the year, it will be more closely associated with 2009 and thus is an early favourite for album of the year! Its that good. What Thompson and company have done here is prove that, like I said, good talent is always to be appreciated in Reggae music. I don’t know if this marks a full fledged return to the scene for the legendary singer (I don’t think Thompson even knows himself) but another effort like Ghetto Living and we may have to stop thinking of him as a and old time foundation artist; and start thinking of him as one of the best of today. AMAZING! GO GET IT!
Rated 5/5stars
Thompson Sounds/Zojak Worldwide
2008
Modern Classic?
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