Unlike in the Dancehall, where the quality ‘creative lyricist’ seems to be one of the requirements on the application for entry to the highest level of the game, wordplay in Roots Reggae is seemingly less attainable, even at the top level. Why? I don’t know. I’ve heard people equate the Roots:Dancehall comparison to the Singer:Rapper situation where, simply because of the PACING of the music, it allows and even promotes a faster type of delivery which, of course, lends itself to those who would be (or at least consider themselves to be) more gifted with the word and quickly so. Another thought (this one which I think is more likely) is that you just don’t have to be that good of a lyricist to maintain a LONG standing career as a roots Reggae artist in my opinion as we’ve seen such artists come around (and not to diss them at all) and STAY around and not exactly have the most impressive command of their vocabulary. For instance, take young Gyptian: An artist whose overall talents FAR outweigh his lyrical abilities and one who I feel, in general, may be wise to hire a songwriter (and if he already has one, he/she needs to be fired) at some point in the future. Gyptian isn’t at all the worst to be found in the game and, although he is FAR from the best, he has managed to at least begin his career to a point which leads many to label the youth the next Beres Hammond should he fulfill on his already potential before his days are done. Another example would DEFINITELY be Turbulence in this same situation. Turbulence’s situation is different because he seems to go in streaks, lyrically speaking and he is someone who consistently voices both faster and slower paced pieces. Turbulence, lyrically speaking, is today better than he was when he began. However, that being said, just as a writer, I think there was a period of a few years back when he is much better than he is these days actually. And then there are the countless faces of unnamed artists who make very GENERIC sounding roots tunes (I.e. “Praise Jah”, “Times getting red”, and “Babylon haffi fall”) all of whom, if you know their names have done so while managing to stay relevant, much like Turbulence and Gyptian. Luckily, there are ‘refreshments’ on the way, in the trio of artists, Tarrus Riley, Etana and Queen Ifrica, I find them all to be very strong writers and, at least so far, they have managed to have their vibes a big impact on the general public and extended Reggae listening community as well. Okay so, you MIGHT not need to be a great lyricist to connect in roots Reggae music these days.
But it certainly does help doesn’t it? By far the greatest lyricist in all of Reggae to walk the Earth since the death of Bob Marley has been Sizzla Kalonji. When I moved to the States and essentially lost my interesting in Reggae music, that interest was reignited by these SIMPLY BRILLIANT gems of roots tunes which I found in Sizzla’s catalogue dating all the way back to the beginning of his career. And as Sizzla was to Bob Marley for me, Lutan Fyah has been to Sizzla for me, as I simply cannot think of another artist to come along on the roots scene since (or in around the same time that I began REALLY listening to Kalonji) Sizzla that has so CLEARLY been gifted with the pen than Lutan Fyah. His style of writing is quite different than Sizzla’s whose, when at it’s absolute best, is a very colourful and descriptive which, if you listen VERY closely, almost reads like a story, each and every time. Sizzla also takes his style ‘on the road’ and takes more chances with it a bit more and he has been able to score with pure Dancehall tunes and combinations with Hip-Hop artists as well (although those aren’t necessarily the best tunes, at least not to my opinions). Lutan Fyah’s style is VERY simple, so simple that it can be complex. Fyah scribes these downright DIVINE pieces of tunes which tend to flow in the same, stereotypical roots Reggae direction, but they literally standout EVERY TIME. What I mean is, while you’ll hear the same “Praise Jah” rhetoric, you’ll hear from nearly all of his peers, Fyah will then detail to you WHY you are to “Praise Jah”. His style is also marked by the overwhelming level of consistency which dominates his vibes as well. Speaking of consistency, if you were to go back and dig into Lutan Fyah’s history of albums, what you’ll find are six of the most consistently good modern studio Reggae albums, peaking with the MIGHTY Phantom War (Greensleeves) in 2006. I myself actually first heard Fyah’s name and his music on a very well respected compilation by the name of Culture Dem from Lustre Kings Productions back in 2003 (I THINK). What was most interesting about that compilation, going forth, was the fact that LKP had also promised a forthcoming debut album from the chanter and it did deliver an album in early 2005, the STELLAR Time & Place. However, almost immediately proceeding Time & Place was this album, Dem No Know Demself from the once mighty Minor 7 Flat 5 label from out of Germany which is OFFICIALLY Lutan Fyah‘s debut studio album. That label, since the release of this album, has looooooong fallen out of favour with me as it (ran by a fine producer name Brotherman) maintained the same stale set of backing riddims for far too long and through far too many different projects with different artists but transporting myself back to 2004 or trying to assume myself as a fan not familiar with the ways of M7F5 (which is very difficult for me to do), I still have to recognize the strength in this music and even as my own jaded as hell self, I still have to appreciate the vibes definitely. Going backwards, I think its definitely worth mentioning that, despite the fact that what you’ll hear from Lutan Fyah on Dem No Know Demself is already a very skilled and talented writer of lyrics but he has CLEARLY gotten even better since then. This album is to serve as the grounding foundation for one of, in my opinion, the most significant PURE roots Reggae artists to arrive on the scene in the modern era.
I remember the rather frustrating situation surrounding this album: I got it like on a Monday and then the same Wednesday or so, I saw Time & Place had been released, PROBABLY making it the first time I had brought two brand new albums from an artist in the very same week! Getting my week started back in late 2004/early 2005 on Lutan Fyah’s (misspelled ‘Luton’ on the cover) was the VERY nice Keepin It Straight on Minor 7 Flat 5’s ska-ish Wadada riddim. This tune isn’t really amongst the class of the album on first listen, the riddim is very odd (the only one I can recall off the top of my head getting it right was AL Pancho on Start All Over Again alongside Jah Mason, which is the tune I sing in my head whenever I hear the Wadada) and despite how much I’ve been touting the Spanish Town native’s lyrical ability, it isn’t the best written tune either, however, on second or third listen through, it definitely gets better. Not a bad beginning. Speaking of very odd riddims, the Camp riddim backs the next tune, Clearance, which, at least from Fyah’s side, is a much better written tune. Just as on the first tune, this one has a nice edge to it which kind of marks this album throughout, which I love. The tune itself is admonishment to all those who can’t seem to be happy when their fellow man comes up and does something nice. As Fyah says, “Clearance, no give I no interference!”. Things are looking up on track two. Then is the title track for Dem No Know Demself on the haunting (UK garage sounding) M7F5 riddim. This is one of the best written tunes on the album and demonstrates very well what I mean when I say his style is so simple that it’s complex. On the surface, the tune is about those in our society who simply unaware of how things work basically. However, when you dig a little deeper, Fyah introduces concepts of self-confidence and self-esteem and, of course, relates how those things come about through His Imperial Majesty. DEEP! Solid beginning all in all.
One of the hallmarks of Minor 7 Flat 5 productions were (wonderfully) the lengths through which Brotherman and company went to make very nice combinations go. Not only on this album but throughout the label’s catalogue are VERY strong combinations and luckily enough, Lutan Fyah was on board for several of the best. On Dem No Know Demself there are three combinations in all and oddly enough it is the least attractive on paper which reigns supreme. The first is a combination which features the very popular Luciano and the not so popular Al.Ta.Fa.An member, Taffari (the Ta in the group) both of whom have had M7F5 albums as well (Tell It From The Heart and Addicted To Music, respectively). This tune is OUTSTANDING over the Harp riddim and I have to say that to my ears Taffari steals the show (and that wonderful backing singer another staple with M7F5). Next up is an all too unfortunately RARE combination Black King which features Lutan Fyah’s good friend and mentor, Jah Mason. This song is LARGE and a concrete step up from Peace and, probably has received the most spins from me on this album altogether. It stands as an excellent praising tune for His Majesty and all these years later, I still don’t know a next combination between the two which makes this one even more crucial. HUGE. However, as SHOCKING as it is, Black King (the song of course, not the KING) is topped by the closer, My Reputation, the single greatest tune on Dem No Know Demself, which features another M7F5 album artist Al Pancho (Righteous Men which wasn’t very good but was ALSO highlighted by My Reputation, EASILY in that case). This song is just MIGHTY and has been since the very first time that I heard it! Running in over the Upside Down riddim which has a very nice bouncing roots style to it. I rate Pancho not at all, but this is the best thing he has ever done musically speaking (with respect to No Space) and the two gave this album is undeniable highlight with the MASSIVE unification vibes on My Reputation! Left on his own, of course Fyah doesn’t disappoint. Check the solid lover’s piece Amount Of Lovin which was one of the more unusual sounding tracks on the album, yet very very straight forward (sounding Capleton-ish at times). The excellent Friedenland riddim is the backdrop for Cold Shoulder, another of Dem No Know Demself’s real highlights. This is a nice example here of showing how much Lutan Fyah has progressed as an artist because it is very well written and it shows the basis for how he would be writing such a tune now. It wouldn’t have as much EDGE to it, but it would be smoother and have more of a melodic feel to it and the lyrics would be stepped up, not a lot but a bit on the already excellent tune appealing for the haves to help out the have-nots. STRANGE and ODDITY returns on De Youth Dem, over M7F5’s now annoying Classic riddim (I THINK there was a point where I liked this one). Luckily, Fyah absolutely ATTACKS the riddim with his delivery I’m hesitant to call it CLASS, but if it isn’t, it’s not very far from it none at all. Again, its just so unusual sounding, I’m SURE that if the tune was recorded over a more ’pedestrian’ backing, it could be even stronger. Not bad still. The techno/Hip-Hop driven Who Draw Last is another not so normal piece but this one doesn’t take many risks other than its almost labourious sound (Lili riddim). The tune is an anti-violence reality track which picks up here and there, but really like several pieces here, the ‘draw’ are the lyrics (and check the odd ass ending!). And lastly before the two big combinations send us on our merry way is the very welcomed and NORMAL Ghetto Stress across the sparkling Tower riddim. I don’t know if it really is, or if it just sounds that way, but I’m calling the tune a SERIOUSLY powerful tune. Fyah speaks of how his rough upbringing in the ghetto made him a better and stronger person today. When it really gets into the body of the tune he makes some damn near brilliant observations and connections (“Dem high society, dem stripped to di nude. Di children neva learn if di parents intrude! Di Rastaman will have to conclude great family ties is due!”), very early, unnoticed and yet typical Lutan Fyah genius.
Overall, although I do have to call Dem No Know Demself my LEAST favourite Lutan Fyah studio album to date, I have to say that, over four years later and I still actually dig up the album and spin it on at least a semi-regular basis (I’d say honestly on a bi-monthly type of frequency). While undoubtedly that’s far more due to me having become a pretty large fan of Lutan Fyah’s over the years (and less due to me becoming one of Minor 7 Flat 5’s most vocal detractors) and probably less so due to the album’s overall quality (Time & Place is still spun almost weekly). What Dem No Know Demself was, however, was a somewhat varied introduction of an artist who would soon reveal more of himself and a side which remains to this very day. This is an album almost exclusively recommended to newer fans of Lutan Fyah, all of the older fans (if you missed it) will almost certainly see it as a noticeable step down from the standard level of wordplay master class to which you have become accustomed to from Lutan Fyah.
Rated 3.5/5stars
Minor 7 Flat 5
2004
{Video for 'My Reputation' also included on disc, which was cool as hell in the days before YouTube!}
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