Silent Surprise: A Review of The Biggest Reggae One-Drop Anthems 2009 by Various Artists

Earlier this year I found myself lamenting the fact that the release of the latest edition of one of my very favourite compilation pieces, Soca Gold, had terribly become lost quite a bit of shine in my eyes. This was largely due to me having been very well versed on the year’s music, so I had already heard quite a bit of the music on Soca Gold 2009. This, when combined with my opinion that the music which I knew so well wasn’t ‘so well’ (which probably had quite a lot more to do with it than I’m giving it credit for), all built up to take away quite a bit of luster from the album which I annually so much look forward to hearing. This, while new in that spectrum, isn’t very new to me at all as I have had, for the past x-amount of years, experienced the same thing when dealing with a TON of Reggae compilations, particularly Soca Gold’s more well known sister release, Reggae Gold. I generally ignore Reggae Gold these days, but there was a time, not too long ago, when I (unnecessarily) struggled each and every year with buying or not buying the album based on which ‘new’ tune (I had undoubtedly already heard by that point) did or didn’t catch my attentions. I could also say relatively say a similar thing about the Strictly The Best series, although it tends to stand up better to scrutiny than Reggae Gold, but it definitely has had some far too ‘familiar’ vibes to it quite a few times for me. Still, that being said, next to Soca Gold, the one annual compilation which I paid attention to and almost seemed to give a ‘pass’ or was just genuinely impressed by has been The Biggest Reggae One-Drop Anthems. Unlike it’s Dancehall counterpart (The Biggest Ragga Dancehall Anthems) or the other compilation from the same label, Greensleeves, Ragga Ragga Ragga, the still quite young Reggae One-Drop release has managed to remain quite fresh in its brief time and, more importantly, just all around GOOD. The series, which was seemingly begun as an answer to the aforementioned Ragga Dancehall Anthems albums, and has in its short time (it was ‘born’ in just 2005), included some of the TOP names in Roots Reggae from all over the world, some VERY big tunes and some more than welcome surprises as well. It’s also managed to become pretty much not only one of my own personal most anticipated releases of the year, but you’ll have a VERY hard time convincing me that in all things Reggae, The Best Reggae One-Drop Anthems albums isn’t the BEST annually released compilation. Period.

That being said, however, I honestly wasn’t too hopeful of this year’s edition, for some reason. I don’t know what it was, but if you would have tapped me on the shoulder roughly a month or two ago and told me that The Biggest Reggae One-Drop Anthems had been released a couple of months back, I might have looked you in the face and responded by saying, “Okay”. I just wasn’t looking for this thing AT ALL. Why? I think maybe somewhere in the furthest and most obscure corners of my mind I’m probably STILL a bit upset that this release isn’t as it was in its first two installments, with a STACKED forty tracks, and now, at seventeen for this year’s episode, is still quite healthy, but is basically a ‘regular’ compilation album. The second disc of music was replaced by a DVD with videos (which isn’t so impressive in the days of Youtube), which was subsequently replaced by nothing at all. That brings us to 2009, which, as I said, wasn’t exactly throwing itself at me trying to gain my attention. . . At least not until I saw the tracklist. Back when this release (and the Ragga Dancehall Anthems release also) was coming in with forty tunes from a variety of different top artists and producers, it was almost IMPOSSIBLE for any Reggae fan of ANY level of experience to not find at least something which appealed to them and, for me, it generally promised at least ten tracks which I liked and may not have had on any other official release. However, when you cut that forty in half (and then take three more) as VP/Greensleeves has here, you definitely run that risk of having your product sit on the shelf with nothing more than your label’s logo on the back, to distinguish it from a SOLID (albeit shrinking) pack of others. And when those shelves most recently are filled with SHOTS such as Culture Dem Vol. 3 from Lustre Kings Productions, Tad’s The Ultimate 2009 (which checks in at a brimming twenty-six tracks) and a potentially SCINTILLATING Joyful Noise album (twenty tracks) to come next week, if you don’t have that inherent RIDICULOUS forty tracks, then you kind of have hope for name value to do the trick, even though it may not be the best of the lot. But, like I said, apparently not content in resting on their well storied laurels, VP/Greensleeves has very quietly LOADED this year’s One-Drop Anthems albums and about two or three weeks ago when I saw the roster of tunes for the very first time, I IMMEDIATELY saw what they were doing. While you may not notice so many of the tunes on this year’s album, you’ll definitely notice almost ALL of the artists. It’s definitely a ‘safer’ type of artist selection, and I’m not saying this album is the GREATEST THING I’VE EVER HEARD, but when I ran over the names who were on board, it was almost perfect for what this album is at this point and if I were putting it together, I might have done it the exact same way (of course I would have found a way to mix in another Sizzla or Lutan Fyah tune). For me, the proper way to build a compilation (or a riddim album for that matter) when you REALLY have a virtually limitless budget (and VP/Greensleeves does), is to have a healthy mix of different types and vibes as far as artists. I also like the mix of up and comers with the more established likes and I know I complained a bit about it before, but I do like to see at least a couple of tunes that I recognize. It’s VERY safe to say that’s been accomplished on The Biggest Reggae One-Drop Anthems 2009 album. In fact, I may just go as far as to say this year’s version is one of the series’ better altogether. I guess I was wrong.

Out of all the ways for this album to get started I NEVER would have expected something like this. Although I’m not at all surprised to see the name on the roster (you would be pretty dumb at this point to release an album with this title and not include him as one of the artists on board), this song definitely went far and away above my expectations and it was largely one of the tunes which changed my mind as to what to expect with this album. Said song which opens The Biggest Reggae One-Drop Anthems 2009 album is from the STILL increasingly wicked Lutan Fyah, ‘Genesis’. Boy! This song! I often say that it’s so difficult to say exactly what my favourite tunes of all time are, but rest assured (if you’re curious), my favourite song [PERIOD] right now and for the better part of a week or so is DEFINITELY Genesis. This one is a praising tune for His Imperial Majesty of MAJESTIC proportions! The things is sparkling, it’s full of knowledge and, of course, it is lyrically PRIME material. I’m partial AS HELL, but Genesis is by far the best tune I hear on the One-Drop Anthems album this year and I’m sure the most impartial will have to rank it Haile also. TEARS! Fortunately, charged with keeping the levels for the album high is the more than capable Queen Ifrica, who delivers the type of song you would expect to fill the ranks of this album, ‘Dem Nah Learn’ her cut of Shane Brown’s Nylon riddim (also released by Greensleeves). The tune was one of the main attractions on that riddim and it remains so here (although it curiously was absent from her album Montego Bay). Big tune. And then there’s Alborosie. I’m not at all surprised to see Albo present here, I would have actually been surprised if he weren’t. I’ve said countless times my rather less than lukewarm feelings about the artist, so I won’t reiterate. The only thing I will say is that, as I might have expected, he sounds MUCH better in this format to my ears, and this tune ’Humbleness’ sounds much better than it did before (or maybe it’s just the riddim which is RIDICULOUS!).

Greensleeves (like Jet Star) used to be known as a label which would deal with and promote heavy UK talents like Tippa Irie and the likes and apparently they’re thinking about getting back to such works as WONDERFULLY included on the new One-Drop Anthems album are two EXTREMELY promising UK based artists. Mr. Williamz is a name which has been getting quite a bit of attention with songs like the one present here, ‘No Cigarette’, across Necessary Mayhem’s WICKED relick of Tristan Palmer’s Joker Smoker riddim. Very (VERY) nice herbalist tune there (also check Ziggi’s MASSIVE shot over the same piece). The damn near SENSATIONAL Gappy Ranks is also on board with the very strange but WICKEDLY vibed ‘Heaven In Her Eyes‘. I don’t quite know what to make of Gappy just yet, but he is very talented and his effort here IMMEDIATELY goes to the head of the pack as far as what I’ve heard from him thus far it is a BIG (and ODD) lovers tune not to be missed. And I should mention that reportedly Greensleeves has signed up Gappy Ranks so you can probably expect to see and here quite a bit more from him in the future. Another up and comer to keep an eye on is the far more familiar Romain Virgo who continues his rise to superstardom with a medley of tunes from the IMMORTAL Alton Ellis. You simply have to keep an eye (and an ear) out for the former Digicel Rising Stars champion, failure to do so will cause random people to point at you and laugh. With the new artists, of course, the big names also carry their weight on the One-Drop Anthems album. Arguably THE biggest of them all, Beres Hammond, checks in with the characteristically SWEET ‘Can’t Say I Never Tried’, from his most recent album, A Moment In Time. Similarly, Capleton is around with the outstanding ‘Acres’, his herbalist tune from Shane Brown’s Indiscretions riddim and Marcia Griffiths and Busy Signal make what is hopefully their final stop with their HUGE and WELL TRAVELED tune ’Automatic’ from Penthouse. If you haven’t heard any of these tunes, you’re certain to find some absolute magic in there and even if you have, you know you love them! As for the newer material, I was happy to see even more big names coming together for those as well. Glen Washington steps forth with what I think is the title track from his next album, ‘Vibes’ and does so with what is, to my opinion, one of the finest efforts on the album altogether and I’m DEFINITELY looking forward to that album! Peetah Morgan is joined by Assassin (who joins Busy Signal as the only two artists on both the One-Drop and Ragga Dancehall anthems albums this year) on the biggest combination on the album, ‘Hot A Road’ which is a very SOLID anti-violence and negativity tune for the masses and I look forward to the duo maybe even working together again in the future because the mix of their vibes, just on a sonic level, is very entertaining. Luciano’s ‘Be Aware’ marks the return of Frenchie and his Maximum Sound imprint, with their ENCHANTING Vineyard Town riddim. Of course, Luciano’s name almost guarantees quality and Be Aware has it in abundance as the Messenjah warns us to be aware of the “leeches in the night”. Hopefully Junior Kelly’s presence here with his decent ‘Nothin’ Wrong With The World’ indicates that he’ll be doing an album with VP/Greensleeves in the near future (it’s been too long) (REALLY). And I’m pretty sure that’s the case for Ziggi (because they actually signed him up) who comes through with a very Sizzla sounding ‘Gonna Leave You’ (which sounds a lot like Kalonji’s ‘Show Me That You Love ME’) (that’s a good thing). Ziggi’s name is going the same way of Luciano’s where the fact that he’s around is just starting to mean that he has solid material as the biggest Dutchie in the game continues to cement his reputation as one of the most solid in the business. And speaking of SIZZLA! Not surprising at all Sizzla bats clean up on The Biggest Reggae One-Drop Anthems 2009 with a tune from his most recent Greensleeves album, Ghetto Youth-Ology, ‘Gwaan Bear’. It has literally become the thing to do these days - ending Roots Reggae albums with acoustic tunes - and that’s exactly what Gwaan Bear is (yet, strangely enough, it doesn’t end the Ghetto Youth-Ology album) (if it isn’t acoustic, then it’s a Nyah drum piece and that’s what ‘Babylon Ease Off, which does end Ghetto Youth-Ology, was). It’s a nice one also as, when you REALLY focus on what is being said, the tune almost leaps out as you as one of the best on the album and certainly a very nice closer.

Overall, yeah, go ahead and pick this one up. I called the track choosing PERFECT for the album and, again, I don’t mean it’s WONDERFULLY, THE GREATEST ALBUM I’VE EVER HEARD, because it isn’t and it’s far from it. However, for what the album is and what it’s ‘supposed’ to be, the way it’s put together is PERFECT. It shows off some of the big tunes of right now and a little while back and it also gives a nice look, particularly in the form of Mr. Williamz and Gappy Ranks, of what (and who) is to come. When you combine that with the aforementioned name value this one carries virtually guarantees that while it may not be the BEST Roots Reggae compilation of the year (and it isn’t), The Biggest Reggae One-Drop Anthems 2009 will almost assuredly be the most successful and the leading name in the pack.

Rated 4.25/5

Greensleeves Records

2009

Words of The Week: Fyah Bed by Natty King

Fyah Bed

Whoa yeah!

Oh yes. Oh yes. Oh yes.

Oh yes. Oh yes. Oh yes.

Oh well. Oh well.

Purging fyah.

Oh yes. Oh yes.

Oh yes. Oh yes. Oh yes.

Oh well. Oh well. Yes.

Oh yes. Oh yes.

Di one yah a purging fyah.

Fire red!

Run come stand up inna di fyah bed.

Blazing fyah.

Fyah red!

Di one yah a purging fyah.

Fire red!

Run come stand up inna di fyah bed.

Blazing fyah.

Fyah red!

Some no love the truth that’s why me burn dem out

Yeah

I don’t believe in fear, I don’t believe in doubt

Hey

Some living in illusion

So dem life is confusion

Dem endorse complication

Dem don’t know dem purpose nor dem mission

Yes a purging fyah.

Fire red!

Run come stand up inna di fyah bed.

Blazing fyah.

Fyah red!

Whoa yeah.

Mi say a purging fyah.

Fire red!

Run come stand up inna di fyah bed.

Blazing fyah.

Fyah red!

Oh well. Oh well.

Some people make mischief

Just because dem know dem have a backative

Where is your overstanding?

Where is your knowledge?

Tell me now, when you ahgo start act sensitive?

There must be a better way to live

To Haile you must pray

For strength and courage

And some a rotate in hate, rotate in hate

Dem a con us wid fake

Di one yah a purging fyah.

Fire red!

Run come stand up inna di fyah bed.

Blazing fyah.

Fyah red!

Yes. Whoa

Di one yah a purging fyah.

Fire red!

Run come stand up inna di fyah bed.

Purging fyah.

Fyah red!

Yes.

Oh well. Oh well.

Hey!

I man say where is your ites? Where is your ites?

Why you have to fight? Why you have to fight?

Where is your foresight?

Betta you multiply life

There must be a better way to live

To Haile you must pray

For strength and courage

Some a dem a rotate in hate

They only con us with fake

Yeah

Yes diss a purging fyah.

Fire red!

Run come stand up inna di fyah bed.

Blazing fyah.

Fyah red!

Whoa

Di one yah a purging fyah.

Fire red!

Run come stand up inna di fyah bed.

Blazing fyah.

Fyah red!

Oh well Oh well

Oh well Oh well

Oh well Oh well Oh well Oh well Oh well

Oh yes Oh yes

Some no love the truth that’s why me burn dem out

Hey

I don’t believe in fear, I don’t believe in doubt

Hey

Some living in illusion

So dem life is confusion

Dem only endorse complication

That’s why dem don’t know dem purpose nor dem mission

Blazing fire

Di fyah red!

Run come stand up inna di fyah bed

Purging fyah

Di fyah red!

Oh well Oh well

Di one yah a purging fyah

Di fyah red!

So run come stand up inna di fyah bed

Blazing fyah

Di fyah red. . .

Taken from the single release 'Fyah Bed' [Kings Highway Riddim]

Natty King @ Myspace

The Forgotten Man: A Review of Trodding by Natty King

Let’s go back a few years to a time when you had a new and very interesting crop of young Roots Reggae artists who were emerging and establishing their names as some of the very best in the game. These were artists like I Wayne, like Warrior King, like Turbulence, Jah Cure (to an extent). [Mr.] Perfect and Fantan Mojah and they were being looked at as the ‘class’ of artists who were going to essentially ‘replace’ the lot of Capleton, Sizzla, Anthony B and Luciano and be the next BIG artists being looked up to and being revered as the top names. Fast forward a few years and, essentially, it’s STILL Capleton, Sizzla, Anthony B and Luciano who’re starring in the show (which isn’t a surprise at all, just ask Beenie Man and Bounty Killer), but definitely the newer artists have made their impact and some of them have become quite popular and stars in their own right. And now, as it does, Reggae-time has continued and now with Tarrus Riley, Etana, Alborosie, Duane Stephenson and Queen Ifrica (and others like I-Octane) are the talk of the town and now they’re expected to take over things at some point. However, when you DIAPHANOUSLY (biggup the thesaurus for that one!) begin to dig through things, you start to notice that there have been quite a few artists who have kind of ‘fallen through the cracks’ and haven’t been looked upon as being the artists they were either though to become, or they actually have become while not too many people were paying attention. Names like Ras Shiloh come to mind and others such as Bascom X and maybe even someone like Trini chanter Khari Kill also, as names that just don’t seem like they have been afforded their proper opportunity to ‘shine’. That being said, while Ras Shiloh can definitely claim to being one of the most interesting and BEST of the bunch and both Bascom X and Khari Kill are WELL talented, probably the closest to the ‘total package’ of these types of artists is ‘the man from the east’ Natty King. The King would at least seem to be one of the more interesting cases here because he has both the marketability and the actual SKILL. Furthermore, if you look at some of the artists that I listed, quite a bit of them (one way or another), ended up doing extensive work with the industry’s leader, VP Records (I Wayne, Warrior King, Turbulence, Jah Cure, Fantan Mojah, and of course Etana, Riley etc.) but Natty King never got that opportunity (even Shiloh has). Why? I HAVE NO IDEA.

Specifically, I always felt that Natty King would have worked so well at VP Records. If you really think about it, if he were ever provided that VAST promotional vehicle, he would develop an audience MUCH in the same fashion as his former idol and VP artist, Luciano (if not the EXACT same audience), which the label has undoubtedly also helped to develop for ‘The Messenjah’. No. After breaking out and scoring with his DOMINANT hit, No Guns To Town and then further substantiating that tune with other tunes such as ‘Mr. Greedy‘, ‘Easy Officer‘, ‘When The Money Done’ and ‘Love Me’ which helped to even further push his name. It did work DEFINITELY to the tune of earning Natty King his debut album, No Guns To Town, which seems like it was released about twenty years ago, when it really released only back in 2005. That album was pushed by Insight Records and distributed via Jet Star and was pure QUALITY. It was one of the better debut albums you’ll hear from the past decade or so and was one of the most anticipated pieces of its time (especially to me, I still love that album0. Since then, however, you don’t really hear very much about Natty King’s music as it simply just isn’t pushed, not only to the levels of someone like a Luciano (which is given at this point), but someone else who has come closer to the ‘pack’ so to speak, like Turbulence, his music will even get a stronger push than Natty King’s and (at least it seems so), he is afforded almost infinitely more recording opportunities and I can list literally DOZENS of strong Roots riddims that Natty King hasn’t voiced. On top of that, WHEN he does get that opportunity, the King’s songs and his vibes are HEAVY! Natty King has sung two of my very favourite tunes of the past year or so, the MASSIVE Slew U In The Open on the iLove riddim and, most recently the equally MASSIVE Fyah Bed from the King’s Highway Riddim (you’ll also LOVE a tune name The Calling on the Gangstalaw Riddim). THANKFULLY, Natty King has also found a home with one Kemar ‘Flava’ McGregor, the strongest of the Jamaican Roots producers and quietly has also made such a pretty nice impact with some of the better and most CONSISTENT material of his career (not to say that consistency has been a problem for the King, because it hasn’t and I really mean “consistent” more so in the terms of time, continuously recording). Now, just as thankfully, the two have linked up for Natty King’s sophomore release, the appropriately titled Trodding. This album? I wasn’t quite sure if the planets would EVER realign themselves appropriately in order to make it possible that we would get a new Natty King album, but apparently McGregor, and Tad’s Records (whose Digital Link International releases Trodding) (distributed by the lovely people at Zojak Worldwide) have decided that NOW is the time. The album, of course, showcases quite a bit of the work which Natty King has been doing with McGregor’s No Doubt Records imprint and nicely so as the big, vibrant and colourful pieces which McGregor and company build are generally right up Natty King’s alley (as they are for generally EVERYONE they record) and allow him to be at or quite close his very best each and every time out. What struck me here is my general response to the artist. It’s been a LONG time since I’ve last had this much content from Natty King and although I haven’t exactly been bawling out for it to everyone I meet, Trodding would have more than met my expectations even if I had been.

It’s interesting that I used to almost immediately equate Natty King’s voice and style with Luciano, but, in truth, he sounds almost NOTHING like his former idol. The King’s voice is much more lively and personable than that of the legendary singer from out of Manchester and I’m almost kind of embarrassed that I once thought they sounded virtually indistinguishable. Up first to attempt to set itself out from the pack on Natty King’s new album, Trodding, and being VERY successful at doing so is the album’s MASSIVE title track. ‘Trodding’ was a song so fortunate as to play across one of the first riddims I heard from McGregor and what is, in my opinion, still his finest, the Triumphant, and the tune makes a GREAT case as the riddim’s finest effort (even over more popular pieces such as Gyptian’s tune ‘Mama’) as Natty King absolutely dazzles on the SPECTACULARLY done repatriation anthem and shows off the fantastic range of his awesome vocals as well. Huge opening and the best tune I hear on the album named after it. Up next is the very familiar and uplifting ‘Mi Black Bredda’. This tune is downright SPARKLING and it urges all to let go the violence and generally unnecessary things and replace them VASTLY with love. The tune also features the King adding a bit from the late and great Garnet Silk and spreading it in nicely which is not to be missed. Lastly on the opening bit is the empowering tune ’Fit Yuh Afi Fit’. This tune is BIG. Coming across what sounds like a relick of the Rudeboy Shuffling riddim, the tune doesn’t do much in the way of variation. It won’t catch you off guard at all, but it sounds so nice and really, upon further scrutiny, still remains one of the strongest tunes on Trodding long after the final tune has spun.

Sprinkled in throughout Trodding are tunes and vibes with which I am pretty familiar, but I was pleasantly surprised to see quite a bit of the album to be largely new to me (I’m pretty sure the album is full of tunes which have been voiced over the years). One of the very best tunes here which I hadn’t ever heard prior to the album is the shining ‘Jah Name’. This one is just out together SO WELL and, in doing so, the way it is presented makes up for any deficiencies it may have (it isn’t necessarily the strongest tune lyrically on the album). The tune ultimately is one LARGE tune giving thanks to His Imperial Majesty and when Natty King sounds like this, he’s damn near impossible to ignore. ‘Rasta Man She Like’ is a tune about a well tried and pretty much worn subject at this point and Natty King doesn’t have anything new to add to it, but the tune isn’t one you should necessarily skip over because of that (very impressive chorus on that one). Another new tune which DEFINITELY caught my attentions was the BIG vibed ‘Highli (Haile) High’. This one builds on the vibes started by Jah Name and even improves on it to my opinion. The vibes here are just so strong and, again, I don’t recall hearing it too much of anywhere, so good luck finding it if you aren’t picking this one up. Check ‘I See Dem’ which comes in absolutely KNOCKING! You can very well tell from the initial few bits of the tune that it’s going to be a strong one and it definitely lives up to those early expectations and anticipations as Natty King calls down HEAVY judgment for the murderous, parasitic and just all around FUCKED UP members of society who promote wickedness (check the line, “I know dem. Yes ah di devil a grow dem!”). as the tune develops the King begins to add different (SPECIFIC) examples which highlight it and just add to its brilliance. BIG tune. The curiously titled and old school vibed ‘O Beyond To Dem’ REALLY caught my attentions way before I had even spun the tune. The title becomes even more curious when you actually listen the tune (it actually is a phonetic way of writing the title. What he actually says is ‘Woe Be On To Dem’), but it is LARGE. Besides the riddim, I also like Natty King’s pacing on the tune which is also of that old school way and it also follows well, in terms of subject matter, the very similar I See Dem. Speaking of titles, ‘Rat-ta-tat’ was another one (DUH) that jumps off the paper at you. This one, although a bit more predictable (it is, just as you would imagine, an anti-violence tune), but in terms of how it’s carried out, it isn’t the standard and clichéd “love your bredrin and sistren and put down the guns” type of show, it’s entirely more clever and ‘clever’ is an excellent word for it as it is one of the most such and BEST tunes on Trodding altogether (and the SOUND of the tune is also top notch, wonderful combination of qualities to have). McGregor taps into another CLASSIC vibes to back the King on the excellent tune, ‘Police’. A few years back I recall news of Natty King having a run in with the law (for herb) and apparently this tune is a kind of slap at those who he feels were wasting their time with him (and they were) and he goes further to make the tune a social commentary of sorts as well and I love the vibes on that one, really have to have an ear for the old school to appreciate it. Down the stretch of Trodding a couple of the tunes I was hoping to see here FINALLY show up (although still missing is ‘Dem No Real’ from the Trumpet riddim). The first of the two is ‘No More War’ from the Flute [aka the Road Block] (I THINK) riddim, a few years back. The tune, as you would expect, is another anti-violence piece and I’ve always enjoyed the tune (and that kind of ‘spiraling’ riddim as well). And then there’s the music praising tune, ’Good Vibes’, from the WONDERFUL Key riddim. This one finds Natty King sounding so nice over a riddim which did absolutely nothing but support big vibes and DEFINITELY Good Vibes was one of the biggest. That tune would have been a very nice way to close matters here, but taking clean up honours’ is another classically vibed tune, ‘Marijuana’. This one isn’t necessarily one of my favourites on Trodding and I kind of think it’s out of place here at the end, but it is by no means a BAD song and the herbalist tune remains one which I hope Natty King continues to develop further in his arsenal.

Also do check Weh Dem Love Gone which rides the same riddim as Gyptian’s tune ‘Take My Money’, but is LEAPS AND BOUNDS ahead of that piece and is honestly one of the best pieces on Trodding.

Overall, Trodding is VERY GOOD. I would have loved for McGregor to even further open the vaults and let Natty King go on the 83 and the Rub-A-Dub riddims, respectively, but as I said, I’m pretty sure (and know) the majority of the album was voiced from awhile back, so maybe we can look forward to a next offering from the duo (and hopefully we won’t have to wait another four years to get it). I’m always SO HAPPY to see Natty King’s name pop up almost anywhere because, just in being there, his is one of a very select few that virtually GUARANTEES high quality and top notch vibes. I hope Trodding is just the beginning, of a second, kind to seeing him being more and more active and productive for 2009 and beyond. If it is, what a nice start.

Rated 4.25/5

Digital Link International/Zojak Worldwide

2009

Natty King @ Myspace

Stuff Vol. 9

Yow!

What a LOVELY LOVELY week! Home is a beautiful thing. About to hit the road again, Tuesday morning I'll be back up, hopefully making some connections. Chilling with my brother in law, chilling with everybody and biggup my father, his birthday is coming up on the 13th, he'll be 54 years young and we'll be there for that (be back on the 15th). And I know it's cold as hell up there so. . . whatever.

Anyway. It's been a nice week around here, had some fun this week and got some nice stuff done, in retrospect. Got my two reviews that I wanted to do done: Louie Culture and Destra and I got my Modern Classic done sameway. I've gotten a little bit of response from both (especially for The Uprising, got a bit of TECHNICAL response for that one and some reader stuff. I don't know where you can pick it up these days (check Ernie B), but maybe some news developing on that, so stay tuned yeah. The other big thing I feel like I just finished a few minutes ago, which was the Lutan Fyah article. already I've had some feedback on that one (little technical bit on that as well). I think I'm going to start doing that type of stuff, not even on a lyrical level every time out (but maybe), for just some of my favourite artists or even some newer artists (the one I'm thinking of next is Ziggi for some reason, but definitely don't hold me to that). I feel like I should be writing some more 'standard' type of articles and, let that be my contribution yeah, but we'll see.

Nevertheless. This week!:

• Like I said, and hopefully I work up the courage to do it, but I have a lot of contact info and I think I'm going to use my Mother in law's phone and call all over the world (I would use my Mother's, but she'd almost certainly hit me). Make a few phone calls, maybe do a few TENUOUS interviews. In the next week and a half, so there you go.

• Reviews! I have three definite reviews I'm looking at. The first of which is for Natty King's spanking new album, Trodding. I've actually already started that one and you can expect it probably tomorrow (Monday). I'm also going after the new Biggest Reggae One-Drop Anthems album and I have a cool Vault Review that I'm looking at, won't tell you who that is yet, but I reviewed another of his albums from awhile back and surprisingly got quite a bit of response, so. . . yeah.

• I'm also looking at a rather controversial Modern Classic piece. I'm going to make my point and I'm standing by it. It's an album that's getting re-released actually. This one isn't guaranteed by any stretch of the word (and I may end up replacing it with a regular review) (biggup Omar Perry), but stay tuned, all my heavy readers, this will be yet another opportunity for you to call me stupid. DEFINITELY!

• Also have lyrics coming this week. I have a pretty good idea for two lists, hopefully I can mix in one, it seems like a forever since I've done one of those.

• And, of course, I'm on the road this week, so if you're slow and you want to send me an actual physical CD, then link me and I'll let you know how to do that yeah.

What Else???

Oh yeah. Biggup Ricardo from Jamrockmagazine.co.uk, just saw that my work is back up there and he's changed the format also a bit. I also have to biggup Mista Vybe, because I mentioned his tune on the Fully Loaded Review and he lifted some respect my way on his blog/site so, feel free to go over yonder>>>>>>> and check out his VERY interesting site (and furthermore, check out that crazy tune he did back a few years ago, Ting 4 Di Road, which you can find on Soca Gold 2006). And he was also featured on Nadia Batson's album Caribbean Girl. Big artist there and I KNEW I would start to get some attention from Soca heads, even though I barely know what the hell I'm talking about most times.

And a little birdie has told me to expect a FLOOD of re-releases from the world's best Roots Reggae producer, Kemar 'Flava' McGregor, popping up all over the place in the next couple of weeks and some new stuff as well, so YOU KNOW, I'll be all over that (if I'm not already) (and I am) in the next little while yeah!

That's it! Natty King coming tomorrow, as for right now, however, check this cool ass video!

(What a great idea I have now) (Watch this one)

Pictured - Goldee

New album

Le Moi De May

In stores now

Wordplay? World Class: A Lyrical Analysis of The Albums of Lutan Fyah

"What is music?

It's a spiritual work from the heart.

Melodies through the vocals tone.

It is of Afrika indigenous"

Taken from the song Music Is Love by Lutan Fyah

We’re lucky, you know? The spoken word is a gift and while we can sit here and endlessly argue about the source of the gift, there can be no denying that, as a human being and one who is able to comprehend and appreciate the art of language, my life (and yours) are simply ‘better off.’ With that concept and that art we are then able to comprehend things on an entirely different level and the basic act of engaging the senses in some form or fashion (commonly known as ‘entertainment’) opens itself to many more individuals with the potential capability of MASTERING it. Such individuals, when they enter the field of music are generally achieved some inclined level or downright different level, in terms of status, ESPECIALLY when you consider that within the range of ‘urban’ music. In Hip-Hop, there were years upon years where Jay-Z was somewhat openly acknowledged as the greatest living rapper and yet the one name Nas is held in an almost entirely different esteem, particularly amongst the deep and INVOLVED fans of the music. Similarly, in Reggae we’ve also had such situations, the last of which (in terms of comparing the vibes of the music where Hip Hop = Dancehall) you’ll probably remember as Vybz Kartel began his ascent to Dancehall royalty and did so largely in the shadows of the far more well known Beenie Man and Bounty Killers of the world. Dancehall heads recognized it from early, that the very strange Portmore DJ was simply on another level. And while I don’t think fans caught on as early in this case as in Kartel‘s meteoric rise to prominence, I’m sure I couldn’t have been the only one who saw the same thing in Lutan Fyah a few years back. What I saw exactly wasn’t necessarily that kind of odd and flashy style that Kartel had shown, it was, to the contrary, almost the direct opposite approach, but just as strong. Lutan Fyah, on the surface, is about as ORDINARY of an artist that you’re likely to hear these days in Roots Reggae. By comparison, he lacks much of the superficial (in a non-negative way I mean, and you’ll see, as I’m about to mention several of my very favourite artists) qualities of some of his peers: He doesn’t have the varied style of someone like a Turbulence, who may very well be one of the best singers in the game, period. Lutan Fyah doesn’t have the voice of Jah Cure (no one does), the ‘mood’ of his good friend Jah Mason, he doesn’t (usually) make these HUGE and SPRAWLING anthem like tunes like Tarrus Riley (and he doesn’t have that promotional vehicle glued behind his career) and he doesn’t have the established name of some of the elder artists either and I could mention others such as Warrior King, Chezidek, I Wayne and more (Etana, Queen Ifrica, Ras Attitude), all of whom seemingly have an ‘edge’ in terms of appeal or apparent style which would give them a theoretical ‘advantage’ over Lutan Fyah.

However, on the largest, down to the most minute of details, the ONLY artist who I’ve heard who can even approach Lutan Fyah on a lyrical level is Sizzla Kalonji and I’m a Sizzla diehard to the core and not even he can ‘deal with’ Lutan Fyah on that level on a CONSISTENT basis. I’ve never heard anyone so casually deal with matters musically and lyrically as Lutan Fyah does tune in and tune out, VERSE in and out. And while Sizzla’s general lyrical power seems to derive itself from his overall COMFORT with the words and his ability to COAST where others have to force (which, again, in my opinion is a matter of comfort), Lutan Fyah just comes off as a person who has solved some type of a mathematical code which allows him the lyrical freedom to make each and every point of his choosing and do so in typically overwhelmingly powerful details and/or metaphors. PARA EJEMPLO:

“I know we were created by the loving hand of one supreme being

So comely, not of race, or party or creed

Waters of many colours so we haffi swim deep”

That piece is taken one of the very first tunes from Lutan Fyah I EVER heard (see it here), ‘No More War’ from his album, Time & Place. The song is, essentially, one which speaks of unity and how people so casually divide ourselves based on minimal things. The line which really strikes you is the final one, “waters of many colours so we haffi swim deep”, which is, in my opinion, a way of Fyah saying that we must EXPERIENCE this wide array of beautiful people. You can take it on the simplest level of simply ‘colour’ as in complexion and skin colour and still get that vibe. That metaphor is just SO SIMPLE. And you can bring it full circle with another tune from that same album, ‘Rise & Shine’:

“Wake up from your slumber

No tribal war or political border

Babylon create the differences and a dem a di exploiter

Who feel di pain, just look at your skin colour”

Now I know what you’re thinking because when I made that connection I was thinking the same thing also. You’re think about that last line and you’re thinking that he means that Afrikan people are the ones “who feel di pain”, but I don’t think that’s where he was going with it. You go back and you look, again, at the fresh line “waters of many colours, so we haffi swim deep” and just generally take that entire song into the factor here and I think what Lutan Fyah means when he says “just look at your skin colour” is that, if you have a colour on your skin - any colour at all - then YOU can possibly feel the pain. Who is babylon? Corruption. Corruption has no skin colour, it comes in every one of them.

That is, of course, not to say that Lutan Fyah doesn’t deal in matters of Race at all, because he certainly does and, as is his style, he generally does so in downright WONDROUS fashion. It is interesting, however, that when at his best Lutan Fyah will almost ALWAYS take an unconventional road when dealing with the subject. What he’ll do is to talk about Black liberty and Black upliftment, but do so in the ‘shadow’ of His Imperial Majesty. Unlike someone like a Sizzla who’ll tie the same subject matter with a variety of different things (such as the destruction of something else, or just a COMPLETE pseudo history lesson, see ‘One Away‘), Lutan Fyah’s race lyrics will be presented as the closer the Black man comes to following in the line of His Majesty, the more he becomes uplifted. A prime example of this comes on his debut album, Dem No Know Demself, with the big combination tune ’Black King’ alongside the aforementioned Jah Mason:

“Remember King Selassie is the righteous seed

Hey, ghetto youths you betta gwan proceed

Only a righteous man can take dem youths yah and lead

Outta babylon, dem full of corruption and greed”

The first two lines of the passage sounds like something Sizzla would write, DEFINITELY. When you go on, however, you get this kind of mixed feel which ultimately HAS TO be tied back to the title of the song (which isn’t Sizzla like (as I said, with his ‘comfort‘ he pretty much says whatever he wants), it’s actually quite Determine-like) to get the meaning of the song, which is to set the ‘Black King’, Emperor Haile Selassie I, as the example to the youths (which he doesn’t even do, he just, very cavalierly says “gwan proceed”, ‘do as He does’). Furthermore, to reach the youths, he uses the word lead, of course it rhymes, but you can well see the attraction of the word ‘lead’ or ‘leader’ to mostly all people, but especially children. Similarly, a later tune by the name of ‘Crown Him’ (which hasn’t appeared on one of his albums o date and was voiced on Militant Muzik’s Found Her riddim), which wasn’t a combination and was a generally more MATURE (not better, but mature) written song, in terms of the target audience:

“King Selassie I dem youths adore

Lets crown HIM. Lets Crown HIM.

None after, tell yuh none before.

Lets crown HIM. Lets Crown HIM”

With the eventual historical aspect the tune and just its lyrical composition, it’s easy to see that Crown Him wasn’t a tune for the youths, but for those WITH youths. The very subtle change (and I THINK Crown Him was from 2007-’08), while the Dem No Know Demself album was from 2004) can definitely be considered a sign of development (never mind the fact that Crown Him was just about better than Black King in every way), but that’s not why I brought it, I bring it up to draw that APPARENT tangent between the two tunes which signal a VERY powerful wordsmith, whose power is simple, that its almost complex.

Getting back to the subject of His Imperial Majesty in Lutan Fyah’s music, besides standing as a kind of ‘reference pillar’ from which the ideas seem to spread and revolve around, The King also is put into the mix HIMself as well and this is USUALLY done when Fyah spreads on the metaphors as THICK as possible. I remember seeing the Healthy Lifestyle album and having my attentions captured, on paper, by two tunes. The first was, of course, the title track. The second? The album’s opener, ‘Thief In Jah Garden’ (and you already know where I’m going with this one, don’t you???):

“I know there’s a thief in Jah Garden

They only come to spoil Jah Jah harvest

I know there’s a thief in Jah Garden

Take it all, nuttin dem nah lef”

Which thief? Later he tells you:

“Di devil is on the prowl and dem a seek soul”

Take out the word Jah and Devil and you know you can replace them with both with MAN. If you listen to the balance of the tune (BIG tune it is) what you hear is Fyah bringing into question SEVERAL (dozens actually) horrible acts occurring in the world, with the punch line of the tune being, “I know there’s a thief in Jah Garden, they only come to spoil Jah Jah harvest”. He is clearly metaphorically using Jah’s ‘garden’ and ‘harvest’ as PEOPLE. Righteous people who are being corrupted (spoiled) by those who fight against positive actions (Devil). And this concept lead me to the SWEET SWEET tune ‘Mightier Than Them’ (which appears on both the Jam Down Riddim Driven album and Lutan Fyah’s double album Africa) which, again, places His Majesty DIRECTLY into the mix, where Fyah will speak of HIM in terms of human traits:

“Selassie I mightier than dem all

A whosoever fight The King shall fall”

This song (and this passage in particular, which is part of the chorus) is VERY interesting, because it applies both human-like and the expected biblical qualities to HIM, which is a two (or three) dimensional lyric:

“I see the doomsday clock is ticking up on the wall

Dem say dem nah hear Rasta none at all”

Mightier Than Them is a MIGHTY tune on so many levels lyrically speaking (love the Jam Down riddim same way, biggup Danga Zone). On that same PACKED project, songs like End Of Days (especially), of course Watch Over Me and others have a similar style and impact. Check Rasta Set The Trend:

“Say Rasta got the sovereign rights to teach

Hey we stay tune with Jah blessings and resonate peace

The hypocrite a ask how far we ahgo reach

Show love to the people who we meet”

When you look directly at the second line of that piece, “Hey we stay [in] tune with Jah blessing and resonate peace”, I think that’s where the power of that portion lies (and the entire tune, which was a MAMMOTH combination alongside Morgan Heritage) and is yet another great point, directly tied to Lutan Fyah’s lyrical usage of HIM. This one goes back to the previous point of placing HIM in a more ‘regular’ and tangible position lyrically and does the EXACT opposite - it brings man into HIS ‘terrain’. Being in “tune with Jah blessings” allows us to “resonate peace”, which is something He does ALL THE TIME. It makes us like HIM! That one little line is so powerful as I often speak of a tune being so flashy (or just odd as hell) that the message is overlooked and that line there is a prime example, you wouldn’t get that vibes if you were rocking and just happy that the Morgans decided to make a tune with Lutan Fyah and vice-versa.

The lyrical application of The King is so powerful in Lutan Fyah’s music and I just have to allow it to continue for just a moment, but we have to now look at the African Be Proud album very briefly. Specifically, my favourite tune from that very uneven album, ‘Word, Sound & Power’, which is absolutely FULL of interesting content expounding on the involvement of HIM in Fyah’s music:

“Red, Gold & Green is the banner of life

Coulda Haile Selassie I crowned with a wife

HE was born on the bank of the Nile

Rastaman a hail HIM Rastafari

And I’m so safe within HIS keeping

Over land and sea Binghi reaching

Man shout His name aloud upon the mountain

Hey, my blessing I’m counting

Word, sound and power is Jah way

Blessings haffi shower when we hear Jah name”

For me, this song captures the title of the album, even more so than the actual title track, because you can just see that passage (and the entire song) absolutely EXUDING pride. And I’ll draw this connection here to two different songs (watch this). The first is the BEAUTIFUL ‘Never Stop Hail Rastafari’ from the You Bring Blessings album (just look at that TITLE!), which does the same thing:

“And I’ll never stop hail Rastafari

Thy Kingdom Come

Is a blessing unto I

His loving caah done”

I’ll NEVER (!) EVER stop hail Rastafari. So much pride into that one. And then check what is my current favourite tune from Fyah, ‘Genesis’, (from the recent The Biggest Reggae One-Drop Anthems 2009 album) which is ABSOLUTELY MASSIVE and features such a slow and swelling type of pride (and remember what I just said):

“Let Emmanuel Black Star shine

We’re coming from the BANK OF THE NILE”

&

“Rastafari Genesis

Blessed with the POWER & SOUND

Big from the beginning. . .”

And it’s not recycling lyrics or even recycling a concept. It is the reinforcing and backing up a vibes which Fyah simply feels so strong about and one which, at least in my opinion, says quite a bit of his aim and his ultimate lyrical foundation.

The final point I’d like to make here is a social one and I could (and I just might) continue to draw a line connecting His Imperial Majesty to the words, but that’s not my intention (again, even though I may do it anyway). Instead I want to briefly look at how Lutan Fyah approaches a tune which is almost purely a social one. For this, of course, we head to his opus, Phantom War. This STACKED album (one disc, nineteen tracks) (and a video) was the one which, to my ears made the greatest contribution in this respect and we’ll begin (DUH) with the title track:

“How could you say we’ve got no reason to live

You give us no hope, no chance nor no privilege

That merry-go-round, you have us spinning like a gig

And who you no rob, you go kill

I hear sirens and I saw navy blue

Dem soldier come down inna camouflage and some big black boots

Rude boys rolled out inna them garrison troop

Who no get boxed, so them get bruised

Oh yes they’re fighting a phantom war

I see the city full of crime and violence

Them high society no care

Them cause us to fail

Biggup them borderline and city fence”

The tune, as it develops, is just BRILLIANCE. It is absolutely a special social commentary of a song and one which not too many of Fyah’s peers (if ANY of them) could deal with. We go forth with another of my favourites from the album and one which I constantly find myself finding something more and more to like, Still Deh Deh, a combination featuring veteran singer Mark Wonder:

“Tell di youths dem go look work

Hey, before you go bust off your gun take out your book first

Nuff a dem, dem nah mind di youth cuz dem a be gruff

Thief like a puss

And right yah now dem inna tough luck

Say things rough

Oh well”

Besides the VERY impressive wordplay throughout the tune, what you have here is the song kind of playing in the foreground of a very bleak background (which isn’t very far in the background in that passage in particular which I chose, specifically, because it kind of melds the thought of “poverty still deh deh” and the thought that it doesn’t have to be as close as it is) which makes an attempt to step out of that type of light so much more righteous and respectable. I almost smile when I hear the second line, “take out your book first”, like I’m hearing it in the back of my head as, ‘don’t be a fool, stay in school’, which is essentially what he means. Fyah also explores the concept of the family unit in the tune with tunes like Mother Earth’s Healing (BIG family there) and especially Screaming For The Poor and that leads me to a tune from Fyah’s most recent album release, Rising Up, by the name of ‘Family Effort’:

“Papa is a good man

Sun toiling everyday for the better

Look how hard Mama work

When tings get rough she put out the effort

Hey fi mi Papa couldn’t be a deadbeat

He’s always there, inna famine or feast

Just to provide the corn or the wheat

Hey yes, to make sure everything complete

Hey fi mi Mama spend nine months to bring forth mi siblings

She never waste time streetside giggling

Fi mi parents no perfect but we blessed from the beginning

And for that we give thanks to The King”

And I’ll resist (and you have no idea how hard that is for me) (well maybe you do) to draw the comparison of Family Effort with BOTH ‘Children Love’ and ‘Birthright’, but trust me that it’s there. Specifically when speaking of the family unit in terms of social situations, Lutan Fyah’s modus operandi seems to be one which not only reinforces things on a spiritual plain (and believe me, even though I’m not mentioning it, there certainly are TONS of examples of that), but to use it to point out the source of a more tangible type of hope. And I really like the fact that he goes out of his way on Family Effort to give some respect to the Fathers (like me) who are actually worth a damn and don’t see the birth of a child as the firing pistol to race away down the road. Of course, the only source of hope in Fyah’s lyrics isn’t just the family. There’s also one which will be the last point I make here and easily the most powerful of them all, one which descends through His Majesty, through the family and resonates with every righteous person on the planet:

“Show me some love as I will

Who can stop all this blood from spill?”

&

“True love is all we know

Yes it is the answer and of that, I’m sure”

Both passages are taken from the songs ‘Show Me Some Love’ and ‘True Love Is All’, respectively, from the MASTERPIECE, Justice. These songs show how Fyah deals with the conquering concept of love (he actually even uses the word “conquer” two lines on in True Love Is All: “Prevail and conquer, it’s an open door) develops and swings its way through his songs. Bring this concept almost full circle is the tune ‘Crying Out’ which features Gardian. You wouldn’t think the tune, just listening to it basically speaks much of love, but that’s THE point of the tune. Where’s the love?:

“The system is a fake

Money runs the day

Yet people work five days for a one day rate”

Gardian- “Hear the people crying, hear them bawling out”

The song paints a very harsh picture of the world around (and justly so), but it never answers the question of what are “the people crying” out for? BUT IT DOES. Crying Out is a tune speaking of the absence of LOVE. If you love someone you don’t pay them for one day after they’ve worked five. You don’t KEEP them in and full on SPONSOR their poverty. When Lutan Fyah writes these BEAUTIFULLY STUNNING tunes about love, in the context of social situations, his way is to show you all sides, with and without it.

In closing: The reason why I chose to write this in the context that I have is because, when you go through Lutan Fyah’s catalogue, there almost seems to be something missing, but there isn’t. More and more each day I tend to wonder why the ENTIRE WORLD has not picked up on what this man is saying in these songs and why doesn’t it seem to be registering. Is it just the fact that he sings Reggae music? If he was a Hip-Hop artist would they listen? If he could sing like Jah Cure, would they listen then. Would I listen better, maybe I’m missing the point too. I don’t think I am and slowly but surely I find myself caring less and less. I think Lutan Fyah would even tell you himself that if there is just ONE person who was supposed to receive the message he was to bring, then he would feel achieved in his work if that ONE person received it. Well, thankfully that isn’t the case because I see the lights turning on, one by one. More people are waking up to an artist who has taken language, in EVERY RESPECT, and made it his own personal playground, like the Marley’s, Bujus and Sizzlas who have come before him and by the time he’s done, he may even prove to be the one person playing on the field in a class of his own: Scoring goals on an empty net.

Coming Soon Vol. 4

Chuck Fenda - Fulfillment [VP Records]

Up first this week is the biggest deal of the coming-soon, Chuck Fenda's third studio album (there was a live album in there also), Fulfillment which marks his debut with industry leader VP Records. Fulfillment follows 2007's well received, but largely overlooked The Living Fire (Greensleeves) and I'm looking even more forward to this one. Fulfillment reportedly is produced largely by the best Roots producer on Earth, Kemar 'Flava' McGregor which makes this one DEFINITELY to look forward to and, as if we needed more of them, yet another potential candidate for album of the year. I think it's REALLY Fenda's time to 'fulfill' the promise he's been showing over the years and Fulfillment is potentially his opus of an album.

Potential Rating: 5/5

Releases on October 27

Reggae Anthology: Winston Riley - Quintessential Techniques [17 North Parade/VP Records]

VP opens the 17 North Parade gates for the first time in a minute to my knowledge and out of them they pull a release from the second baddest man of all time, the legendary Winston Riley, whose vault of classics definitely ranks as one of the heftiest in Jamaican music history. This two disc set is absolutely CRUCIAL (as are most of 17NP's output) and features not only material from the said Techniques, but HITS from the likes of Johnny Osbourne, Alton Ellis, Dennis Brown, General Echo and Sister Nancy. But it doesn't stop there, the second disc features earlier work from Tenor Saw, Papa San and Buju Banton.

Rated Potential: 5/5

Releases on October 13

Joyful Noise [I Grade Records]

I've been looking forward to this one for awhile now. Joyful Noise is FINALLY I Grade's release for 2009 (we've missed you) and it's turning out to be worth the wait, apparently. The biggest label from the Virgin Islands releases their first compilation in quite awhile and does so with a STELLAR lineup of artists from all across the board. There are the names you'd expect to see like Midnite, Pressure, Batch, NiyoRah and Danny I; and then there are names like Lutan Fyah, MESSENJAH SELAH (never heard the tune before either), I SASHA, Jahdan Blakkamore, QUEEN OMEGA, ARKAINGELLE, SABBATTICAL AHDAH and even Norris Man and you can WELL expect a review for this one!

Rated Potential: 5/5

Releases on October 13

Reggae Resistance: Supreme Riddim [Blasta Records]

And lastly, this one DEFINITELY caught my eye this morning with its diverse line up. Blasta Records from out of Martinique has a VERY big project on their hands with the Supreme Riddim and, just scanning up and down and seeing who voiced it, I'm well impressed. Imagine a riddim which combines some of the best French Caribbean talents such as Straika D, Sael, Valley, Mighty Ki La and Yeahman C (AND BLENDA IS HERE TOO!) with some of the finest Jamaican talents such as MAX ROMEO, Turbulence and even Lutan Fyah! That's madness! I'm definitely looking forward to digging into this sprawlingly beautiful one drop.

Rated Potential: 4.75/5

Releases on October 26

In Stores Now

Jahdan Blakkamoore - Buzzrock Warrior [Gold Dust]

This one has me with mixed feelings to say the least because the BLAZING hot Jah Blakkamoore, who has been dropping TOP NOTCH singles left and right and making some MIGHTY combinations brings his debut (at least I think it is) solo album, Buzzrock Warrior, and I've been looking forward to it but. . . IT'S NOT A REGGAE ALBUM! So much so is it not a Reggae album that, generally anything which has anything involving anyone with a semi-Caribbean accent and that's present on Buzzrock Warrior, but the vibes are SO STRANGE. I hear Hip-Hop (which is what it is categorized as), I hear R&B, I hear Drum & Bass, I hear a little Reggae and that sound you hear is my sigh of disapproval. Oh well, there's always next year.

Rated 2.5/5 (to my tastes, you may actually like this one)

{Note: Apparently if you are in the US or can get a US network you can download the tune 'The General' through Amazon for absolutely free Here}

The Ultimate 2009 [Tad's Records/Zojak Worldwide]

If you don't pay too much too much attention to Tad's Records (or if you do, but don't know it), you really need to (and I'm about to show you, over and over and over again) because they release a TON of music, compilations and artists albums alike. Well, like any reputable label in Reggae you need at least one (they have more than one, I'm about to show another one next up) BIG compilation and here it is for 2009. 2008's 'Ultimate Reggae Dancehall X-perience' has made way for the better titled, The Ultimate 2009 and this one, checking in at a LUSH 26 tracks is certain to have something for everyone. The album features material from ALL OVER the place (as you might imagine with 26 songs): Gramps Morgan, Buju Banton, Jah Mason, Richie Spice, Vybz Kartel (several times), Beenie Man, Gyptian, Queen Ifrica, Jah Cure, I-Octane, Tami Chynn & Mr. Tami Chynn, Konshens, Vegas and a few more (like Romain Virgo & Ras Penco) (Ras Penco = big artist). Definitely something in there for you if you like Reggae music, even a little. DAMN!

Rated 4.5/5

Riddim Ruler [Tad's Records/Zojak Worldwide]

Walking sideways through the door at the same time are the latest installments of the aforementioned Tad's Records' Riddim album series, Riddim Ruler, the Top Rated, Love Is The Answer and Skylarking riddims.

The Love Is The Answer is a remake of a pretty popular, but just as pretty obscure piece known as the Dance With Me riddim from the 1970's, The piece backed Delano Stewart's tune of the same name

And was rebirthed by (I THINK) Vikings Productions who used renamed it the Love Is The Answer for Jah Mason's tune which appeared on an album he did for them in 2008, No Matter The Time

Of the three, the Love Is The Answer is probably my favourite, it's a very nice remake and joining the Mason are the likes of Lutan Fyah, Glen Washington, Luciano, Norris Man, Half Pint, Jimmy Riley, Perfect, Pinchers and Prestige. BIG riddim album (and I was SO CLOSE to writing a full review for it last week).

The Top Rated riddim is different, to say the least. The PULSING Roots piece takes a minute to grow on you, but the likes of Queen Ifrica, Tony Rebel, Bobby Tenna and even Sizzla (wicked tune named Better Know This) are certainly willing to help you get where you need to be with it.

And lastly, there's the Skylarking which you (should) know. I already know your question and the answer is YES, the original title track is on the album (as is a very nice remake which includes firebrand Ras Brando), as are takes from Sizzla, George Nooks and Anthony B. Again, between the three, you're certain to find SOMETHING that you'll enjoy.

Rated in full: 4.5/5

Goldee - Le Moi De May [Aztec Musique]

It's Goldee! Everyone's favourite Alicia Keys looking Zouk-Reggae hybrid artist from out of Martinique. The artist who I did my very first New Artist feature for now delivers her debut (to my knowledge) solo album and it's just as colourful as I expected. Le Moi De May is a bit more Zoukish than Reggae-ish (quite a bit more actually) and the version of her big tune isn't the Diwali-ish sounding one, but Pointe Des Negres is here, as are quite a few more potential big guns (like the bouncing Chaque Jour).

Rated 4.5/5

Alaine - Luv A Dub [Don Corleon]

And from a pretty girl, to an even prettier one. All of my Japanese readers and my collectors who don't mind paying a finger or two to import an album will be interested to know that Dancehall Angel Alaine has released her sophomore effort, Luv A Dub, just as her first, in Japan and ONLY in Japan, for the time being. The cover on this one is RIDICULOUS and sonically speaking, of course, it's the same LOVELY vibes you've come to expect (and I mean the "SAME", you'll probably know quite a few of these tunes and I love most of them, myself) (okay, all of them), but I'm partial as hell. So, should you want some COOL Dancehall to add to your collections (and you should) then pick up Luv A Dub (or just wait until her ex brings us the Western version) (hopefully they don't change the cover). DAMN!

Rated: 4.99999999/5