I find myself rather often speaking about the growing crop of Reggae artists who seemingly have lost their ways and have not really been fulfilling on the obvious potential that they have shown in the past. This growing phenomenon is quite a concern, particularly because many of these artists don’t actually see a dip in terms of their status (that is, provided that they haven’t reached the ABSOLUTE height of the game), thus they have no real reason to change, or even attempt to change, because their fan base hasn’t dipped despite the fact that their vibes have become noticeably STALE. However, giving credit where it’s due I do feel that its definitely worth mentioning artists who have, in one way or another, either redefined themselves or just downright IMPROVED their vibes to the point where they can either RETURN to a status they once enjoyed or enjoy said status for the very first time. A PRIME comparable example to the artist in question here would DEFINITELY be the Brett Favre-ish like retiring Mr. Vegas who, although I was never really a big fan of his, seemed to re-identify himself midway through his career and, in doing so, allow him to assume a status CONSISTENTLY which he only previously seemed to enjoy whenever he had a big tune out. On the international scene Vegas enjoyed (and probably still enjoys) a very respected status and quietly is probably one of the more in demand Dancehall artists specifically in the world. Another example would be [Baby] Cham who definitely has one of the oddest setups in the game today as he only seems to leave the comfort of Sherlock Crescent every once in awhile and almost every time when he does he AUTOMATICALLY turns his career to a direction. In sports terms, Baby Cham would have the highest batting average of probably any artist as almost every time he TRIES to score a hit, he does, however, the frustratingly unnecessary gaps in between ‘at bats’ give him a new image almost every time he chooses to say hello. Others would be artists like Ce’Cile whose newfound fame with the Danger Zone crew has FINALLY given her a platform befitting someone of her UNDENIABLE skill set; as well as two elder artists Mykal Rose and Junior Reid (another Danger Zone member) who have managed not to REDEFINE themselves actually, insomuch as they have simply UPDATED themselves and in doing so have proven that youths of today can have ears and attentions for GOOD music, regardless of the age of the artist.
There are also other artists who have righted themselves, albeit on a smaller and much more gradual scale. A pretty good example of someone like this would be someone like Assassin or Busy Signal, who REALLY now seem to exemplify what I mean when I say IMPROVE as they have they have hit their strides now. Of course you’d only know that if you’re REALLY a hardcore Dancehall head and another and perhaps even more gradual example would be the case of the once mighty and soon to be mighty again Ward 21. Much like Assassin coming up with Vybz Kartel and Busy coming with Aidonia and Mavado, Ward 21’s rise to power virtually mirrored (in terms of time frame, not steps taken) that of another then up and coming group, T.O.K. While that group was always the more flashy and popular actually (to be honest) of the two by virtue of dancing on stage with routines and such and actually having a (good) singer Ward 21 was none of that. The Ward was grimy! They didn’t have a singer, they didn’t dance and they really didn’t seem to care how popular they were either and in doing so and in being so they attained quite a bit of attention. It is also interesting to note that they ended up at a label in Greensleeves which was thought to be harder and more edgier than their then main rival VP Records (who now owns them), who was thought to be more clean cut and flashy and more popular. Unsurprisingly, VP would sign up T.O.K. Ward 21 would release two albums with Greensleeves, their well received debut Mentally Disturbed in 2001 and the also pretty well received U Know How We Roll two years later. That’s when things got pretty strange for the Ward. After the U Know How We Roll album, Ward 21, like Predator, like Kid Kurrupt, like Vybz Kartel and like Macka Diamond and whoever else were signed to the label at the time began to reportedly have issues with Greensleeves who seemed intent on releasing a ridiculous amount of various compilations FAR more than albums from their own artists (I think Kid Kurrupt and Predator may actually STILL be signed with Greensleeves, despite the fact that neither has had an album of any note go international to this point) and being careful to make sure that they released an annual album from Sizzla Kalonji (who wasn’t signed officially). They went international with their next album the AWFUL King Of The World which sounded like an album years past its proper release date. They also seemed to take a little bit of a break. As part of the legendary King Jammy’s camp, they also dealt with production and in doing so have aided their ‘comeback’ in such an easier way as they have been doing BIG productions and bring forth BIG artists like Mr. Peppa (who they, in my opinion developed) and most recently a whole heap of female artists who they have been working with, most popularly the very well regarded Timberlee of Bubble Like Soup fame. Having set their sights straight on the production and behind the scenes side, Ward 21 now returns with their very own project, their fourth album to date, the appropriately titled Genesis. The album comes via German label DHF and it actually is a typical Dancehall album in the sense that it is basically a compilation of some of the Ward’s more recent work with some more newer material thrown in. It goes without saying that they didn’t recapture what they did with either of their first two albums on Genesis in my opinion, however they blow King Of The World out of the water and, perhaps more importantly lay the groundwork for a future befitting artists of their well decorated past.
One thing the hardcore heads will notice IMMEDIATELY is the fact that Ward 21 has lost a bit of weight judging by the cover. No Mean Dogg didn’t go on a diet (and Kunley for that matter has apparently been eating quite well) but seemingly gone (at least from site) is the youthful and rather controversial Rumblood. His old group mates don’t seem to miss his presence very much (I THINK I hear him on the album actually, insofar as I can tell them apart vocally) beginning their fourth album, Genesis, as they get things going with three very familiar efforts. First is their cut of the ADDICTIVELY HARD Drumline riddim from a couple of years back. Even though the riddim was best known as one of a growing battlefield of riddims for Mavado v Kartel, the Ward definitely hit it pretty hard, as is their custom with the ultra tight vibes to get things going for Genesis. Garrison is up next over Natural Bridges BIG Gully Slime riddim. This tune I don’t think I actually liked at first but it surely sounds better with a year or two since last I’ve heard it. I still won’t call it amongst the class of Genesis but it’s suitable and that riddim is WICKED, one of the most underrated of the last few years or so definitely. The violent but ADDICTIVE Gully Gun ends the opening of the album in a pretty nice way. The tune comes across Jam 2’s KNOCKING Sidewalk University (which sounds like something they, themselves, would have produced with that heavy edge to it (and they just might have)). This one IS definitely one of the better tunes you’ll find on Genesis altogether and although its age definitely comes into question, I was happy to see it appear on Genesis as a GOOD tune, unlike what happened on King Of The World. All in all, a nice, albeit too familiar beginning for the album.
The vibes on Genesis definitely change and become newer (or at least less familiar) after the opening. One tangible way in which they change is with a few nice combinations, one of which is MASSIVE and proves to be Genesis’ definitive highlight. The first two combinations, Dutty Life and Diss Badman feature the Ward alongside impressive singer Eggy. Dutty Life is interesting because it was originally released (I THINK) on the Shoot Out riddim last year but here, it appears in a slightly changed version. Dis Badman, definitely the stronger of the two, is across the WICKED Taxi riddim (Buju’s Driver A) and the old school vibed Eggy compliments the Ward very well on the old school sounding gunman tune. Ward 21 also brings in their ladies with two songs, the HILARIOUS Give It Up and, of course, Cookie Jar. Timberlee guests on Give It Up which is a highlight certainly as it features a FUNNY back and forth with Kunley I believe it is who has written other such funny tunes for the group like Rhyme and its sequel. You MIGHT like Cookie Jar but I hate that song. Its not very good and it will frustratingly stay in your head FOREVER. Avoid it all costs! And I’ll skip to Real Badman which features longtime Ward spar Elephant Man and is another remake of an older tune (across the 18 Geez riddim), this one over the Ward’s own Dutty Water riddim. I MIGHT prefer the18 Geez version (that riddim was CRAZY), but this one definitely isn’t very far behind. Now, if you remember all that talk about T.O.K I pushed in the beginning, well the biggest tune on Genesis just happens to be a combination between two groups (which I don’t remember hearing before), Funeral Spot which is MASSIVE! This one has been impressing me since the first time I heard awhile back and it definitely is more on the Ward’s vibes but with the flare that T.O.K adds (such as the aforementioned singer for the chorus) the tune is a bonafide guilty Dancehall pleasure and I’m not ashamed! You shouldn’t be either, you’ll love it. There are more than couple highlights when the Ward is left on their own as well. Check the ridiculous Brown Eyes Bleed, an herbalist tune (DUH), which sounds so stupid but I like the thing so much and it leads into the latter stage of the album which is very well done. Check LU which contains some of the more impressive straight djaying you’ll hear on the album across a bouncingly POUNDING vibes. This one is definitely one of my favourites here as it has that signature Ward 21 slightly ‘off’ vibes. You’ll have to wait for Timberlee’s own album for Bubble Like Soup (again) but you can hear the Ward put it’s riddim, the Rae riddim (which they produced), through its paces on the decent Here I Come. I used to REALLY like this song but I’ve played it well into the ground at this point but if you haven’t heard it yet, you will like almost guaranteed. Those two tunes help set the stage for the two very interesting closers on Genesis Rock The Spot and Mommy. Rock The Spot is (I GUESS) the single for the album (they made a video for it) with the European label Rich Vibes (we need more Euro labels doing Dancehall). This one will take a little while to grow on you. It isn’t at all odd that with the kind of ‘light’ nature of the tune that they chose to voice it as it sounds like something Ward 21 would do on their own so it isn’t SO FAR gone but, seriously, that is one strange sounding tune. And the atypical, yet predictable, Mommy ends things. Even crazies like Ward 21 love their Mothers and they manage, here and there, to throw in quite a bit of themselves into the vibes. Its not one of my favourites here but you have to be insane if you think I’m about to criticize a Mother’s tune. Perhaps the most unusual (for them) ending for an album which is TYPICALLY unusual in Genesis for Ward 21.
Overall, we don’t register things like this in terms of Dancehall/Reggae music because albums aren’t always the goal but seriously in terms of albums you have to give Ward 21 credit for coming back as they did. With all the things going on behind the scenes, the remaining members Suku, Kunley and Mean Dog have, in Genesis, something which can definitely help them on the international scene as their local reputation seemingly grows by the month. I will say that for absolute hardcore Dancehall heads, you’ll fret (as we always do) over the lack of much new material but Genesis isn’t for you is it. This one is more likely to be appreciated for the newer fans out there as it features a SOMEWHAT matured and toned down version of Ward 21 who have apparently began again their ascension in the last few years with Genesis standing as the tangible definitive point. One of the best Dancehall albums of 2009.
Rated 4/5 stars
DHF Records
2009
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