I maintain and perhaps always will maintain that, despite rumours to the contrary, the current era of Reggae music is EXCEPTIONALLY STRONG. Critics, of course, will make countless points to the contrary: Pointing to things such as the (quietly dying) overly violent nature of the Dancehall (when Mavado declares himself ‘too special’ you know things are changing) and its artist going even beyond an era in the past where violence was certainly no stranger, however, was not as wholly visible (or viable) as it has been in recent times. On the Roots sides, typically the prevailing critique you’ll hear is simply that the artists aren’t as good as they used to be. To that end, however, I’d hold up a virtually never ending line of top notch AND up and coming talented artists who, in my opinion, could have done major damage in any era of the music. However, all that being said, one of the strongest aspects of the current spectrum of Reggae music is DEFINITELY those working behind the scenes. Besides the typical changing of the times which allows managers and promoters all over the world an unprecedented level of access for the livelihood of their artists (call it Reggae’s or music’s in general version of ‘inflation’) we also tangibly see individuals coming through certain channels who can ‘rival’ in effect those who previously held those positions as well. Of course where you’ll see this going on mostly is with the PRODUCERS. The absolute cream of the current crop of Reggae/Dancehall producers could have not only FIT into any era thus far but some of them could have arguably been even more successful, going backwards, than they are right now. At the top of that list is, of course, Dancehall extraordinaire Dave Kelly who doesn’t even really register with the current group of ACTIVE producers but, even in the class with others such as the legendary King Jammy, Dave Kelly might just be the best Dancehall producer of all time (we just wish he would be more active). In more typical cases we have DOMINANT producers (and labels) like Don Corleon who is steadily building potential and honours as one of the best Reggae producers of all time and has shown himself to be, without a doubt, the most VERSATILE producer in recent years and one of the most versatile of all time, conquering both Dancehall and Roots in building his name and establishing his almost certain legend. On the same note, however staying strictly on a rootical side is the best Roots Reggae producer on the planet, Kemar ‘Flava’ McGregor of No Doubt Records who currently may be the only Jamaican Roots Reggae producer with the ability to CONSISTENTLY paralyze the business by dropping a riddim which may not score the big hits (or it might) but is simply so BEAUTIFUL that everyone has to take note. Others still, such as Stephen ‘Di Genius’ McGregor (who may be ahead of his time), Scatta and others STILL show a quality which can HEAVILY throw a smack in the face of critics claiming ‘Reggae ain’t what it used to be’.
Of those aforementioned ‘and others’, perhaps the standout in SO MANY ways would be Shane Brown and what he’s working on with his consistently burgeoning Juke Boxx Productions. Besides keeping his own name out there Brown and company have (re)established the name Busy Signal as a potential superstar of the Dancehall as he has achieved, by far, his highest profile since he originally arrived on the scene AND is now more talented than he was as the youthful, tongue twisting sensation he was a few years back. Also, in the wake of Morgan Heritage splitting up as a unit for the next few years to supposedly begin working on a forthcoming SUPER project of an album, the solo Morgan who has been most visible (and ACTIVE), is Peetah Morgan who has kept his name circling all over the place with new releases and, unsurprisingly, as a solo artist Peetah has handed over the managerial reigns to Brown and Juke Boxx and has become arguably more well known locally and internationally than he ever was as a member of the best known active Reggae band in the world. Also, even though he’s no longer with the camp, the insanely talented Demarco has also enjoyed a profile which unfortunately might’ve eluded him had he not linked with Juke Boxx. Brown may just be setting himself up as one of the best BUSINESS minds Reggae has ever seen also. Also (the reason why we’re here), Juke Boxx has made a pretty fine name for itself as a PRODUCER of Reggae with new and creative riddims coming from the camp every few months which are aided by the fact that Brown and company tend to voice some of the biggest names in the business. Last year the largest Caribbean music label in the world, VP Records, announced a deal struck with Brown and Juke Boxx which even opened things further for the label as having its own famed Riddim Driven series and having adopted that of Greensleeves whom they purchased, it seemed (and it seems) as if EVERY SINGLE RIDDIM Juke Boxx drops will eventually make it to an album. Such an album we’re looking at now. After three or so releases already from the union, Juke Boxx now delivers what might be the BEST release its had so far, the Dubwise & Indiscretion riddim on one single album. This isn’t necessarily an ODD thing at all but SERIOUSLY you have to wonder what was going on (and who am I to criticize the Brown on the business side) but EITHER of these riddims could have helmed an entire album on their very own and not only that but curiously looking at the album cover a rather strange thing occurs: VP, having also purchased up Juke Boxx’ publishing, pushes all of their releases (so far) through Greensleeves, and in doing so they essentially developed a new series for the Roots heavy label, the Greensleeves One-Drop Rhythm album series. The Dubwise/Indiscretion album is #3 in the series, the (WICKED) Nylon was #1 and unless I’ve greatly missed one, there was no #2! However, sequence not withstanding, both the Dubwise and Indiscretion riddims are TOP NOTCH material and combine to deliver one of the stronger riddim albums you’ll hear in 2009.
As is typical with double riddim album, the Dubwise/Indiscretion riddim album from Juke Boxx is situated with one riddim going then another. So getting things started on the album is the Dubwise which only goes six (very nice) tunes deep before handing off the baton to the Indiscretion. This riddim, as you might expect, is a very old school vibed piece with just a BIG and CRISP vibes in the sound. Getting things started on the Dubwise and thus the Dubwise/Indiscretion riddim album in full is Assassin who seems to work wonders on Juke Boxx’ riddims (more on that in a minute). His tune on the Dubwise, Priority, is one of the most CLEVER tunes about people who just don’t seem to have their lives in order (somewhat lyrically reminiscent of his hit Idiot Thing That), particularly with their money. The tune, downright hilarious at times, is yet another shining example of the development of Assassin as an artist and although its close with the tune which chases it, I’m calling Priority the biggest tune the Dubwise has to offer. The aforementioned next tune comes from Juke Boxx’ own Busy Signal who steps in with the HEAVY herbalist tune Spliff Tail. Speaking of development, for all of his undeniable skill I don’t know that Busy would have been able to do a tune like this one just a few years back over such a riddim. VERY IMPRESSIVE and not to be missed. The other artists who voice the Dubwise is definitely a mixed cast to say the least but all score in their own way. Between War Zone from Peetah Morgan, surprisingly present Beenie Man with the TIGHT Love Is Lovely, Lutan Fyah with the advice to mind your own business on Informa and Dutchie star Ziggi on another BIG lover’s piece Love Me More, all are impressive and I’m well happy to see Ziggi voicing ANY Jamaican riddim. Ziggi gets the last shot at the Dubwise and even if its all too brief six tunes, it well sets the stage for the Indiscretion.
Thankfully it doesn’t disappoint either. There is some HEAVY talent on the Indiscretion as well as some equally HEAVY big name artists also. This one is a bit more modern and just a very LUSH sounding one-drop riddim all around. The Indiscretion side gets off to a HUGE start as two of its biggest efforts come in at the very top its segment on the album. First is Richie Spice who delivers what has to be one of my favourite tunes from him recently, the ultra-COOL Soothing Sound. This is the EXACT type of tune a veteran in the business can use this riddim for to PERFECTION and bigging up the music, Spice does just that. Next is Capleton who arguably tops Soothing Sound with his herbalist tune of HUGE proportions, Acres. I’ve been vibing to and downright LOVING this tune from the very first time I heard it and I’m still enjoying it just as much (and if you’re honest, you’ll admit that your favourite part of the tune is when Capleton makes the CORNY helicopter sounds like its normal!). You will too. AS POWERFUL as that opening duo is, even stronger is one just a bit down in the line, as Jah Cure and ESPECIALLY Assassin combine to deliver not only the best two tunes on the Indiscretion riddim, but the Dubwise/Indiscretion riddim altogether. First is Jah Cure who is almost getting (WONDERFULLY) predictable at this point with having one of the best tunes on whichever riddims he reaches. His tune here, the SPARKLING tune Searching is the biggest lover’s tune on this album, without a doubt and that’s saying quite a bit actually. Next is Assassin who delivers THE biggest tune on either riddim (again) when he asks the simple question, “what If Men Were Bees?”. Now this one requires a bit of thinking (hopefully not too much), but it’s a VERY VERY CLEVER anti-violence tune at its core. The main point being that bees sting an enemy for one reason or another, but in doing so they also guarantee their own deaths momentarily at the same time. Assassin asks what if the same thing were true for people who went for guns and such and ran in violent ways. This one is MASSIVE! Assassin recently ‘revealed’ a bit of an alter ego by the name of Agent Sasco whose focus are on the more conscious type of tunes and with If Men Were Bees (aka Stay Like Bees) being one of Sasco’s first efforts, another level of potential just opened up for my choice as the future king of Dancehall music (and a few more like this and he may just be the king of Reggae altogether). Unsurprisingly Busy gets two shots on the Indiscretion, Missing You and Beep, Missing You is strong but the socially aware Beep is the stronger of his two efforts on the riddim. Also returning from the Dubwise (again, not so surprising here) is Peetah who comes with the BIG tune Secrets which has probably become the signature tune from the Indiscretion riddim (and if this isn’t it, its probably Acres). I love the SOUND on this one, never mind that the tune itself is very good and with each and every tune I look more forward to Peetah’s solo release as well. I’ll also mention the ladies. Star Cherine Anderson takes a look at the POWERFUL love that a woman has for her man on the DEEP 20 To Life which has grown on me a great deal since I first heard it. Also, young Timeka Marshall from out of Guyana also continues her shine on the very well done (and quite popular) tune Hush, which I think is supposed to be an answer to the other side of Peetah’s tune Secrets (they featured on the video for the riddim together). Marshall isn’t where she’ll be one day in terms of her abilities quite yet but she’s already VERY good and I’m predicting very big things for her in the future and Hush is one of her best so far. Lastly and fittingly another duo of strong tunes ends the Indiscretion riddim segment and the Dubwise/Indiscretion album altogether. Lutan Fyah tops his effort on the Dubwise with the BIG Nuh Talk which, to my ears, is typical MASTERY coming from the chanter. And he turns it over to young Konshens who ends things with his I-don’t-think-intentionally-funny-but-funny-anyway tune Straight Forward, which is just as the title of the tune would indicate (the hilarity comes from the pacing of the tune versus the rather matter of fact nature of the message). Nice ending in full.
Overall, although the Dubwise basically makes a cameo on the album (and I would have liked it to be voiced more and have its own album (it could have been #2)) and the Indiscretion, the more popular of the two, pretty much dominates the space; I’m STILL kind of happy that they placed these two together for some reason. And regardless of the setup of it, the Dubwise/Indiscretion riddim album is a big success to me. What Shane Brown is doing with his Juke Boxx Productions is slowly and quietly building an empire of PRODUCTIVE proportions. He doesn’t have all the giant artists and his riddims don’t come out with all of the fanfare, but they’re ALWAYS top notch pieces. In terms of albums, the Dubwise/Indiscretion may be his absolute TOP so far and fans of modern Reggae, new and established alike will most certainly agree. No matter how much they want to say things aren’t how they used to be.
Rated 4.5/5 stars
Greensleeves Records
2009
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