Surely it’s arguable, but I think that, for the most part, the days of the image mostly associated with the word ’Reggae’ being that of the tall and thin dreadlocked Rastaman playing his guitar and singing his tune on a beach somewhere, are largely a thing of the past. Like most things, as this image is no longer very appreciable by the younger crowds and, by himself, he’s pretty boring, so he’s been effectively replaced for all intent and purposes. Who/What is the new ‘mainstream’ image of Reggae? Well, on one hand it’s a rather diminutive, ‘I wonder if he’s really Jamaican, because he looks Hispanic’, Sean Paul; for some fans that standard beach bound Rastaman has been replaced by his brilliant and fiery descendant, Damian Marley; and for others, most assuredly it is STILL the person upon which the previously mentioned archetype was exaggeratedly and WRONGLY based, Bob Marley. And if that figure does still exist to some, I wonder what such an individual might think of someone like Alaine? If you plopped a copy of her most recent album in front of the type of person who upon hearing the word ‘Reggae’ would immediately, almost reflexively, respond by saying “yeah mon”, or some shit like such and tell them that this is Reggae music, I REALLY wonder what their reaction might be to this one in particular. The artist whose face and persona is certainly more akin to someone who you would find in an R&B or Pop arena is (wonderfully) slowly but surely stretching what it means to be a Reggae artist, in terms of the look and persona. Unlike some of her peers even, who have the typical characteristics of a female Dancehall artist (‘Dancehall Queenism’ is what I call it, where seeing them appear with a completely white wig or something like that isn’t completely out of the question), reinforcing something exhibited by the great Tanya Stephens, Alaine SERIOUSLY is, at least in my opinion, already RIPE for ‘mainstream’ success. Also, not that it’s something unique to her and her alone (biggup Ce‘cile and D‘Angel), but you LOOK at that cover and be honest with yourself: It certainly doesn’t hurt her chances that she’s sexy! Of course, were her visual appeal the only attraction then I probably wouldn’t (be reviewing this album) hold the prospect of Alaine’s international successes in such a high esteem, but fortunately, that’s not even half of it. Musically speaking, there’s just something about her also and although I’m not saying hers will become THE face of Reggae and THE image of Reggae music worldwide, Alaine is a FAR FAR CRY from the Dread in the hammock on the beach singing “everything gwan be alright”.
And Alaine has definitely seen more than her share of Sundays and, in my opinion, she’s now grown beyond the point of realistically calling her a ‘new artist’ or an ‘up and comer’ (I THINK she‘s like in her early 30‘s now also), so it’s now time to see (and hear) what she REALLY can do. Having had a very successful run of singles for years now (three or four I believe), working with the mastermind Don Corleon (more on that later), Alaine’s name has definitely been established as a proven hitmaker. And, although she doesn’t bring music in the typical sense of Dancehall music (instead she has this wonderful and PLEASANT blend of modern lover’s rock with equally modernistic (and sometimes futuristic) Dancehall), she has also QUIETLY become one of Reggae’s most popular names on the local front. In pushing even further, back in 2007, Alaine released her much anticipated debut album, Sacrifice, for Don Corleon. Initially the album hit first in the Japanese market, as so many do, with SHOCKINGLY some of the more popular well known Reggae labels seemingly (being drunk) and not signing her up (or maybe the Japanese offer was just one they couldn’t refuse) before coming westward with a slightly changed version. That album was, more or less, an update to that point. Taking some of Alaine’s biggest singles to date and, in fairly stereotypical Dancehall fashion, was actually more of a compilation than an album (a GOOD compilation, mind you). Well, having had a bit of time to generate more hype (and regenerate in some cases), Alaine and Don Corleon now return with the second verse, Luv A Dub. This album comes through the same Japanese channels (presumably a western version is forthcoming, although we’re still waiting for Corleone to deliver a western version of Munga Honourable’s Bad From Mi Born album, the producer’s most recent creation in terms of artists’ albums), but for the daring fans who’re willing to spend x-amount, a finger or their next child (or if you’re like me and happen to have a recently mutilated brother-in-law) to import it, you can pick it right now. And what will you be getting? Alaine’s sound, in my opinion, has perceptibly matured a few degrees, which is difficult to see because it’s not like she was Red Rat or someone like that before. Her development, in my opinion, is ‘visible’ because she’s started to break out of the mold many people had criticized her of. The ONLY criticism of Alaine as an artist is that quite a few people felt/still feel that her music sounds a lot like itself and that there isn’t much variation. I definitely can see that, Corleon, for the most part, has provided her with these LUSH and kind of all-inclusive type of riddims and Alaine, inevitably, writes songs for them which have something to do with LOVE and upliftment, but, like I said, I think she’s begun to take more perceptibly EXPANSIVE chances, here and there, and that comes through a bit on Luv A Dub, to my ears. She’s certainly, by no means, Lady Saw or Spice, some of her more risqué peers, but she’s also added a MATURE sexual approach to her vibes as well (I still don’t think that a remake of ‘Stab Out The Meat’ is in Alaine’s future anytime soon). Luv A Dub essentially picks up where Sacrifice left off. It also has the markings of a COMPILATION more than an ALBUM, however, again, a GOOD one. Alaine is simply making the most BEAUTIFUL form of Reggae music, in any form, these days and Luv A Dub stands as yet another sparkling example of that.
The drawback in making an album like this is that, for fans who consistently follow you, it kind of alienates them (us) in a sense, because we’re not only likely to know most of the tunes, but they’re (we’re) also the ones likely to buy it. That is also counterbalanced by the fact that you’re building an album largely with PROVEN HITS, therefore truly putting your best foot forward (and I haven’t heard ALL of these songs). The first foot stepping forward on Alaine’s sophomore effort, Luv A Dub, is also clearly one of the best, ‘Without You’. The tune is built across Don Corleon’s DIVINE Changes Riddim where it was one of the stars attractions on a riddim FULL of such pieces (Jah Cure, Tarrus Riley, Richie Spice and even Gentleman) (biggup I Octane). Without You is LOVELY, it’s also kind of infectious with the hook being what it is, two qualities which definitely are present with Alaine at her absolute best. Wonderful opener (and she also, ironically, adds Corleon to the list of things she “coulda neva mek it without”, well lets hope that’s not true). Up next is a newer piece and one which is, again, definitely one of Luv A Dub’s finest, the AWESOME ‘Colour Blind’. This tune kind of has a chanting vibes to it and is one which IMMEDIATELY seems to grab the attention (and affection) of the listener, as her music generally does, but it also makes a bit of a subtle (okay maybe not so subtle) social point as well. It’s not like listening to Lutan Fyah or someone like that, but in my opinion it’s the greatest and most ostensible exhibit of Alaine’s mature acuity on Luv A Dub and, again, it is a HUGE tune. The first of two very high profile combinations, ‘Forever More’, is up next. This one is my favourite of the two (although the other is STEADILY growing on me) actually and it features Alaine alongside big man of the moment (and probably of the future also), Tarrus Riley. They make a WONDERFUL combination and , when i first heard the tune when it first began to play, I was hooked and (it’s my wife’s favourite tune on the album) it was and remains the type of song you can just vibe to for HOURS at a time. Big start!
I, myself, am a pretty big fan of Alaine’s and, as is generally the case with my favourites, my favourite tune on Luv A Dub is definitely one which at least when compared to some of the others, kind of floated beneath the radar in terms of the attention it received. ‘Spin Me’, from Don Corleon’s funky sounding Stimulant Riddim, is one crazy, sexy and cool vibed tune as Alaine goes TLC style (did you catch that one???) on the tune with just RIDICULOUS results. I should reiterate the fact that it didn’t do the type of damage that I thought it would, so YOU might not find it so wonderful, but to my ears, Spin Me is the biggest thing on Luv A Dub and it’s one of the biggest things Alaine has ever done. Period (“I wanna fell your needle baby“, she says). Another tune sticking out amongst the pack is ‘Never Done’ which, I believe, is the official first single from Luv A Dub. It’s pretty stereotypical Alaine at this point, but that’s something that has pretty much always worked for me. The same could be said of former hit ‘Sincerely’. Were this album COMPLETELY brand-spanking-new, Sincerely would probably my favourite tune altogether. It is absolutely SPECTACULAR (it was actually on the western version of Sacrifice, but not the Japanese edition)! Love Of A Lifetime, Alaine’s cut of Don Corleon’s SUBLIME Secrets riddim, is also present. It was clearly a standout on that riddim and remains such on Luv A Dub. And then there’s the title track. This tune came up back in April I believe and, for some reason or another, I never REALLY gave it an opportunity, but the more and more I dig into it, it’s a very strong tune and the type which should consistently build towards getting even mightier. The tune is a lover’s combination with an old school vibes (I SWEAR I hear a Marley ‘Natural Mystic’ riff in there somewhere). Also you should take note of the almost FUNNY vibed ‘Over You’, which features our heroine on a neo-doo-woppish type of vibes. It’s very strange sounding, but, again, it becomes more and more wonderful and less and less vibes-egregious as you spin it more. The kind of Euro-techno tinged ‘Follow U’, which is new to me, isn’t AT ALL the type of tune I would normally like and the fact that I do is kind of making me think that I’m just REALLY easy to please when it comes to Alaine’s music (thankfully, I still find ‘Flashback’ to be atrocious, so perhaps I shouldn’t worry too much). No such worries on ‘Shame On Both Of Us’ which has a very interesting subject matter of being in a relationship with not one, but two offending parties. Definitely get into that one a few times over. Alaine’s tune ’Mama’ is also here and it’s been pretty popular (especially on the internet) and justly so as Alaine joins literally thousands of her male contemporaries and gives a respect to the most person on the planet (it’s usually more of a male concept to say thank you to your Mother, especially in Reggae music) (biggup my Mother same way). And speaking of popular, sending us on our merry way on Luv A Dub is the very successful tune ’Speak Love’ from last year’s Far Away riddim from (you guessed it) Don Corleon. This tune is another one which is SPECTACULAR in almost every way and I loved it last year and I still do and I was just glad it was included here and not kind of thrown away.
I would also like to mention the rather surprising remix of what was probably Alaine’s first significant hit, ‘No Ordinary Love’. I just KNEW that tune would be some over-hyped and over-electrified piece of rubbish, but it isn’t. The tune is VERY nice. Although I certainly still prefer the original (which I haven’t heard in a minute, have to take care of that right now), the remix gorgeous and if you loved the original, and you did, you’ll certainly connect well with the redone version, which is nice and slow and romantic.
Overall, I’d probably be wrong if I weren’t to mention the fact that Alaine and Don Corleon recently parted ways and ended their relationship (musically speaking, of course, don’t particularly care about their personal business) and the next step is seeing and hearing, from Alaine (of course, Don will presumably go back and continue his absolute mastery of Reggae and beyond) as to what comes next. Again, the only musical critique she’s ever received is that people sometimes her tunes are too similar to one another and that certainly should be no issue now. They definitely gave fans like myself a very nice chunk of tunes to remember well one of, quietly, the most successful ventures in recent Reggae history. And if Luv A Dub in all of it’s creativity and ‘neoness’ is to stand as the final tangible ‘pillar’ of their time together then, job well done. Now let’s just hope that Alaine doesn’t grow locks and head to the beach with her guitar in hand. (Oh, and Alaine: You sexy).
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