Nuh Retire: A Review of Ghetto Living by Linval Thompson

Unlike in most genres of music, I find that in Reggae music, we as fans tend to be, thankfully, more and more accepting of our artists when they are truly talented. While I do often fret and am disgusted by the fact that so many of our elder artists often have to leave the island completely in terms of recording (or even LIVING in many cases) simply in order to continue to enjoy the status which they previously enjoyed. And while, of course, time changes things and the elders have to make room for the youths, it is just so distressing that so many of our once SUPERSTAR names have to go and find their fan bases a foreign or risk ending up in Jamaica still, but terribly impoverished. BUT. The wonderful part of that, if there is such a thing is that these places do exist for some of the artist to STILL find people who enjoy their music, beyond the classics and often DEMAND new material, keeping them in the limelight constantly; exactly where they belong. For example, take the case of the recently deceased legendary Alton Ellis. Ellis spent the latter portions of his life living in Europe where he apparently enjoyed a very large status, which he deserved of course (now, in his death, his status as one of the greats is eternally secure). The thing about that, however, is that in Alton Ellis’ case in particular, he was one of the few who could have gone virtually ANYWHERE there were fans of Reggae music because his music is just that timeless and even later in his life (THANKFULLY) he retained the ability to sing his classics sounding nearly just like the youth he was on the day he recorded most of them. Another and more current nice example would be that of Prezident Brown. I don’t rightly know where Prezident Brown lays his head these days, but I find it simultaneously so unusual, yet comforting that nearly EVERY TIME I get a promo of a new tune of his, or even a full blown album, it is almost an official accounting of his worldly travels of sorts (like a blog!) because they’ll come literally from ANYWHERE on the planet. From the UK to the US and everywhere in between (there’s actually nothing in between. . . Bermuda) and that is just LOVELY as the Reggae family extended keeps he who is purely one of the most talented Reggae artists to ever walk the planet in our thoughts. If you have proven, certifiable and unquestionable talent like Brown, like Ellis and so many others there will always be a door open for you in Reggae music.

Especially when is you who helped to build the frame on which the door swings. Unfortunately, what is often the case of albums with foundation artists which are new is that they’ll come out for some very random and obscure type of label and, at least to my eyes, I’m SO used to identifying such albums as merely greatest hits or other type of compilations, whether the picture on the album cover is new or not. That’s just the way it is. However, late 2008 and here in early 2009 two releases in particular have caught my eye as not being like that and actually being well done and well presented. The first is Horace Andy who is out with the album Inspiration Information 2 alongside UK based musician/producer/engineer, Ashley Beedle. II is being promoted VERY well and despite the fact that I don’t like it (AT ALL), it is so nice to see Andy getting that type of spin. And, of course, there is the equally legendary Linval Thompson who is coming through with the SPARKLING Ghetto Living! Thompson’s name is one which arguably holds as much weight as anyone’s in the Reggae business (arguably) EVER. Thompson comes from the school/class of artists which included the likes of Freddie McGregor, Cornell Campbell and, of course, the Crown Prince of Reggae himself, Dennis Brown. Thompson’s place amongst these legendary figures is SO secure and even a bit different than most as he has a long career as a producer during which he has produced all three of the aforementioned names, pennacling with the CLASSIC Big Ship for McGregor; both the song and the subsequent album of the same title, both of which are regarded as staples not only for McGregor and Thompson but the entire genre of Reggae music, as a whole. Recently, Linval Thompson’s hasn’t been a name which has been resonating very much in terms of actually doing work, he has, to my knowledge spent what time he has contributed to the music on the road, for the most part throughout Europe and in the States as well. Thus, even the possibility of a new full length studio album (of which the promotion boasts is his “first new studio album in fifteen years”) is very appetizing for hardcore Reggae heads worldwide (especially Europeans because they are currently receiving a tour from the legendary singer apparently). Simply put, Linval Thompson’s Ghetto Living is SERIOUS business! It is a more than welcome return to the scene of one of the genres greatest practitioners ever and it is currently receiving quite a buzz all over the place and I’m really appreciating that fact (again, particularly from the Europeans). Ghetto Living is released through Thompson’s own longtime label, Thompson Sounds and is distributed (digitally only as far as I know) through Zojak (which is the best and biggest named digital distributor of Reggae music, having recently worked with the likes of Anthony B, Cocoa Tea and Anthony Red Rose (apparently not getting to Amazon yet, although the website describes that as “pending”) for the masses. Ghetto Living as expected, features production from Thompson himself AND, unexpectedly, from one of my favourite producers of all time, Philip ‘Fattis’ Burrell from the legendary Xterminator label (who I figured was retired from the business, but hopefully Ghetto Living marks a full on return from Thompson and Burrell alike). It also, perhaps even more importantly, features quite a bit of input from Thompson’s own twelve year old son (the next Genius!). So how would a foundation artist remake himself in this modern day and age to score a winner? Maybe he wouldn’t remake himself at all and score even bigger because of it.

Ghetto Living as a whole virtually transports the listener back to the 1970’s as he RARELY makes a concession to any aspect of time, WONDERFULLY. And I’ll also mention, going in, that if this is the first time you’ve heard Linval Thompson’s music, you’ll first probably notice that CLASSIC earthly tone to his voice which on Ghetto Living sounds nearly as good as ever. My ears literally jumped on the first tune that rings in the album, the downright blessed Natty Africa. This is a sweet sweet vibes about repatriation and HOME and love in general and really one so crucial and yet so simple that it is, to my ears, pretty essential and easily one of the finest efforts on the album altogether. There is better material on the album, but I doubt any of it would have sounded better starting things off. The title track rolls in quite early on in the second spot and although, to my ears, it trails Natty Africa a bit, given the nature of the album which follows it and its strength as well, its quite evident why it was chosen as the title track. If you’ve ever been a person living in the ghetto then there is definitely some aspect to this tune (and by extension, the album as a whole) which you’ll more than be able to relate to (and as someone who was raised in the country, I can even relate a bit to it from my side, country ghetto we used to call it). The tune does develop quite a bit and, although it remains quite simple throughout, what you need to focus on is in the lyrics, anyway. Big tune. Hustler completes the all around stellar opening for Linval Thompson’s Ghetto Living and its actually somewhat similar to the title track which precedes it. Hustler is a tune which is just about what the title indicates but in the positive sense; doing whatever one has to do to help one’s family. Having definitely been in that position myself (but not anymore, thankfully) the tune hit me especially and for me ranks amongst the class of the album.

Its unique that, as I mentioned, Thompson hardly ever makes any concession to the age having passed in terms of the vibes here, however, when he does makes a most obvious concession, he does so in GRAND fashion. The first single from Ghetto Living, Bad Boys, features Thompson alongside criminally underrated modern chanter Warriour King and it is a wonderful thing! Certain to be the one tune having the most spins I love the combination between the two and hope to see Thompson take on more such projects in the future (do we see Linval Thompson - Etana???!!!). That being said, to my ears, Ghetto Living’s greatest musical success comes with Thompson riding all alone when the MAMMOTH Jah Jah Is My Father rolls in! The tune literally brought tears to my big grown man eyes! It comes in on the breath of “Jah Jah is my Father. Jah Jah is the Creator!” INDEED Mr. Thompson. The vibes remain that high throughout and seriously, this tune is as best as the legendary singer has EVER done, period. For all old school Linval Thompson fans, anytime you can get him anywhere near an herbalist type of tune you’re potentially working with magic like what he gave us with I Love Marijuana so many years back and he gives it quite a nice run on the album with Free Marijuana and if you loved that old tune (and I did) this one just may hit you on similar levels. Free Marijuana is a rather clever (if you are a HARDCORE STRANGELY DEEP Linval Thompson fan then you’ll notice some very ‘familiar’ vibes in that one which I won’t spoil for you here). Roots Princess also has a very familiar vibes in it and is just a SWEET lover’s piece for the ladies and, as is typical for Thompson’s vibes, its so UNDERSTATED, its barely even there, easily overlooked, but should you dive into the tune, the reward is well present, trust. Natural Beauty is a similarly vibed tune (this one even more of a pure lover’s) which has a more updated riddim backing it (probably one of the Xterminator blends, even though I don’t recognize it) although I do still favour Roots Princess. And just to complete that thought check the tune Empress which features loud and slightly agitated Empress Thunderous (who I have heard of before) on the tune. To my knowledge, Thunderous was the last find of Xterminator and she was (awkwardly) afforded some of the labels vaulted riddims a few years back where she sounded better (at her core she is kind of a Dancehall voiced roots DJ), but she sounds quite awkward here indeed. As Ghetto Living winds down, it still saves space for some VERY impressive material. Speaking of material, check the WICKED All Is Vanity which may be a good choice for a single should they choose to do another. Even stronger, however, is Love Brother, Love which. . . Is somewhere in Reggae stratosphere. If you like dub (more on that in a minute) then check the nearly forty second long intro on the tune which brings in a vibes circa 1972 and when Thompson begins his singing, the guitar jumps in and several other pieces to bring in easily the best backing track on ANY song on Ghetto Living. The tune itself is a reminder to just ease back a bit and let go of the violence and pick up some love instead. One the album’s best, easily. And ending things is the very familiarly vibed Halla Dem A Bawl. The tune comes in across a relick of the same riddim which supports Cocoa Tea’s well powerful Criminality tune (and it may be a remake from some other source as well) and it’s pretty much on that level (if not better) and a truly excellent way to take things out.

Now, briefly I’ll mention the presence of two dubs from Free Marijuana (Marijuana Dub) and Roots Princess (Roots Princess Dub). Besides having worked with artists like Dennis Brown, Freddie McGregor etc. Brown has also worked alongside Dub legends such as Lee ‘Scratch’ Perry, King Tubby and even the Scientist (who dubbed out some of Thompson’s riddims on his own). This was a very nice touch and I’m sure the old hats will appreciate it and this younger hat does as well. To my ears, Marijuana Dub is more solid but Roots Princess definitely holds its own (especially when the saxophone kicks in). WOULD HAVE LOVED TO SEE ONE FOR Natty Africa and Love Brother, Love as well. All in all: Very well done Mr. Thompson.

Overall, not too long ago, earlier this year, Daweh Congo released a next project by the name of Ghetto Skyline. Both that album and Linval Thompson’s Ghetto Living are closely related in terms of vibes and the sounds on the albums, respectively. Therefore, I’m also instinctively compelled to compare the two together. Ghetto Living is a better album. As it was officially released two or three weeks shy of the end of the year, it will be more closely associated with 2009 and thus is an early favourite for album of the year! Its that good. What Thompson and company have done here is prove that, like I said, good talent is always to be appreciated in Reggae music. I don’t know if this marks a full fledged return to the scene for the legendary singer (I don’t think Thompson even knows himself) but another effort like Ghetto Living and we may have to stop thinking of him as a and old time foundation artist; and start thinking of him as one of the best of today. AMAZING! GO GET IT!

Rated 5/5stars

Thompson Sounds/Zojak Worldwide

2008

Naturally Speaking :A Review of Naturally Black by Natural Black

Maybe its due to my own severely flawed memory or maybe I wasn’t paying a very good deal of attention (highly unlikely) but the Reggae albums from 2008, in terms of quantity, were very thin compared to previous years. I take this strange account (if I am actually correct) to be due to two different set of circumstances, both of which definitely contributed to the lack of albums as a whole and probably contributed to the fact that, at least in general, 2008 wasn’t a nice year in terms of expansion for Reggae music (and in retrospect the little bit last late last year and the little bit in the short 2009 has probably been more than most of 2008 altogether). The first of these reasons, in my opinion, was the fact that several things which were supposed to jump last year just never materialized as the year progressed. The most notable of these for the hardcore Reggae heads was probably the extremely elusive Bounty Killer & Alliance Crew albums as VP Records had previously signed up Bounty and his famous crew (as they already have Alliance members Mavado, Busy Signal and Elephant Man (with Bad Boy) under solo deals alongside the Killer) for album releases. That now seems in peril as two of the most talented and popular members of the group, Vybz Kartel and Aidonia, have since been formally ousted. Also in that same boat of no-showing was Bounty’s longtime rival Beenie Man whose departure from major label Virgin seemed to clear the way for his return to PURE Dancehall in album form, also for VP. Capleton (now wayyyyyyy overdue), Junior Kelly, TOK and even a delay in Anthony B’s subsequent release (Rise Up) were also absent from the schedule of 2008. The other major factor contributing to not so heavy Reggae shelves last year was the fact that the typically OVER active lights seemed to essentially take the year off. Case and point: Between two hallmarks of the practice of over-saturation, Sizzla Kalonji and Turbulence, there was ONE lone new studio release (not counting that pirated garbage put out by Jetstar/Charm/Rude Boy Records every year) in the form of Sizzla’s nearly awful Addicted from Drop Di Bass, while Turbulence, for the very first time in his career, didn’t release a single new album. Want more? Anthony B, Jah Mason and Luciano, all of whom are typically good for at least two a year were simply one and done (although in the cases of Anthony B and Luciano, the results of the ‘one’ were nearly spectacular). While we did receive nice bits from the likes of Richie Spice, of course Etana, Messenjah Selah and Fantan Mojah later in the year for roots and very welcome surprises from Vybz Kartel and Munga Honourable in the Dancehall, things just didn’t seem to be status-quo in 2008 in terms of releases. Maybe it was the economy?


And tiptoeing behind the scenes were a couple of very popular artists who definitely kept things hot for the MOST hardcore of Reggae heads. Besides Midnite (meaning Vaughn Benjamin) going full on with their/his ridiculous amount of albums there was also Lutan Fyah who struck one of the biggest chords late in the year with MASSIVE double album, Africa, arguably the single best Reggae album of 2008 which followed his first Live release, Lutan Fyah: Live In San Francisco (both for 2B1 Records). And, for the most determined, they also found a release from Natural Black. I pretty much assumed that, following a couple of breakout years which saw his very first and second release in successive years for Reggae major label Greensleeves, that Natural Black would probably be taking the year off in terms of releases (he did have some very nice single releases throughout the year as is his norm) especially considering what the lion’s share of his peers did. Also, eventually one of these days it would be quite nice if VP Records themselves might take a ‘chance’ on the Guyana born chanter and maybe even a return to his own home base label, Vizion Sounds, as a followup to 2007’s Cool Nuh Black, both of which may be possible (although doubtful and HIGHLY so in the case of a VP album) in 2009. Regardless, while we wait for one of the more accessible labels to wake up, Natural Black chimed in with the VERY solid and equally VERY hard to track down, Naturally Black for Rad’s (which I also get confused with Tad’s) out of the UK. I can honestly say that this album was a COMPLETE shock to me in coming forth as, is the case with approximately 95% of albums which turn out to be true and WORTH A DAMN, there was no promo copy, I don’t even know if they even made a promo and my experience with the label in particular is quite limiting having previously only known of it releasing rather obscure greatest hits compilations. However shady their methods of promotion may be I, and quite a few Reggae heads I imagine do owe quite a big thank you to Rad’s for ensuring that we wouldn’t have to wait an entire year with out a form compilation of Natural Black’s work. The result of their labours is Naturally Black (an album with a title which is downright ASTONISHING that Black hasn’t already used previously) which, as quiet as it was, was still one of the most all-around SOLID Reggae albums to be found in 2008 altogether. The album features Natural Black’s work from a variety of producers, in a compilation style basically and it definitely does a fine job in doing that. It also just happens to link one of my absolute favourite Natural Black tunes of recent times, which I just KNEW would go outside of the spotlight of potential labels and producers to make it on an album giving it the wider exposure which it deserves. The thing about Natural Black’s albums and with his music in general is that he, along with a VERY select few, exercises quite a bit of ‘quality control’ which is why I feel his music maintains itself as some of the most consistent in the game. CONSISTENT being the word of the day here because in the case of Naturally Black, it may not be as BIG as some of his others but it may be his most satisfying set from beginning to end to date.


As I always say about Natural Black, his most impressive and unique quality is his ability to so wonderfully convey his PERSONALITY through his music. He may actually do kind of the stereotypical roots tracks which he has been criticized for in the past (and not by me, I don’t feel that way) but his vibes are truly HIS own, no one in the game could make Natural Black’s diverse music sound as good as Natural Black, a quality not ALL of his peers share, definitely. Getting the quality started on the quality brimming Naturally Black from Natural Black (by my count his seventh studio album to date) is the somewhat cryptic lover’s tune (not really) Special Loving, his cut of the WICKED Pure & Clean riddim. The tune is on the surface merely a lover’s tune where Black and his special woman are facing obstacles in the way of others not thinking their love is true and/or appropriate but it also has somewhat of a socially conscious air about it which is really either of my own creation or is downright intoxicating. In either case, wonderful opening with one of the album’s finest tunes altogether. Next up is the BIG sounding and not very cryptic at all, Free. This one is even better than the opening! To my ears it’s a repatriation anthem as Black says to become from the “shackles and chains, fortunes and fames” of Babylon and we all know the only way to do such a thing is to return HOME. Regardless of what he meant, the very fact that it is written in the way that it is written and allows for someone like myself to make such a connection and not sound TOO stupid, is a credit to the lyricist for pulling such a big vibes on the tune definitely. Why Can’t We is charged with closing this wonderful opening doesn’t disappoint AT ALL. Coming across Al.Ta.Fa.An’s ULTRA familiar Senior riddim (probably the second best tune on the riddim after Chezidek’s LARGE Leggo Dutty Babylon Ways) Natural Black weaves a very nice message about the world just really dropping all the negativity and NASTINESS in the world and just incorporate more LOVE in the nature of things. Really things would be much better definitely. As for the opening of this album, I can’t imagine it being much better on the whole.


As I mentioned before the real highlight of Naturally Black comes in the form of a tune which I figured to be all but damned but is definitely one of my favourites from the chanter in the last couple of years, the WICKED Nubian Business. The tune comes across the well bouncing Africa riddim and is just SO SMART that it alone here really goes to show both Black’s overall power and value as an artist as it is a VERY CLEVER tune about simply minding one’s own affairs and staying focused on the task at hand; an unfortunately NECESSARY message today. EPIC tune, the album’s finest. Nicely set, the second best tune follows conveniently with Gideon (Move). Playing brilliantly over Super Sonic’s saxophone heavy Devil’s Angel riddim the tune fills the large shoes of its predecessor quite well with a tune which is just so lovely and so powerful at the same time making it quite easily one of the best on the stacked album. Keeping things high, the very lovely tune which follows the album’s best two tracks, Wanna Tell You I Love, is also quite the attention grabber as it just happens to come across the Rub-A-Dub riddim, my choice for the single best riddim of 2008, period, from Kemar McGregor. BIG BIG lover’s tune there, seriously no tricks and twists like Special Loving, just straight forward lover’s rock genius. If the tune Free weren’t actually meant to be a repatriation tune, then the role is taken more clearly by Africa We All Ah Reach, which just so happens to be a stronger tune as well. It has a much more of a quietly forceful feel to it over a SENSATIONAL riddim. Skipping ahead a bit (and I will go back) check the MASSIVE repatriation tune Continent For An Island. That’s WICKED! That’s the type of tune EXACTLY which I say that only Natural Black can voice like that, there isn’t a tune like this if he doesn’t sing it although it seems straight forward enough, its literally soaking in his personality and all of his little spins which simply don’t appear outside of brilliance and may never have existed actually. One of a kind definitely. Going back (told you I would) check Mother Nature across Mario C’s beautiful Adam & Eve riddim which for me went quite unnoticed when it did reach on that riddim and I’m very thankful that it reappears here, where its one of the best tunes on Naturally Black. Looking back to the lyrically deep is Every Time I Hear The News which is downright odd and, at the same time, stereotypical and quintessential Natural Black. The bouncily addictive vibe is an anti-violence track speaking more directly to the powers that be and the youths of course. You spin that one a few times and that chorus will stick to your brain like glue. Guaranteed! You Don’t Wah Hear is a tune to the hardest of ears who have too much pride or stubborn faith to take a minute to just settle and listen to the wise. And besides that, the tune has DIVINE remake of some old school R&B riddim which blows up into a LUSH Dancehall one-drop which is one of the best backings on Naturally Black. Preserve Yourself is such an unusual but TRUE message which comes across an old school Dancehall vibes. The tune speaks to the MAN to preserve himself (absolutely no daggering sir) for his princess. I can’t be hypocritical and say that I followed such a thing but in this day and time it would definitely cut back on so many negative things. Preserve yourself! Listen To The Voice is another classically vibed tune across the Deep Love riddim (which I’m almost sure is a remake of some older piece I FRUSTRATINGLY cant quite recall). The tune is another one to those who have a difficult time listening but this time a far different and more powerful voice, the one from inside. Given the tunes before it I can’t at all complain about the closer, Burn Out, being a straight forward hardcore Dancehall track AND, its not a bad one. I appreciate the changeup definitely in this situation, Naturally Black needed something to spice things up and give it an edge. Mission accomplished with Burn Out to send us on our way tuned up and ready for action.


Overall, yeah, you’ll definitely find ’BETTER’ Natural Black albums, most notably Far From Reality, but will you find one COMPLETELY better done. I don’t necessarily think so and a very strong case could be made that Naturally Black is the finest album he has done to date. Regardless of where you fall on that side of the fence (due to the overall star power of Far From Reality, I’m on that side, at least for the moment) you have to admit that Naturally Black is just a FUN roots album, which is rare quite honestly. Natural Black’s ability to REALLY give his listener the feeling that he himself is having a good time making the music and he really BELIEVES in what he says, pushes his music across the border in my opinion. Every time you get the opportunity to listen to him at his prime, roots Reggae fans should jump on it and Naturally Black is no exception. One of the best Reggae albums of 2008. Naturally.

Rated 4/5stars
Rad's Records
2008

Mr. Marlon Asher: A Review of Unconditional Love by Marlon Asher

What exactly is the proper process that one would need to do after coming up with a big tune to avoid becoming a much maligned ‘one hit wonder’? The question so very much so has haunted artists, producers and perhaps mostly music executives alike since the commercialization of the music industry. You can have an artist have a MASSIVE hit in one year and spend the next two years or so touring for that tune (and subsequent album) but be virtually forgotten three or four years later when it is revealed that the next thing they come up with doesn’t have the same drawing or simply isn’t as good as what they previously displayed. In Reggae and all Caribbean music for that matter, things are pretty much the same, but it is somewhat different because, as a regional art form, there may ALWAYS be a place in the world where a particular talent is useful. Therefore, while acts like Terror Fabulous (Action), Kevin Lyttle (Turn Me On) and maybe even Mad Cobra (Flex) may in fact be regarded internationally as one hit wonders, local fans have a different take on them for the most part as they have all but disappeared from the international scene but managed to remain active locally speaking (not Terror Fabulous, but he still had more local hits than just Action). There are actual one hit wonders however and, at least in my opinion, I think that is because of improper development by whoever is handling the artist. Most recently, in my opinion, was the case of Ms. Thing who skyrocketed locally and internationally with the BIG hit Dude alongside Beenie Man. The young Ms. Thing then took quite a bit of time away from the game (to have a child if I recall correctly) and has since returned (largely away from the light she was previously given at Madhouse with Dave Kelly, who has seemingly ‘replaced’ her with wicked DJ Lady Spice as of late). Ms. Thing just wasn’t developed as an artist (which has been a critique people often have of Kelly, pointing to the way he robotically tends to treat Baby Cham, who, in my opinion at least, is unquestionably WICKED, even on his own) and what you hear today is very average material to her, now left to fend for herself. There have also been the likes of VC who struck out with the MASSIVE By His Deeds but didn’t really have the drive to stay in the music it seems; similar to Ms. Thing was an artist from a few years back, Silva Kid who EPITOMIZED the concept of one hit wonder, coming with the BIG Biggest Fire alongside Capleton before VANISHING into thin air and who can forget Bajja Jedd (everyone!)? It does happen, sometimes things just go wrong.


And sometimes they go right. Very very right. Which would be the case of “MR.” Marlon Asher from out of Trinidad who dropped what has to be regarded as one of the most ridiculous Ganjaman anthems in the history of Reggae music (which is THICK with such tunes, to say the least) a few years back with Ganja Planter/Farmer. The tune simply skyrocketed the Chaguanas native to the bigtime in Reggae music and it was quite unusual that the tune was probably out full on a year before anyone outside of Trinidad had actually known the man’s name (I cannot tell you how many times I have seen his name written in OFFICIAL capacities as ‘Marlon Asha’) and probably another year after that before we saw the man’s face (STILL I don’t believe that there was ever an official video for that song, which is just WEIRD). Ganja Farmer put Asher on the map and since the tune exploded he has traveled the world, appearing on some of the biggest Reggae stages in the world and has opened quite a few industry doors for him as well (the tune actually appeared on one of Greensleeves compilations which I think is a first for any Trini artist outside of Bunji Garlin (and only once in his case)). While he hasn’t yet been able to reach the levels of Ganja Farmer in subsequent releases, his vibes have remained strong and show SOLID artist development as well as he has since come into his own as a vocal artist adding dimension after dimension to his game. His successes, arguably, have also, led to similar releases from some of his Trinidadian peers. Whose to say that anyone would have REALLY given acts like Prophet Benjamin, Jahbami, (his good friend) Royal Dainties or, most notably, Khari Kill and Isasha & Million Voice a chance had Ganja Farmer not proven to be so successful (thus ROBBING the world of MAMMOTH hits such as Picture Of Selassie Don’t You Know) I and as they DIDN’T do the same thing when Trini Reggae pioneer, the SUPREMELY talented Queen Omega struck out just a couple of years ahead of Asher. Marlon Asher’s works have also led to album releases from the chanter which have definitely gone on to further his image and appeal internationally speaking and given just a taste of his abilities further. By my count Asher has released three albums to date, with an EP for his very first release, the very well done Locked Out from 2006 for Caribbean Underground. In 2007 he released The Ganja Farmer album for Jah Freedom, which, although it contained quite a few surprises in its mix, basically went beneath the radar for most Reggae heads (although you can still get it on sites like Juno and even iTunes right now), but was still well solid. Now, just in the second half of 2008, Marlon Asher brings forth his third full studio release and perhaps his most anticipated and high profile album to date, Unconditional Love on Hott Music and his own Marlon Asher Music labels. Initially I had a problem with this album because it was downright teasing me as the title coincided with a tune Trini Soca star Machel Montano had released for the 2008 Carnival season (the thought of a potential combination between the two was nearly overwhelming) but thankfully it was an album and a song in its own right (but we DEFINITELY still welcome a pairing between the two). Having, arguably been overshadowed by Khari Kill, Prophet Benjamin and Zebulun most recently, Unconditional Love shows that at least amongst the males, Asher remains one of the top dogs in the yard.


To get a grip on Asher’s style the artist I usually compare him to, although a bit unusual is Jah Cure. He DEFINITELY doesn’t have that overpowering type of alienish voice, but he similarly has that raspy kind of quality to his chanting and, just like the Cure, he is very sharp and clever with his lyrics. Getting things going on Marlon Asher’s Junior effort, Unconditional Love is a very nice tone setter, the easy vibed Mystical Morning. This tune sounds something like you’d hear on a Tuff Lion or general Virgin Islands record and it has been billed as a tribute to Bob Marley. It definitely does have that ‘Natural Mystic’ aura to it and Asher even conjures the spirit of Nesta on the track which proves to be one of the finest done on Unconditional Love altogether at the end of the day. GLORIOUS opening there. Vibes remain high and get ultra familiar with the next two tracks, the first of which is Blessings a former hit from Asher on a riddim from one of his peers, the increasingly popular Dainjamentalz (who also has an album coming soon, apparently). I’ve always loved the tune which speaks on the virtue and the ‘ability’ to accept the Blessings of His Majesty even when they may not be so obvious and, more importantly, giving thanks when we receive them. Love Of Jah is one of my favourite Marlon Asher tunes that he’s ever recorded and I find it quite interesting that it is amongst the two or three songs which have appeared on all three of his releases to date (which in an artist that is building is something I won’t criticize because should you come to pick up either of the three there are certain tunes you’ll just REALLY WANT to hear as primarily a casual fan) which means he loves it and the people do as well. Love Of Jah is a bonafide hit and REALLY goes to show off not only Asher’s voice but his lyrical ability as well as he wonderfully gives thanks and praises to His Majesty. Opening = solid.


Is it even worth mentioning that the best tune overall on Unconditional Love is Ganja Farmer? I don’t think so. Instead I’ll mention what I think is the second best tune on the album, the WICKED My Country alongside Ugandan chanter Henry Tigan who joins Asher for the second time on the album with the BEAUTIFUL tune. I have not the foggiest of ideas what is being said on the record from Tigan’s portion, but the vibes it pulls are just so powerful that you have to identify the wonderful messages. When Asher jumps in to represent for Trinidad, the vibes stay high and the two just paint such a wonderful picture! MASSIVE track. If My Country isn’t the second best offering here then that distinction definitely belongs to another combination, Situations on Lustre Kings’ New Day riddim alongside Princess Menen. I’ll make the case that Menen outshines her more famous friend in the tune and really produces MAGIC in her pieces on the tune. It was definitely one of my favourites on that riddim and it remains one of my favourites on this album as well. There are two other pretty nice combinations on Unconditional Love as well. The first being a kind of up-tempo piece alongside longtime Shaggy par Rayvon. These two make a very fine duo and I’m sitting here thinking about what it may be like if Asher ever gets the opportunity to voice alongside more straight forward Reggae singers in the future (large up Rayvon definitely). The other combination is one of the biggest tunes on the album and one which received quite a bit of promotion (including a video), World of Sandals alongside Tigan again and songbird Empress Rita. I believe the tune was about certain issues occurring in Kenya which was being brought to attention on a large scale using the song. If I believe correctly, mission accomplished! In any case, consider World Of Scandals a big record! Another tune which caught my ears and the attentions of quite a few people I know is Big Bad & Tan-So which is a story-telling type of tune striking out against violence and corruption in all cases. It really serves as a compliment to Asher that I say that this tune sounds like something that you might here penned by Dancehall poet Tanya Stephens! Probably the best written tune on the album altogether. Fit & Strong is another tune I remember from the Red Razor riddim (I THINK that was it) a few years back and was one of the main attractions on that piece. And I have to mention the tune Shorty which was a previous single (sounds like Ganja Farmer actually) but is a nice ‘lets get to know each other; type of song. Asher also has a nice bit of fun throughout Unconditional Love as well, to take the edge away from things a bit and with his unusual voice, he definitely makes the right decision in doing so. Check the somewhat ‘Socafied’ Puscung-Pang which is a straight dance floor filler. The song is somewhat funny as it shows even the most SANCTIFIED of Rastaman can reach the Dancehall. Indeed! The title tune itself is kind of a quirky and almost off-tempo sounding vibes which ultimately proves to be a fairly straight forward sounding roots tune. This one is another of the real highlights on the album and was a pretty sizable hit for Asher (thus the title track status) which speaks on all the negative aspects of society, especially war and such atrocities and the POSSIBILITY that maybe we could replace such things with LOVE. Powerful message on that one. And down the stretch, both Rudewoi Hustle and Marry Juana come in as herbalist tunes, neither of the level of Ganja Farmer (duh). Rudebwoi Hustle has an old school Dancehall type of vibes to it and is kind of a plea against the system to stop fighting the marijuana. While Marry Juana is another heavy and VERY CLEVER piece which ultimately grew on me and I have no complaints sending out Unconditional Love on that vibes.


Overall, what I have to say about Unconditional Love is that it is similar to the Ganja Farmer album, yet, as I said, that album pretty much came and went very quickly which means you’re far more likely to find this one on hand (they’re both available digitally however). However, as they do share a few piece between them, some of the big attractions here such as Mystical Morning (especially that one), Big Bad & Tan-So, Dream and Situations aren’t on Ganja Farmer (although Situations is on the very hard to find full release of Locked Out). Just judging this one as it stands, however, Unconditional Love is a might powerful album from an artist who I feel, although he’s been around quite awhile now, is just on the cusp of his overall levels in terms of popularity. Already well known in most Reggae circles (and I’d say he’s still on the come up in terms of Jamaica) Marlon Asher is an artist who, although still most closely associated with a single tune, with pieces like Unconditional Love, is proving himself quite more than just a rocket launcher packing farmer.

Rated 4/5stars
Marlon Asher Music/Zojak Worldwide
2008

They Call Her Bacchanal!: A Review of Hott by Destra Garcia

For me personally, for better or for worse, every single roots Reggae artist who will ever emerge from here until eternity will forever be compared to Sizzla Kalonji. By virtue of being my favourite artist, Sizzla essentially sets the ‘high bar’ for roots Reggae artists to ‘attempt’ to approach in my favours (indirectly speaking, of course) as I’m sure is the case for most people with their favourites. Sizzla’s music basically restarted my interest in Reggae when I had moved away from Jamaica and began listening to several different styles and it is to his CRAFT and overall SKILL level in the music, which I contend is virtually unmatched that I, once again, became a fan of Reggae music (and it is the reason, indirectly, why you’re sitting there reading this almost assuredly entirely too long review). So, artists like Turbulence, Jah Cure, Jah Mason, Tarrus Riley, Lutan Fyah, Natural Black and even Etana have all been compared to the Reggae WIZARD from out of August Town,. Similarly, every Dancehall artist will ultimately be compared to Beenie Man who, for me, epitomizes what the Dancehall TRULY is. Besides that, I rate Beenie alongside names like Papa San, Super Cat and Brigadier Jerry as one of the most overall TALENTED chatters the game has ever seen, period. You name them, they’ve all received a similar ‘shake-down’ from me when I originally became aware of them: Vybz Kartel, Baby Cham, Assassin, Busy Signal, Aidonia and everyone else who has made any kind of an impact in the game since I first heard the name Beenie Man (like Buccaneer (YUCK), General Degree) have all been compared to ‘The Doctor’ to see if maybe, just maybe, they were a cut above the best that I’ve heard. With this distinction also comes (becomes I’m just partial like that) the fact that in most cases, I’ll give them the benefit of the doubt. For example, I can’t count the number of times I’ve criticized Bounty Killer for warring Beenie Man so long under the setting that it has probably hurt his career over the years (a point which I’m just not so sure about these days), however, it does take two to fight and I can’t remember critiquing Beenie for being involved in the same dispute, despite the fact that ALL principles involved are simply getting TOO DAMN OLD to be involved in the matter after all these years. And perhaps I choose to look the other way and turn the deaf ear when Sizzla records downright MEDIOCRE Dancehall tracks when you know that should he EVER decide to really put his mind to it, the man could become a roots Reggae hitmaking factory on his own. But, at least I admit to my biases.


So, in this case I suppose I have another confession to make. Due to the fact that I am EXTREMELY easy to impress when it comes to Soca music, my lists of current favourites, wraps itself from outside of the front door of my house, up to my bedroom where I am writing this review, literally speaking of tens and tens of artists. However, the artist WELL in front of the line is Destra Garcia. I used to live in a place called Detroit, in the state of Michigan in the US which is quite close to a place called Toronto in southern Canada where pretty much EVERY relatively large Soca artist stops after Carnival season (or before the season, depending on where you live) for events like Soca Or Die or, most notably, Caribana. And let me say that even before I had been FULLY bitten by the Soca bug, I was essentially a Destra male groupie! Wherever she would perform, I would be there and if she performed twice in one day, I was probably in her audience twice in one day! Besides being from the place which birthed my Father and where my Grannie still has a home (biggup Laventille, every time), Destra, at her best, is a pint-sized power ball of energy who makes some of the CRAZIEST tunes you’ll ever hear. Like many of her peers, she also has a pretty underrated set of more traditional vocals as well; not quite tearing into the range of someone like Claudette Peters, but VERY much to be rated alongside most other artists. Destra is also, indirectly, one of the reasons why I began to take Soca seriously and started listening to artists like Peters, of course Faye-Ann Lyons, Nadia Batson, Patrice Roberts, even Alison Hinds and my second favourite, the incomparable Tizzy from El-A-Kru in Antigua. Destra is typically one of the more active and definitely respected artists of the Carnival season and she travels very consistently (living in St. Maarten, I get pretty nice doses of Destra not too infrequently and I’m expecting to see her again this coming April). She also is somewhat active on the album side of things as well which is a very welcome addition I’m sure for fans internationally and local as well (even though Caribbean people don’t buy albums lol). By my count (including this one) Destra has released five albums (one of which, Laventille, was actually released twice, once as a pre-release I believe). Now, she comes forth with what is probably her most anticipated release to date, Hott, for the 2009 season which proved to be one of her most successful to date, highlighted by a MASSIVE tune certain to go down as one of the finest ‘jump-up’ tunes in a catalogue which is literally SOAKING in hits already. Hott comes on the heels of a Carnival season in Trinidad which saw her as pretty much unanimously the second most prominent act of the season altogether as, after the aforementioned Faye-Ann Lyons who, as Destra herself admitted, seemed to be DESTINED to dominate the year and she did in taking both Groovy and Power Monarchs as well as about as CLEAR winner for Road March that I can recall EVER seeing (she more than quintupled the second place finisher, more on that in a minute) with her HUGE tune, Meet Super Blue, Destra had a stronger year than ANYONE. Not Bunji Garlin (aka Mr. Faye-Ann) , nor other typical stalwarts like Iwer George, Machel Montano, Shurwayne Winchester or Blaxx topped her. And of course I’m partial but, I think including Faye-Ann, in the category of who had the single biggest tune, I don’t even think Lyons could top Destra in 2009.


Hott marks the first time in quite awhile where Destra joined Bunji, Shurwayne, and Machel in releasing an album in consecutive years. Not that she had been inactive at all but in 2008, she released the BIG Soca Or Die album which followed an absent 2007 (which explains why it had seventeen tracks, it had an entire season to make up for), preceded by 2006 where we got the Independent Lady release. Getting things started on Hott the album is the tune which basically got Destra’s 2009 season going, Hott the tune which I THINK originally dropped for 2008 Cropover (or at least around that same time). Hott is a tune which had to grow on me for awhile and it really wasn’t until around the Holiday season that I REALLY began to feel the song. It has somewhat of a. . . ‘poppish’ electric feel to it. But! Look up and it’s been one of the more consistent releases of the season and very popular which is something coming from an older song. I’m still not too sure why it was chosen as the title tune here but, again, maybe it was a bigger hit than even I realize. Big tune nevertheless. Speaking of ‘growing on me’ up second is Obsessive Winers which is a RIDICULOUS combination featuring Destra alongside two of her most popular peers, Alison Hinds and Denise “Saucy Wow” Belfon. Destra and Belfon have a bit of awkward history together of not being the greatest of friends (to say the least, and just as in the case of Bounty with Beenie, I think I personally ‘punished’ Belfon’s music because of it) but both of course are well respected and up until recent years were widely regarded as the finest female Soca talent in Trinidad altogether. And, of course, Bajan Hinds is probably the single most popular female Soca artist on earth. This tune has a really crazy chorus which gets downright addictive after awhile and you’ll find yourself singing it at the most inopportune moments. Also, this tune was aided when, at the recent Soca Monarch show, Destra, the between Groovy and Power competitions entertainment highlight, performed and called both Belfon and Hinds on stage for a rendition of the tune which featured a VICIOUS clash of the bumper, which Alison Hinds took the crown in! I can’t listen to the tune without thinking about it! Crazy song. Finishing the opener of Destra’s Hott is definitely the least well known of the three but probably the best tune, D Trini Way, which is SWEET! This song has a small bit of old school Calypso vibes in it (heavy horns and all) which just hit the spot! Beautiful piece, groovy and jump up at the same time with just a very ‘colorful’ vibes and one of the real highlights of Hott. All in all a very solid opening (especially considering the ensuing madness I’m about to tell you about).


The main attraction to this album and it’s strongest and most ridiculous and maddest tune and one of the best of Destra’s entire career rolls in at track eight in it’s original form. Bacchanal is absolute INSANITY! It reminds me of how I felt listening to older Destra tunes like Savage, Tremble It, Max It Up, Jumpin, Carnival with Machel and all of these powerful songs which just go to identify what Carnival is all about. Bacchanal is HUGE, the best song of 2009, my own personal roadmarch (I’ve easily played it more than 410 times probably in the last month alone) and the best Hott has to offer. MAMMOTH! Sassiness was another tune which received quite a bit of attention as well and it’s a very nice one indeed. This rather oddly paced song can get hypnotizing after awhile (she makes a very STRANGE melody over the strange riddim which seems to work so well) and having seen a performance of the tune, its even better live. Still, on record it remains powerful and another of the top class sets on Hott, altogether. Now Basanti is something DIFFERENT! It comes in on an old school Dancehall flavour and my ears jumped so hard I think I got a headache. The tune eventually ascends to a very familiar Soca/Chutney vibes alongside Raymond from Dil-E-Nadaan, soaking wet in somewhat corny, but charming (and kind of funny), sexual innuendo. It has a way to go before it could possibly reach Aur Chale levels, but Basanti stands pretty favourably on its own merits definitely. There’s another big and important tune on Hott in the form of West Indian Pride which is straight MAGIC. I believe the tune was the official song for the West Indian Cricket team. West Indian Pride is just a big and vibrant tune that, even should you take out the sporting aspect of it, still retains the same power and it just stands as a tune on its own. Typically there’s a kind of a CORNY type of feel to such a song (unless, of course, Maximus Dan makes it), but this one suffers not at all from the same flaw. Its just a lovely tune. I’m not normally one for Roadmixes and usually I tend to pass them COMPLETELY over but checking the two here for two of the biggest tunes and they aren’t very bad actually (for the matter of fact, the one’s I’ve heard this year in general have been pretty good, even though I don’t think the actual original music has been overall that strong as previous years and certainly not last year). Sassiness’ mix doesn’t take away much from the tune as is the typically FRUSTRATING way which they do. Bacchanal’s is even better as it scales itself back just a bit after a Spartan-ish opening and I’d probably say that even Bacchanal’s Road Mix is one of the best tunes on Hott altogether. Ending things is something you’ll find on EVERY Destra album, a gospel/ballad. This one is called Jesus Loves Me. If DEFINITELY isn’t my type of music but I consider this side of Destra’s to be like Lady Saw’s love of country music, which means its EXTREMELY harmless. And in this case, like pretty much all the time, it goes to show off her real vocal prowess to the end the album (see, even when I don’t like the record, I find something good to say about it!).


The album is WONDERFULLY put together and the package includes a bonus DVD which includes Destra’s videos, including the best one she’s ever done in my opinion, Bacchanal. These are always a welcome addition and show that the artist and label (Krazi Muzic) definitely go out of their way to push the project and in this case, I’m sure it’ll prove successful for them.


Overall, did I mention how biased I was. Even in my bias I have to admit that, at best, Hott is the second best album of Destra’s career and I wouldn’t call it that. Following a 2008 season which saw the release of the Soca Or Die album (and, again, I remind you that the album had two seasons of hits at it’s disposal) and a LOADED 2006 album of Independent Lady, Hott doesn’t stand up to those, but in reality, it really doesn’t even have to. 2009, in my opinion, was one of the strongest seasons in the entire career for the Soca superstar and definitely there are fans all over the world knowing the name Destra who didn’t know it back in 2008. Consider Hott icing on the cake for older fans and the appropriate long overdue introduction to those new fans FINALLY learning the name Destra. And it’s not Destra Garcia. Her name is Bacchanal.

Rated 4.25/5stars
Krazi Music Records
2009