You can let the longtime examples of Beenie Man and Bounty Killer be your literal figure for my statement that: SOMETIME in Reggae music, perhaps unlike any other musical genre, CONTROVERSY can keep an artist relevant. Of course one would have to acknowledge that the two main principles in that argument are amongst the most talented that the Dancehall has ever seen, you can just sit and think back to all of the other artist (not so naturally gifted) who were sucked into the mix and even MORE of the other artists (some of whom happen to have been VERY talented) whose careers, at least in part, were virtually put on hold while the extended Dancehall community took notice of the never-ending story which is their rivalry (and you can probably expect that to happen sometime again in the future). Even taking it out of that context, look at other things which causes attentions to go looking for certain name. Take the case of Beenie Man and D’Angel. While I am slowly but surely coming to appreciate the talents of D’Angel (besides the obvious ‘visual talent‘ she possesses) I can honestly (D’Angel is SEXY, go ahead and admit it!) say that she wouldn’t have had as great of an impact that she has had, had she not married and then immediately divorced Beenie Man. The sticking point being here. While in other forms of music, ESPECIALLY Hip-Hop, you may see something similar but the person involved in that . . . MESS, would ultimately vanish. It is HIGHLY UNLIKELY that the Dancehall will ever successfully ‘rid’ itself of D’Angel (and I’m not saying that it should) and so long as she remains interested in the game, she’ll be relevant and probably known more so as ‘Beenie Man’s ex-wife’, regardless where her undeniable skills may take her. Then there’s the case of longtime Dancehall veteran Merciless, whose entire career has seemingly been a transition from scandal to scandal. Whether its coming up and drawing the ire of Bounty Killer as having a style just a little bit too similar to his own, or Merciless proclaiming lyrical domination over the Killer, Ninja Man and Beenie Man at the same event, Merciless’ has been a career which seems ONLY to thrive at the most controversial of moments, whether real or of his own creation. And, there is of course Vybz Kartel and Mavado, a healthy mixture of controversy and talents and even Lady Saw throughout the years, going to show that, at least in Reggae, even when you aren’t high on the charts, but all over the tabloids can still keep you relevant.
But should you be able to keep yourself in well regard, musically speaking, and at the same time spark a great deal of interest in yourself outside of the studio, you potentially, like Beenie and Bounty before you, can be working with something VERY special. That brings us to Munga Honourable, whose career to date has been PACKED FULL of controversies to go along with the undoubted Dancehall gems that he has delivered simultaneously. Munga’s public interest, at least to me, may someday become of MASSIVE importance as, through his development, what he has become is the main and most marketable of a new breed of Dancehall/Roots hybrid artists who may FINALLY become the ‘missing link’ between traditional one-drop Reggae music and the international attention it so righteously deserves alongside its more popular sibling, Dancehall. Along with artists such as Ras Myrhdak, I-Octane, Teflon, Tyrical and most notably Erup (and Frenchie Tiwony as well), Munga stands as BY FAR the most likely choice of any of them to someday cross that bridge to superstardom? Why? Because even more so than those fine artists, he has been associated with the likes of Vybz Kartel, Busy Signal, Mavado and Aidonia and there, of course, begins his controversies. Through his working association with Dancehall super producer Don Corleone, Munga has been involved in VERY public spats and feuds with so many of his peers, that he has spent just as much times in the papers as he has on the charts over the past couple of years (which is saying A LOT, really). He had a dispute with Aidonia, who is apparently (or at least used to be) a good friend of Munga’s and even more noteworthy was that he was the centerpiece of the clash between Corleone camp and Big Ship (in fact he was the only member of Corleone’s bunch involved). He also has had controversy in the way he voices (more on that in a bit) particularly with one Deva Bratt a good friend of Vybz Kartel’s (both of whom are currently involved in controversy with EACH OTHER as well) with whom he had a fist fight on stage at a very big show a couple of years back. And were that not enough (and it was), the self proclaimed ’Gangsta Ras’ drew a whole heap a critique from elder artists from his persona and his music, by extension. Originally, Munga came to the world through a link with his fellow St. Mary resident, The Fire Man, Capleton and ultimately was led to Corleone where he has starred in the camp which includes Dancehall songstress Alaine and VI chanter Pressure Busspipe. Corleone now FINALLY pushes Munga Honourable’s loooooooong anticipated debut album Bad From Mi Born, going Japanese style with the album joining Vybz Kartel’s The Teacher’s Back as the latest two BIG NAME artist to head to the land of the Rising Sun for their albums. Bad From Mi Born was actually originally expected all the way back in 2007 when Corleone’s other two artists, Alaine and Pressure, released their projects (Pressure actually just released another one as well recently). Of the three, easily Munga’s was the most anticipated as he had simply wracked up the hits prior to its release. What happens with the album actually is weird because the music here would have looked MUCH better were it on a release from a year ago now as it is somewhat outdated. However, there is still quite a bit of nice material in this release for some of the most hardcore of Munga fans. It also goes to show how strong the relationship remains as, YEP! You guessed it! Munga also reportedly had a falling out with Corleone himself last year!
The foundation of the attraction to Bad From Mi Born, besides the fact that it is Munga’s debut album, is built on the strength of a whole heap of previous singles, some of which haven’t actually (SHOCKINGLY) appeared on official forms before, but all of which are very well known already. After a brief (and somewhat corny) intro Munga Honourable’s Bad From Mi Born kicks in with one such previously well known tunes, Take My Place. Technically speaking, Take My Place is the single biggest tune on the album. It rather directly marked Munga’s arrival on the scene and after such a tune he almost HAD TO become a star. I have heard one stronger tune in Munga’s catalogue (which isn’t on the album), but in terms of PURE Dancehall music, he hasn’t one to my ears stronger than Take My Place and EXCELLENT tune placement with using that as the opener, particularly with fans who may not know his name. WICKED tune (but old). The same could be said for the next tune up (and the one after that), Earthquake, another of Munga’s signature releases. Built on Corleone’s hype riddim of the same name, the tune was a BIG local hit and ultimately did damage abroad as well. It, like most of Munga’s vibes, are kind of confused as, lyrically speaking, it’s a pretty typical Dancehall track addressing all of the typical Dancehall topics, but every now and then it gives a dash of something conscious. Ultimately still a big tune (but old). Munga’s MAIN signature tune with which he is most closely associated with is the album’s title track which sends out the opening of Bad From Mi Born. He almost single-handedly created (more like re-energized) the slang which has since become very popular again (if you listen closely you can hear my three year old cousin saying it right now). Bad From Mi Born was another notch in marking the arrival of the unique talent and like the first two tracks, was a very sizable hit for Munga. All in all a very solid, albeit expected, beginning to the opening.
If you have at all been following the artist, Bad From Mi Born will essentially serve the function of a greatest hits album for you, much like it did for me. Despite having not been around for so long I almost got downright NOSTALGIC listening to some of these tunes. Bad Like I was probably the first tune I ever heard from him altogether and it was a STRONG effort on Corleone’s Sweat riddim which I used to love (Alaine also ruled on that one with Wine). Flippin Rhymes may have been the second (High Altitude riddim) which was arguably even more impressive than Bad Like I; both of which DIRECTLY went to establish his name and if I recall correctly Flippin’ Rhymes became Munga’s very first video tune as well and definitely a big hit. Tunes like the WICKED No Fraid A (Artillery Riddim) and Early Morning aren’t as old as the two previously mentioned tunes, but, again, should be pretty well known to anyone who knows of Munga in any detail and the same could be said about Defense and the HYPE UP HYPE UP We Nah Back Down (a shot at Aidonia and Busy Signal), although not to that level. Things do start to shake up a bit, not necessarily with new material, but not as well known pieces. One such tune MIGHT be Auto Tune (aka Talk Dem A Talk) which was quite the local hit but I don’t know if it actually made it out that far. The tune is Munga’s direct addressing of critics of how much he voices with using the ‘auto tune’ feature quite often and sounding like a robot at times because of it. More importantly, however, he deals with the addressing of the feud between Big Ship and Vendetta (Corleone). He doesn’t get around to dealing with SCATHINGLY talented young Bramma (who may not have been a factor when it was voiced) but Chino and Di Genius are fair game and game he does take to them (Munga, in my opinion is leaps and bounds ahead of the tragically mediocre Chino, Bramma, however, is another case). Storm Surge is a newer tune here certain to get crazy attention as it features Munga alongside label mate Alaine on the POUNDING tune. Alaine, as expected (I’m biased) outshines Munga sounding PERFECTLY in pitch. The two have been romantically linked together ever since Munga dropped a CREEPY love song to her named The First Time I Saw Alaine (which I’m sure he is embarrassed about now). Keeping on the same topic, the tune In Love (which is pretty bad) is one I don’t recall hearing before (and hopefully I never hear it again) but maybe some of you (crazies) will enjoy it and anything to get some rather EXCLUSIVE feel to an album which so desperately needs it. Hold Her, which flows over Corleone’s DOMINANT Heavenly riddim (which is probably dedicated to Alaine) is a better lover’s tune here. Oddly enough, however, both of which pale in comparison to the SWEET SWEET tune Found Her, his best lover’s tune to date, which you don’t find on Bad From Mi Born, apparently because it was from a producer other than Corleone (Grillaras I THINK), but from what is available, clearly Hold Her is the class of the love songs on this album. Closing things down on Bad From Mi Born is another of the very best tunes on it, Prayer! Prayer is HUGE! Albeit now more than two years old to my knowledge, the criminally underrated tune has remained one of my favourite Munga tunes and I was shocked to see it on the album because I didn’t know it to be a Don Corleone tune and, again, many people just slept on the tune which is well powerful and such a poignant ending to the album.
So what’s wrong? Apparently (at least according to his myspace) Munga has signed a deal with VP and perhaps it is to them that I should hold a bigger standard but Bad From Mi Born should have had a bit more exclusive material. SOMEONE SOMEDAY will HAVE TO produce a BIG combination between Munga and Capleton, not Lil Capes and Jah Malo (respectively) who seem to be more often his partners on tunes. What I will hold to Corleone, however, is the absence of a combination with Pressure, especially considering one has already been voice (Boi Ah Boi and King Ah King). And for my own personal tastes, my absolute favourite Munga tune, Rise, is absent as well, but I don’t believe it is a Corleone produced tune.
Overall, call Munga Honourable’s debut album Bad From Mi Born much in the same fashion of Sean Paul’s debut Stage One, Mavado’s Gangsta For Life and other similar ones (although both of those were better done, especially considering that neither limited the artist to a single producer) as debuts which took very little risks in song selection and became more like compilations (and I LOVE Stage One). Thus, I can more closely only recommend it to newer and casual fans of the artist. Older and more accustomed listeners to Munga will just have to see if that VP Records tag is true, in which case you can hopefully expect some magic later this year (as they almost certainly won’t seek to crossover two and three and four year old tunes with just as old videos) and if not, then WHO KNOWS? Should Munga continue to develop at the rate which he has been, it really won’t matter too much with whom he has aligned himself. Given his penchant for staying in the headlines, good and bad, and staying on the charts what you have here (and what I have ALWAYS felt about him) is an artist who can take BOTH Dancehall and Roots Reggae to the next level. Not that he is the most skillful in either (he isn’t) but the personality and total package in terms of marketability is there and then some. Bad From Mi Born is a healthy recap of why you need to know his name and DEFINITELY, stay tuned.
But should you be able to keep yourself in well regard, musically speaking, and at the same time spark a great deal of interest in yourself outside of the studio, you potentially, like Beenie and Bounty before you, can be working with something VERY special. That brings us to Munga Honourable, whose career to date has been PACKED FULL of controversies to go along with the undoubted Dancehall gems that he has delivered simultaneously. Munga’s public interest, at least to me, may someday become of MASSIVE importance as, through his development, what he has become is the main and most marketable of a new breed of Dancehall/Roots hybrid artists who may FINALLY become the ‘missing link’ between traditional one-drop Reggae music and the international attention it so righteously deserves alongside its more popular sibling, Dancehall. Along with artists such as Ras Myrhdak, I-Octane, Teflon, Tyrical and most notably Erup (and Frenchie Tiwony as well), Munga stands as BY FAR the most likely choice of any of them to someday cross that bridge to superstardom? Why? Because even more so than those fine artists, he has been associated with the likes of Vybz Kartel, Busy Signal, Mavado and Aidonia and there, of course, begins his controversies. Through his working association with Dancehall super producer Don Corleone, Munga has been involved in VERY public spats and feuds with so many of his peers, that he has spent just as much times in the papers as he has on the charts over the past couple of years (which is saying A LOT, really). He had a dispute with Aidonia, who is apparently (or at least used to be) a good friend of Munga’s and even more noteworthy was that he was the centerpiece of the clash between Corleone camp and Big Ship (in fact he was the only member of Corleone’s bunch involved). He also has had controversy in the way he voices (more on that in a bit) particularly with one Deva Bratt a good friend of Vybz Kartel’s (both of whom are currently involved in controversy with EACH OTHER as well) with whom he had a fist fight on stage at a very big show a couple of years back. And were that not enough (and it was), the self proclaimed ’Gangsta Ras’ drew a whole heap a critique from elder artists from his persona and his music, by extension. Originally, Munga came to the world through a link with his fellow St. Mary resident, The Fire Man, Capleton and ultimately was led to Corleone where he has starred in the camp which includes Dancehall songstress Alaine and VI chanter Pressure Busspipe. Corleone now FINALLY pushes Munga Honourable’s loooooooong anticipated debut album Bad From Mi Born, going Japanese style with the album joining Vybz Kartel’s The Teacher’s Back as the latest two BIG NAME artist to head to the land of the Rising Sun for their albums. Bad From Mi Born was actually originally expected all the way back in 2007 when Corleone’s other two artists, Alaine and Pressure, released their projects (Pressure actually just released another one as well recently). Of the three, easily Munga’s was the most anticipated as he had simply wracked up the hits prior to its release. What happens with the album actually is weird because the music here would have looked MUCH better were it on a release from a year ago now as it is somewhat outdated. However, there is still quite a bit of nice material in this release for some of the most hardcore of Munga fans. It also goes to show how strong the relationship remains as, YEP! You guessed it! Munga also reportedly had a falling out with Corleone himself last year!
The foundation of the attraction to Bad From Mi Born, besides the fact that it is Munga’s debut album, is built on the strength of a whole heap of previous singles, some of which haven’t actually (SHOCKINGLY) appeared on official forms before, but all of which are very well known already. After a brief (and somewhat corny) intro Munga Honourable’s Bad From Mi Born kicks in with one such previously well known tunes, Take My Place. Technically speaking, Take My Place is the single biggest tune on the album. It rather directly marked Munga’s arrival on the scene and after such a tune he almost HAD TO become a star. I have heard one stronger tune in Munga’s catalogue (which isn’t on the album), but in terms of PURE Dancehall music, he hasn’t one to my ears stronger than Take My Place and EXCELLENT tune placement with using that as the opener, particularly with fans who may not know his name. WICKED tune (but old). The same could be said for the next tune up (and the one after that), Earthquake, another of Munga’s signature releases. Built on Corleone’s hype riddim of the same name, the tune was a BIG local hit and ultimately did damage abroad as well. It, like most of Munga’s vibes, are kind of confused as, lyrically speaking, it’s a pretty typical Dancehall track addressing all of the typical Dancehall topics, but every now and then it gives a dash of something conscious. Ultimately still a big tune (but old). Munga’s MAIN signature tune with which he is most closely associated with is the album’s title track which sends out the opening of Bad From Mi Born. He almost single-handedly created (more like re-energized) the slang which has since become very popular again (if you listen closely you can hear my three year old cousin saying it right now). Bad From Mi Born was another notch in marking the arrival of the unique talent and like the first two tracks, was a very sizable hit for Munga. All in all a very solid, albeit expected, beginning to the opening.
If you have at all been following the artist, Bad From Mi Born will essentially serve the function of a greatest hits album for you, much like it did for me. Despite having not been around for so long I almost got downright NOSTALGIC listening to some of these tunes. Bad Like I was probably the first tune I ever heard from him altogether and it was a STRONG effort on Corleone’s Sweat riddim which I used to love (Alaine also ruled on that one with Wine). Flippin Rhymes may have been the second (High Altitude riddim) which was arguably even more impressive than Bad Like I; both of which DIRECTLY went to establish his name and if I recall correctly Flippin’ Rhymes became Munga’s very first video tune as well and definitely a big hit. Tunes like the WICKED No Fraid A (Artillery Riddim) and Early Morning aren’t as old as the two previously mentioned tunes, but, again, should be pretty well known to anyone who knows of Munga in any detail and the same could be said about Defense and the HYPE UP HYPE UP We Nah Back Down (a shot at Aidonia and Busy Signal), although not to that level. Things do start to shake up a bit, not necessarily with new material, but not as well known pieces. One such tune MIGHT be Auto Tune (aka Talk Dem A Talk) which was quite the local hit but I don’t know if it actually made it out that far. The tune is Munga’s direct addressing of critics of how much he voices with using the ‘auto tune’ feature quite often and sounding like a robot at times because of it. More importantly, however, he deals with the addressing of the feud between Big Ship and Vendetta (Corleone). He doesn’t get around to dealing with SCATHINGLY talented young Bramma (who may not have been a factor when it was voiced) but Chino and Di Genius are fair game and game he does take to them (Munga, in my opinion is leaps and bounds ahead of the tragically mediocre Chino, Bramma, however, is another case). Storm Surge is a newer tune here certain to get crazy attention as it features Munga alongside label mate Alaine on the POUNDING tune. Alaine, as expected (I’m biased) outshines Munga sounding PERFECTLY in pitch. The two have been romantically linked together ever since Munga dropped a CREEPY love song to her named The First Time I Saw Alaine (which I’m sure he is embarrassed about now). Keeping on the same topic, the tune In Love (which is pretty bad) is one I don’t recall hearing before (and hopefully I never hear it again) but maybe some of you (crazies) will enjoy it and anything to get some rather EXCLUSIVE feel to an album which so desperately needs it. Hold Her, which flows over Corleone’s DOMINANT Heavenly riddim (which is probably dedicated to Alaine) is a better lover’s tune here. Oddly enough, however, both of which pale in comparison to the SWEET SWEET tune Found Her, his best lover’s tune to date, which you don’t find on Bad From Mi Born, apparently because it was from a producer other than Corleone (Grillaras I THINK), but from what is available, clearly Hold Her is the class of the love songs on this album. Closing things down on Bad From Mi Born is another of the very best tunes on it, Prayer! Prayer is HUGE! Albeit now more than two years old to my knowledge, the criminally underrated tune has remained one of my favourite Munga tunes and I was shocked to see it on the album because I didn’t know it to be a Don Corleone tune and, again, many people just slept on the tune which is well powerful and such a poignant ending to the album.
So what’s wrong? Apparently (at least according to his myspace) Munga has signed a deal with VP and perhaps it is to them that I should hold a bigger standard but Bad From Mi Born should have had a bit more exclusive material. SOMEONE SOMEDAY will HAVE TO produce a BIG combination between Munga and Capleton, not Lil Capes and Jah Malo (respectively) who seem to be more often his partners on tunes. What I will hold to Corleone, however, is the absence of a combination with Pressure, especially considering one has already been voice (Boi Ah Boi and King Ah King). And for my own personal tastes, my absolute favourite Munga tune, Rise, is absent as well, but I don’t believe it is a Corleone produced tune.
Overall, call Munga Honourable’s debut album Bad From Mi Born much in the same fashion of Sean Paul’s debut Stage One, Mavado’s Gangsta For Life and other similar ones (although both of those were better done, especially considering that neither limited the artist to a single producer) as debuts which took very little risks in song selection and became more like compilations (and I LOVE Stage One). Thus, I can more closely only recommend it to newer and casual fans of the artist. Older and more accustomed listeners to Munga will just have to see if that VP Records tag is true, in which case you can hopefully expect some magic later this year (as they almost certainly won’t seek to crossover two and three and four year old tunes with just as old videos) and if not, then WHO KNOWS? Should Munga continue to develop at the rate which he has been, it really won’t matter too much with whom he has aligned himself. Given his penchant for staying in the headlines, good and bad, and staying on the charts what you have here (and what I have ALWAYS felt about him) is an artist who can take BOTH Dancehall and Roots Reggae to the next level. Not that he is the most skillful in either (he isn’t) but the personality and total package in terms of marketability is there and then some. Bad From Mi Born is a healthy recap of why you need to know his name and DEFINITELY, stay tuned.
Rated 3.5/5 stars
Don Corleone (Japan Release)
2008
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