Upset! Otis - Grenada Soca Monarch 2010

Yow! When I'm wrong I have to say I'm wrong and a little while ago, I heard reigning and defending Grenada Soca Monarch, Mr. Killa's Monarch tune, 'See Dem Fly' and that tune was wicked, so I declared Spicemas Soca Monarch 2010 a "WRAP". Well, I was WRONG (as hell), because some dude named Kelvin Celestine [bka Otis] apparently took the crown with his tune, 'Tornado', which had to have torn a big fucking whole in the place. I didn't actually see the competition and while I know that Mr. Killa took second, I don't know who took third (probably Luni Sparks & Electrify) (or Zingo). But, it's all about Otis, so definitely congratulations. You might remember him from last year, telling everyone to 'Reclaim The Skies', but I don't know too much about the man, so if Grenada just has RANDOM DUDES jumping up and beating the Killa, then . . . Yeah, that might be interesting next year. Listening to his tune, I'm pretty sure what Otis had to have done to take the crown is to create one BIG ASS circle in the audience, either that or he somehow got a big tornado to LITERALLY drop on stage (and probably hurt himself doing it, but it was worth it). It actually sounds more like a Road March tune to me and he will be dangerous on the Road, I'm sure. But biggup Otis. Biggup Rankin Marvin (a Calypso) who took Groovy Monarch, also last night and also biggup Tallpree who is 2010 Grenada Village Soca Monarch (he also won last year, playing a wicked jab). And check out Otis' qualifying performance at the SEMI-FINALS a little while ago.

Bounty Killer: Path To Greatness

Yeah. Didn't really feel like writing today, so give thanks to my good friend Isis for actually pushing this thing in my face, I had heard about it, but hadn't seen it. "Path To Greatness" is an EXCELLENT mini-documentary on big bad Bounty Killer and I'm always trying to find reasons to write more about him myself (wouldn't it be so great if he gave us an album???), so here's an opportunity to mention him. Nothing too special or out of the ordinary, just a whole heap of recognizable faces (and voices) speaking about the Killer, even the man himself. Of course, my allegiances will probably always be with 'The Doctor', I think 'pound for pound' the man is the most SKILLED artist the Dancehall has ever seen, but in terms of INFLUENCE, even with names like Shabba and King Yellowman there and whoever else, Bounty Killer DEFINITELY takes top honours there with the line of absolute Dancehall ROYALTY which has descended from his camp. So biggup the Killa and check out the Documentary.

{Big tunes tomorrow, let me know!}

'Playing Favourites': A Review of "Genesis" by Maikal X

I get carried away sometimes. I like to think that I’m not necessarily a stubborn person or too head-strong or something like such, but I do admit that when I find something, or someone that I like, for whatever reason, I have a hard time not talking them up given the opportunity. Of course, doing what I do, that’s not necessarily a bad thing, because you never know who’s reading and even if it were I wouldn’t stop anyway most likely. And even if I’m proven wrong in some instances (very regularly actually), I’m still going to do it because every so often something or someone comes along who just SO deserves it. Such is the case right now, in my opinion, with the very impressive German singer, Sara Lugo, who I mention literally all the time because despite the fact that she seems so familiar and so comfortable and so normal, I don’t think there’s anyone who is doing what she does and offering what she offers. There’s also people like The Great Naptali who still has the best album I’ve heard in 2010, of course 2009’s champion Lion D and so interestingly and fittingly there’s Smiley also. Smiley is interesting because if you go back just a couple of years (and STILL) you get to an artist in Ziggi [Recede] who I was also very high on (and still am) and of course both of those are Dutch Caribbean/Dutch artists. That scene has been on FIRE as of late with others as well such as Benaïssa, Lady K Wida (MAD!), Kenny B and certainly Mischu Laikah - Artists who just have a very strong and POLISHED vibes about them as soon as you just hear their names and work initially. Also (as if you needed more) (and you didn’t) earlier this year Chezidek released the master class that was "Judgement Time”, which was easily one of the best productions of 2010 and . . . Yep, between Not Easy At All and Jah Solid Rock, was a Dutchie produced album. FIRE! So you’ll forgive me, I hope, for just being all over and thoroughly impressed by the Dutch Caribbean/Dutch artists in general, because they’ve most certainly earned it and I am a wee bit partial anyway. If you’re tired of me writing about them, however, then you won’t want to stick around for this because, although he isn’t my latest find (probably going on two or three years now), one could very well make the argument that one of the most talented of the entire Dutchie lot is the SUPREMELY impressive Maikal X who, it just so happens, has just released his hotly anticipated debut album, ”Genesis“, and done so in probably the most noteworthy possible manner for me, with very few reservations at all.

Right up my alley. Okay before I even tell you about Maikal X himself and what he has going for himself musically speaking, let’s just deal with the background of the album first of all. The last bit of information I got about Maikal was that he had officially signed with Rock ‘N Vibes, the same label which had brought the aforementioned Ziggi Recado to prominence (and biggup Shanaira Rey) and it was with that label that he would deliver his debut album and Mr. Rude and company at RNV are on board here. And it should also be noted the span of time for Ziggi reaching, not literally (it was just two or three years actually I believe), but figuratively speaking because it was at that same label that he DEVELOPED from what was in my opinion a pretty mediocre Dancehall artist, until the POWERFUL modern Roots Reggae dynamo that he is today and one of the most impressive artists going, period. The only thing that could have made this better was had Greensleeves picked up ”Genesis” (then I suppose you could actually get it somewhere else besides Dutchie iTunes as of this writing), just as they did Ziggi’s MASSIVE 2008 drop, ”In Transit”. And as far as Maikal X himself - While I don’t know much about his past (and I knew even less before the press for this album started running), X has popped up on my radars within the last few years and has remained there largely due to the wonderful PRESENTATION of his music. What I mean by that is that this man sings songs and his voice is very nice, but it isn’t the greatest (his name isn’t Jah Cure is what I’m saying), he is a very strong lyricist (better than I thought, more on that later), but he isn’t the greatest (his name isn’t Miguel), but he does everything very well and puts it together SO excellently that when you get a new tune from Maikal X, you can pretty much be assured that this song is the best possible tune that it could be in that case. Put on top of that the fact that, just like Ziggi, the man represents HARD in the Dutch Caribbean and we’ve actually had the privilege already of seeing him perform (biggup Regatta) which was very nice. Initially (and for quite some time thereafter), I had Maikal X sent through as a Lover’s Rock singer strictly, but over the time he’s developed into a bit more versatile artist in his subject matters, a point which is highlighted throughout ”Genesis” and if the history of Mr. Rude and Rock ’N Vibes is any indication (and it definitely is), you should expect X to continue to grow and develop his skills and I ultimately see him becoming something along the lines of a Romain Virgo - A singer who may have more of the Lover’s Rock ’look’ and ’feel’, but who may actually be more comfortable singing Roots music (Virgo’s strength seems to lie in the truly rare trait of being able to mix both sides and do so at the exact same time, seamlessly) and he‘s not very far from that right now. In the meantime, what Maikal X turns out to be on ”Genesis” (besides a younger twin of Hip-Hop legend Tone Lōc) is quite enough just to reach my expectations and make a very strong album. And in doing so he, essentially, outlines his style in more graphic detail, proving himself to be already a very varied talent and one who at least seemingly is able to make a very accessible and very WELL PRESENTED brand of vibes.

As I said, while I still don’t know much about Maikal X’s past, what I do know (or at least I think I know) is that he comes from a predominately Hip-Hop and R&B background in Holland (not surprising) and, more pertinent to this review, he comes from a Caribbean heritage. I once thought he was straight from St. Maarten, but instead, while born in the Netherlands, his parents reportedly come from Guyana and Curacao (biggup Izaline), respectively - Which certainly does explain his interest in Reggae music. So while he apparently had quite a distinguished career in Hip-Hop circles and it’s taken him a minute to gravitate towards Reggae, the fact that he’s here now is a very good thing. Another example of a good thing would be Maikal X’s debut Reggae album (and his debut solo album, period, to my knowledge), ”Genesis”, from Rock ‘N Vibes, which gets started with what is probably the albums most recognizable track, the STERLING ‘Best In You’. I LOVE THIS SONG! I like more now that I did a few months back when VP dropped it on one of the latest installments of ”Strictly The Best” [#40]. It’s just a LOVELY song and is the very definition of the accessibility of this album. You cannot tell me that the song couldn’t do damage in R&B scopes (and it may be doing so already) and it’s straight Lover’s Rock Reggae and in the face of so much attractive material, it’s also the best single tune I hear on the whole of ”Genesis”. I even favour it over ‘We Know Why’, which is saying a lot because this tune is DEVASTATING! It is the first of three official vocal combinations, this one surprisingly featuring the front man of the Morgans, Peetah Morgan. It is, essentially, a social commentary and even this one is probably going to find an audience outside of ‘merely’ Reggae circles if given the opportunity as the two make a combination which is strong and SO sonically pleasing as well. Also pretty good to the ears is ‘Lies’, the kind of old school vibed lover’s piece which rounds out the opening lot of the album. Actually it’s better categorized as an ’anti-lover’s’ piece as X finds himself dealing with a less than honest (about to be former) girlfriend. It can never be a good thing to have one’s name turned into a verb which is exactly what Maikal does to a famous Pop singer when, in making his case, he says, “woman me neva Chris Brown ya” (damn!). Yet, as fucked up as that is (and it is), I’m sure Brown himself would even appreciate the tune, because it is very strong.

Considering the history of Rock ‘N Vibes with Ziggi (Ce‘Cile, Anthony B, Admiral T), I know I shouldn’t be, but I was quite surprised to see the talent Maikal X brought along with him on ”Genesis”. After Peetah Morgan (who should really just call himself ‘Peter’, right) there’s also Irie Love who guest stars on . . . Well on the tune ‘Irie Love’. I talked earlier about Maikal X’s excellent PRESENTATION of his music and it probably should be said that, in that regard, Irie Love is his equal, at least. The Hawaiian songstress makes some TRULY beautiful music and, unsurprisingly, the duo link up for one of the album’s most catchy moments. Yeah - Sure, it’s a bit gimmicky, but I’m suspecting that the wider audience probably won’t give a damn on this ‘READY FOR RADIO’ song (and apparently the singer impressed the Morgans quite a bit because I‘d be surprised if they didn’t give him the link to Irie). And also on board, most notably, is Reggae legend, Luciano, who features on the sweetly vibed ‘Give Thanks’. This is pretty standard fare for ‘The Messenjah’ and that’s a good thing. I’ve been trying to think of someone who Maikal X reminds me of, vocally, and with his persisting ‘RASP’ on this beautiful piece of a song, he definitely sounds like a younger version of another legendary singer, Freddie McGregor. It’s just a NICE NICE praising type of a tune (like I said, standard Luciano fare) and while still, my favourite combination tune remains ‘We Know Why’, I wouldn’t at all be shocked to see this one get a bit of an exposure considering the players involved and the song itself - It would definitely deserve it.

To go along with the combination tracks on ”Genesis”, it also, along with the opener, has a few pre-hits which definitely drove up Maikal X’s name prior to the album. The three tunes (including ‘Best In You’) have largely gone to build his reputation as one of the genre’s biggest up and comers. Of course, there’s ‘Bear With Me’ from last year which was a REALLY big deal because supposedly what had happened is that Reggae super producer, Don Corleon, had been playing in Suriname with Alaine when his driver played him a tune from Maikal X and, SO impressed, Don tracked down the singer and linked him his latest piece, the GORGEOUS Changes Riddim, and thus was born ‘Bear With Me’. It definitely is a testament to the singer when I can easily say that amongst names like Alaine, Tarrus Riley, Jah Cure, The Morgans and Gentleman, he definitely held his own, offering one of the biggest efforts on that HUGE creation and it is one of this album’s finest moments as well. And the other really big (and still growing) tune from before the album is the recently dropped ‘Here She Comes’ as it finds Maikal X going all Hall & Oates on the people with a remake of their classic tune, ‘Maneater’. He handles it quite well (and the video was very nice too) - It’s pretty much in his area of expertise and it’s another big tune.

I found it quite interesting that, in the way the album is situated, most of the big known material is slotted in the first half and I was initially looking at the second half somewhat ominously as the feeling became ‘okay well they probably just threw this shit in here to round out the album’, but there’re some nice pieces to be found in the later stages of ”Genesis” as well. Along with ‘Bear With Me’ (aka ‘the one that slipped through the cracks‘), there is the tune which precedes it, ‘Darlin’. This one I didn’t really like my first trip through, but it started to grow on me and has since continued to do so and do so quite consistently (that drum, that drum). I still wouldn’t call it a favourite of mind but . . . Ask me in a week or two. I hadn’t heard the tune ‘Born To Die’ and knew nothing about it whatsoever, but IMMEDIATELY when it dropped in, it gave me the biggest smile I’m sure and it took my mind to a most familiar place as that same riddim backs ‘Walk With Jah’, the best and biggest tune from Chezidek’s aforementioned lion of an album, ”Judgement Time”. Speaking strictly lyrically, this one has to be regarded as one of the stronger (if not the strongest) pieces on the entire album and although X doesn’t quite reach the levels of Chezidek (just not happening), this one already is one of my favourites. The obligatory Mama song, ‘Caught Up’ is probably my least favourite tune on the album (although I’m not quite sure why just yet), but it’s still a pretty nice effort, it just doesn’t go very far and after more than a couple listens I still found myself struggling with the concept of being ‘caught up’ on it (the chorus, however, is excellent) (whatever it means). ‘Come Over’ is another one which didn’t blow me away, but this is one COOL song to my ears and, although he can do this type of song and do it better (and does it better on the album), this is another one which is pretty much the signature sound of Maikal X to date in my opinion and if you were to ask me which songs I would recommend a listener to become accustomed to his vibes, I would (with a caveat) point you in this direction amongst others. I did enjoy ‘Senseless’ after it got going and, in a line with a few others (including ‘Born To Die’), this one is one of the better social-commentary type of tune on the album - It’s right up there. ‘Warning’, which wraps up the album, does take the prize in that category however. It is BIG and with that ‘complicated’ KNOCK behind the tune, it’s getting bigger and bigger each time I hear it. This is THE song on which I’m going to complain, because the fact that ”Genesis” comes and goes in its entirety without delivering the no-brainer that was (at least to me and to you too, I’m sure) a combination between Maikal X and Ziggi, is just WRONG! It has to happen and if I have to wait until 2011 (hopefully) for it to jump up on the next Ziggi LP, then so be it, but ”Genesis” would have been the PERFECT spot for it.

Oh and in the interests of protecting my ridiculous reputation, I do have to also mention the tune ‘Today Becomes Tomorrow’ from earlier on. I swear this riddim sounds just like the Woman I Need You Riddim when it starts and I thought X would just jump in on that modern classic piece, but what he does is a very nice job with this very thoughtful and poignant tune - Another very impressively written piece.

Overall, I should say that besides Ziggi’s absence, my only prevailing complaint with Maikal X’s ”Genesis” is that his sound, at times, does distinguish itself from itself as much as I might hope. The result is, of course, a few songs which sound very closely to one another and when whatever that sound is, is good (and it is, it really is), it’s not much of a problem, but as he develops, I would definitely like to see X get to the point where, with his foundation still intact, he can do more things with the songs to individualize them more. But that is certainly something which comes and will come with more experience and as he begins to get his name out even more and is afforded the opportunity to work with more artists and producers as well, so that definitely should be something he does and probably sooner than later. And speaking of his development as an artist, I’d also like to mention that ”Genesis” is a MUCH better album than Ziggi’s first, ”So Much Reasons” and if Maikal X does take similar stides that Ziggi did in between his first and his second, ”In Transit”, then WHATEVER that sophomore album is, it will be TRULY MASSIVE. ”Genesis” certainly isn’t a bad star and it’ll probably end up being one of the better debuts of 2010 come December. So, despite my rather lofty lauds of the singer and my equally loft expectations, I can well say that I’m STILL impressed with the results and am looking forward to watching the blinding future of yet another big Dutchie light. But what the hell do I know? I am partial.

Rated: 4.35/5
Rock 'N Vibes
2010
CD & Digital





Maikal X @ Myspace
Rock 'N Vibes

Check It Vol. XV

Turbulence - “The Journey” [Sajay Productions/Zojak Worldwide]

Okay, first up is a most surprising release to say the least as Turbulence delivers his first studio LP in about 36 years, ”The Journey”, for Sajay Productions. Biggup my readers because it was one of you who actually alerted me that this one had dropped and, upon doing a bit of research I found that late last month ‘The Future’ had indeed dropped the album (which, I THINK, is really his first since 2007’s pretty bad ”United”). Having just perused this one a wee bit, it seems okay as most of Turbulence’s work does on first glance and I’m really looking forward to delving into a lot more for a review, but as much as I go back and forth with my taste as far as Turbulence’s vibes, I do have to say that I am WELL looking forward to listening through this one (especially ‘Best Friend’s Bed’ a combination with Perfect) and big respect goes to Sajay (and the beautiful people at Zojak Worldwide, of course) for making it happen - STILL one of the most naturally talented artists in the game is Turbulence.

{Review coming Tuesday} {Hopefully}

Lieutenant - “Dancehall Anarchy” [Don’s Music]

Don’t you just love how everything works itself out? After making guest stops on the albums of Admiral T and Kalash earlier this year, veteran DJ, Lieutenant (who I just learned actually is from Nina) (not Guadeloupe as I thought), is now given his own album, his debut in fact, ”Dancehall Anarchy”, for the big label, the reinvigorated Don’s Music (Admiral T this year, Methi’S this year, Paille EP this year, Lieutenant and apparently Ludy is up next). I haven’t gotten my hands on this one just yet (although I’m seriously considering buying it), but just listening through the clips, it sounds HYPE and that’s just what I could use right now and this is despite the fact that there’re no less than THREE tunes featuring one of my least favourite artists, Mali and also on board are a female singer named Senario (cool name), Djama Keita (who you probably don’t know, but is a wicked artist from out of Nina), of course Pleen Pyroman and Valley (from the first single, which I told you about yesterday) and returning the favour is Kalash (with the same tune). Like I said, it sounds BIG and I’m expecting a lot when I pick it up, so beat me to it and tell me how it is yeah.

The Light Riddim [Whatage Muzic/Zojak Worldwide]

I am a sucker for a pretty tracklist and an even bigger one for a pretty riddim. Thankfully, the latest creation of the Machester (Jamaica) based Whatage Muzic, The Light Riddim, has both and it, of course, caught my eyes pretty immediately. Having seemingly advanced much since (I THINK) their last release, The Blessed Riddim (which was decent, but ultimately not very noteworthy in my opinion, save for a few efforts), The Light is a BEAUTIFUL thing and while you may notice some names such as Zalachie, Shil Jah, Ikonz, Marshell and Black Light (big big artist), some of them (particularly Zalachie and Black Light) do very well. And I’m sure you do know the likes of Nesbeth, QUEEN OMEGA, Red Roze, Prophet Benjamin, the aforementioned Jah Mason, Lutan Fyah, Natty King and Hi-Kee, all of whom make appearances on this lovely riddim which apparently dropped last year, but I didn’t hear too much of it, so it’s definitely a case of better late, than never.

Cardiac Bass Riddim [ZJ Chrome]

Speaking of tracklists - I won’t spend too much time on this one because it’s kind of old and I most certainly should’ve mentioned it before now, but if you’ve been living in a box somewhere and haven’t noticed - The Cardiac Bass Riddim is immaculate. It is Guardian Angel/Jam Down kind of beautiful and it really should’ve appeared as an installment of Riddim Driven in my opinion. Alaine, Ce’Cile, Jah Cure, Lutan Fyah, I-Octane, Bugle, Chris Martin, Raine Seville, the last Voicemail tune I actually liked in how long and two tunes from Kartel . . . I mean, what more needs to be said. It’s beautiful, it’s a candidate for riddim of the year and it’s available for your digital consumption right now.

Cali P - ‘Dread Full’ (single) [Hemp Higher]

Achis Reggae favourite Gwada born Swiss chanter, Cali P, returns with a big new tune, ‘Dread Full’, which is apparently the title track for the new big riddim from Riga and Hemp Higher (who I told you about not too long ago with The Burn Up Riddim). The tune definitely has some force behind it, big lyrics as well and Cali’s been more and more active these days, so hopefully he’s gearing up for a followup album to 2008’s master class, ”Lyrical Faya”, which would be a beautiful thing. Big tune.

Natty King - ‘Dem A Bawl’ (single) [Estates Records]

Staying with the singles for a couple of more here - Next is an always welcome face in Natty King who, fresh off an album this year, returns with a fairly random single, ‘Dem A Bawl’ which, like most of his output, just so happens to be a pretty big tune. Coming from the fairly ‘unknown’ Estates Records, the cover seems to suggest there’s a riddim, the Comfort, as well, so maybe we’ll get more from this (and the riddim is nice), but as it stands, Natty’s big social commentary is doing just fine.

Al Pancho - ‘Gwaan Grow Yuh Congo’ [Zion Cube Productions]

And the final single this week I add just to show that I’m not nasty as hell and partial (even though I am) as an artist who happens to be one of my LEAST favourites, Al Pancho, returns with a new tune from the US based Zion Cube Productions (wonder if they know Empress Cherisse?), ‘Grow Yuh Congo’. I LIKE this song and that’s a lot more than you’re usually going to get from me in regards to Pancho’s music (sans a TRULY MASSIVE tune by the name of ‘No Space’ from the otherwise not too good ”My Story” album). It’s very nice and ‘bouncy’ and the lyrics are very strong as Pancho preaches pride in Rastafari (biggup Mortimer Planno) and does so very strongly. CLEARLY the man has talent, but he hasn’t been the best at making himself stand out, hopefully it’s a thing Zion Cube can bring out of him with more excellent tunes like this and THEN, I’ll be a fan.

Taddy P & Bunny Rugs ‘Monday Morning Blues’ [Bass Inna Yu Face/Zojak Worldwide]

Okay so I lied - A couple of more singles (as I remember to go through the old Zojak files marked ‘stuff I should’ve mentioned already‘). Next is master on the guitar, Taddy P who links up with veteran Bunny Rugs to handle the vocals on their new tune ‘Monday Night Blues’. It’s kind of a sufferer’s anthem of sorts (with a bass which sounds so good, that it’s almost out of place), but with a mix of talent like this, you can be sure the results are going to be BIG and they are. Taddy P has been pretty active as of late and I wouldn’t at all be surprised if he had a project in the works either.

Barrington Levy - ‘Murderer: Fully Loaded’ (featuring Wyclef Jean, Shaggy & Snoop Dogg) [Platinum Camp/Zojak Worldwide]

I thought that I’d mention this one despite the fact that it is EASILY going to receive more and more attention in Hip-Hop circles than it is amongst Reggae heads, but the still pretty popular Barrington Levy (whose Hip-Hop popularity seems to come STILL from the tune he made with Shyne, ’Bad Boyz’ which had to have been almost a decade ago) returns with another remake of one of his classics, ‘Murderer’. Along with him, he’s brought Hip-Hop stars, Wyclef and Snoop Dogg as well as Shaggy (who remade ‘Broadway’ alongside Levy a few years back). I’ve seen some really negative feedback on this one from Reggae heads and I’m not going to slam it, certainly it isn’t my favourite tune in the world, but you may actually like it because it isn’t HORRIBLE.

Alaine - ‘You Are Me’ [1Thirty1 Records]

And aren’t I glad that I didn’t say ‘finally’ before that least one - Had I done so, I would’ve most certainly sounded even stupider in getting to this, FINALLY the last single of the lot. The angelic Alaine didn’t at all waste any time finding new digs after falling out with Don Corleon and now she’s got her own place, 1Thirty1 Records and she already has a new tune (and a video) to show for it, ‘You Are Me’. Of course I’m going to comment on the her new cut (which isn’t really new) and the fact that she looks damn good - But I digress, the song itself is pretty typical LOVELY fare from Alaine. This one, despite the video, isn’t a romantic song, but it’s more of a social commentary or a ‘WORLD LOVE’ type of a tune and in the end I think that it’s best to say that if you LOVE Alaine’s music, then you’ll LOVE this tune (now if someone could just get her to do a combination with Ce’Cile. . .)

Martin Campbell - "Historical Tracks (1978-1981): The Foundation" [ACL 2000/Zojak Worldwide]

Never been the biggest fan of Martin Campbell’s and I don’t know a whole hell of a lot about the man, but I do happen to know that he has some of the STRANGEST and most devoted fans of pretty much anyone and I thought I’d just make all aware that one of his collections, ”Historical Tracks” has reached the digital spectrum. So if you’ve worn the hell out of your physical copies, feel free to recollect the digital or should you simply want to see what all the fuss is about (and believe me, there is FUSS) (and A LOT of it), do check it out. It’s not at all bad music I should say (some of it is very good), it’s just . . . I don’t know what it is, you listen to it.

“Rahtid!: The Ultimate Reggae & Dancehall Experience” [Young Veterans Productions/Zojak Worldwide]

And in the penultimate position is a pretty big deal actually as the always active Young Veterans Productions puts together another very nice batch of their work to build up ”Rahtid: The Ultimate Reggae & Dancehall Experience”. This one has been receiving a bit of hype and perhaps justly so at it boasts of artists such as Konshens (more than once), Lutan Fyah, Mr. Vegas, Perfect, Macka Diamond, Opal (twice) and even Sizzla and Anthony B are on board. At ‘just’ seventeen tracks, it isn’t as wide covering as you might think (given that whole “ultimate . . . experience” thing, but I’m almost certain that Dancehall heads will find something here which will get their attention at some point. I’m still playing with it (even though I knew quite a bit of the material beforehand), but so far, so nice.

The Roll On Riddim [Firm Grip Promotions]

And finally we end with what has to be the worst digital cover of the year (and I think I said that not too long ago, so whatever I said it in reference to has just been given a promotion to second worst), the cover for The Roll On Riddim. I’m going to tell you flat out - This riddim is two or three years old and it’s not that good and I don’t know why I have it (biggup Bredz). But I heard a fairly random and . . . Pretty decent tune from Lutan Fyah, ‘Roots & Culture’ and upon further notice that tune happened to be NICE! And upon further research it featured on a riddim which also stocked names like Half Pint, Bascom X, Al Pancho, Gandhi, Pam Hall, Lady G, Little Devon and even Gyptian, but . . . Most of them don’t do too much to my ears, but you may like it and at the very least, definitely grab up the Lutan Fyah tune and have a great time.

Video Drop X: The News

‘Unconditional Love’ by Jah Cure featuring Phyllisia [Directed by Asha]

First up this week is the biggest deal of the lot (I like how I say that, despite the fact that I don’t know what else I’m going to put in here) as the best singer in the world, Jah Cure, returns to the visual music world with the video for his latest big tune, ‘Unconditional Love’ featuring cutie Sobe label mate, Phyllisia (who possibly has the most difficult name to spell out of any artist that I’ve come across to date). The big deal here is that a few weeks ago the Cure and company shot the video in Havana, Cuba and it makes a LOVELY backdrop for he and his driver to drive around sightseeing and singing. Meanwhile, a very nice touch occurs as amongst the actual players in the video is a guitar player who, as it just so happens, fits in wonderfully with the tune itself because of that very quietly DOMINANT guitar in it. He frequently, at different scenes, spots and is spotted by a very interested observer who eventually becomes the object of his own ‘unconditional love’. Very nice.

Video Rated: 4.75/5
Video - Song Link: 5/5

‘Jamaican Party’ & ‘Dancehall Nuh Dead Yet’ by Beenie Man & Camar [Directed by Janelle Dyer]

Next in is the not too rare none at all ‘2 in 1’ as Beenie Man shoots videos for both ‘Jamaican Party’ with Camar (who is apparently doing his business in the States these days) and ‘Dancehall Nuh Dead Yet’. The way this is set is that it’s a really big fete on the beach and the first half, in the day time is ‘Jamaican Party’. I don’t like that song and the video isn’t particularly anything that was unexpected so . . . Yeah, the highlight there (and anywhere else, for that matter) is the very nice eye candy (although the tune itself does definitely pick up as it progresses). Then, at night, we change things and hit ‘Dancehall Nuh Dead Yet’. This tune - I LIKE! The Doctor espouses on the rather damning trend of Hip-Hoppifying the Dancehall (“Mi no recognize di beats mi ah hear from wah day. Dem ah try sell out mi culture lak it deh pon Ebay”), which is most fucked up, and does it with some STRONG deejaying. The way it should be. I would have, of course, loved to have seen the second song grab up its own spot, but in this form I’ll still take it.

Video Rated: 3.5/5
Video - Song(s) Link: 3/5

‘This Is How We Do It’ by Bounty Killer featuring Elephant Man [Directed by Gareth Cobran]

And here we have a tune which, on name value alone, probably would have gone first (had I remembered it, or even if I felt like going back and changing the way I wrote the first one), as we have two still reigning giants of the Dancehall, Bounty Killer and Elephant Man linking up on ‘This Is How We Do It’ over ZJ Chrome’s ridiculous Mad Collab Riddim [bka that thing that backed ‘Clarks’]. As far as the song, not too surprisingly I’m rather fond of Bounty Killer’s portions of it (SERIOUSLY, as far as I’m concerned, Bounty has been on a good musical roll for eighteen months or so) and not too much so when Ele reaches the mic (although I still maintain he’s one of the most NATURALLY TALENTED individuals to ever hold the mic in the Dancehall and you‘ll notice his tune playing at the beginning for evidence of that). I’m also not very fond of the video either, it’s a pretty standard club type of video (I guess it does fit the song in that respect) and although the always entertaining ‘Energy God’ does manage to get the hilarity going later on, it just isn’t enough and Bounty, frankly, looks a wee bit out place, following that MASSIVE video which just released, ‘Summn’ A Guh Gwaan’ with Busy Signal.

Video Rated: 2.5/5
Video - Song Link: 3.5/5

‘They Say’ & ‘Nuttin Nah Gwan’ by Wasp featuring Raine Seville [Directed by Janelle Dyer]

Here we have another double-dip featuring the ALWAYS interesting Wasp and the First Lady of Daseca, certified cutie Raine Seville with ‘They Say’ and ‘Nuttin Nah Gwan’, respectively. First is Wasp alone with his tune, ‘They Say’ which . . . Is a bit uncomfortable because you kind of get the feeling that you’re seeing something that you’re not supposed to be seeing as Wasp basically just kind of ‘relaxes’ (relaxes, has foreplay, whatever you like) with his woman before hitting the road to promote his music. Meanwhile, Raine’s roommate is apparently trying to ward off the repo man from taking their truck with no success (he is a HEARTLESS bastard after all) and then, without vehicle, she also has to hit the road to promote. The second tune is the bigger of the two and that side of the video (which takes place in more than one room) reflects it, featuring, amongst others, both D’Angel and I-Octane. They actually could have done away with the first part all together if you ask me, but the second makes up for it.

Video(s) Rated: 3.75/5
Video(s) - Song Link: 3.75/5

‘Million Dollar Check’ by Mojo Morgan **Pick of The Post**

I was actually going to save this one until next week until I realized just how nicely it fit, following the last entry, and just how very strong it was also (a quality which we seem to be lacking this week). As the various members of Morgan Heritage continue their solo pursuits, it’s now Mojo’s turn to have a video and he went all the way to Senegal to make it happen. Just like with Raine Seville and Wasp, Mojo’s ‘Million Dollar Check’ is a tune about people struggling and fighting hard to make ends meet in the world and in this case, he also has a repo man, a VERY interesting one. For me THE most entertaining aspect of the video is the fact that the repo man in this case, CLEARLY hates his job and is also struggling in his own home to make ends meet apparently and then his woman leaves him and takes the kids (and you’ll notice the look on his face when he sees the family whose truck he’s just taken and remember it when his own family gets in their truck to leave him. Completely depressed he soon joins Mojo and company in the festivities of the MUSIC to feel better. And you also see the nice children of Afrika and other pieces of nice imagery. It MIGHT be kind of sappy by its end, but if a video is a meant to a sell a song, consider this one a ROUSING success.

Video Rated: 4.9999999/5
Video - Song Link: 5/5

‘Artmada Party’ by Lieutenant featuring Pleen Pyroman & Valley

And lastly we have the first of two new and significant videos from the FWI, this one, ‘Artmada Party’, features veterans Valley and Pyroman alongside the star, Lieutenant, who is getting closer and closer to dropping his (debut I think) album for the big label, Don’s Music (definitely expect a review). The video (and this may not be the completed version) is just HILARIOUS because apparently there’s a mob out there kidnapping everyone providing less than great vibes. After a VERY ominous beginning where they capture the stars, they’re giving a final chance to mash up the very skeptical crowd and they succeed. This one got just a tiny smidge past the Lieutenant’s intro when it GRABBED me and it’s still got me. I like how they then go on to show how each of the three got caught (and as I tell people all the time, I know it’s cool and you want to show off, but take that bench and lock it back up in the house) (ask Lieutenant) and the musical highlight, DEFINITELY, comes when Valley jumps in. And the video also gives you a cliffhanger at the end, meanwhile my only cliffhanger, personally, is when the hell can I get Lieutenant’s new album, ”Dancehall Anarchy”? Soon, very very soon. Like yesterday.

Video Rated: 4.9999999/5
Video - Song Link: 4.5/5

‘Dancehall 4 You’ by Saïk featuring Kaf Malbar [Directed by Jam Productions & Cleefson Productions]

And to wrap it up is a video from one of my own personal favourites (and hopefully yours too, if your ears work), demonically possessed lyrics star from out of Gwada, Saïk, alongside veteran Kaf Malbar (who apparently is from Reunion (biggup Malkijah) which I didn’t know), for ‘Dancehall 4 You’. When I ‘first’ heard this tune I was almost sure that I had heard it somewhere before, but it is new as far as I can tell and it is absolutely infectious and the video, although not spectacular, is very nice on the eyes - Very colourful (few cuties in there too and a few others who need a dermatologist). Still, you know what it’s all about - Saïk stars off pretty lukewarm (and in that respect, early in the tune is Kaf dominated), before kicking it into a higher gear and Malbar sticks right there as well, which makes for a most interesting moment on the tune. Kaf Malbar actually has a (pretty good) new album out now, ”Le Yin et Le Yang” and unless I’m a damn fool (and I just might be) this tune isn’t on there, so you already know where my mind is going as far as albums go, so I won’t even get my hopes up by actually writing it.

Video Rated: 4/5
Video - Song Link: 3.75/5

". . . The More Things Remain The Same": A Review of United States of Africa by Luciano

With all of the wonderful changes we see Reggae music going through, isn’t it kind of becoming ‘retro-refreshing’ that certain things are remaining the same and constant? Besides the tons and tons of new faces - And not only artists, but producers and labels and even big time promoters as well, we even have new styles developing and old styles being consistently taken in different directions. Of course, the prime example that I point to is what has become of my beloved Dancehall, which has basically become ‘Hip-Hall’ of sorts with the seemingly never ending infatuation of Hip-Hop music and vibes by ‘Dancehall’ producers, which has watered down the entire genre in my opinion. The faces there have changed as well. I can no longer even honestly make the case that either Beenie Man or Bounty Killer wield a larger hand than Vybz Kartel or Mavado locally at this point, because it simply is not true. In the Roots arena, while things are a bit less transferred in terms of styles, the dominate names in the subgenre cannot be listed without naming certain artists who were either toiling in COMPLETE anonymity as recently as a half decade ago, or just not even yet in the business of making Jah’s music at all at that point. So, as I said, the things which have remained present (regardless of their consistencies) can definitely be a refreshing taste of an era which is basically gone. Such an ‘attraction’ would definitely be ‘The Messenjah’, Luciano. The singer has been THE single most popular Roots Reggae singer since the 1994 death of the legendary Garnet Silk, and while you’re now going to have a hard time claiming the same thing (because of the passage of time and his own INCREDIBLE talents, I think that Tarrus Riley now occupies that position), the type of longevity achieved by Luciano in his run, and still, has been a history which belongs to the music itself and not only just the Manchester born singer. And now, although things have most certainly changed - Even to the point of where the PRISTINE reputation he once enjoyed has been disrupted due to a shocking controversy in the last year or so, when Luciano pushes a new project, to most Reggae fans of at least twenty-five years of age or so, it’s going to be a big deal.

Especially when that album comes via VP Records who always seems to acquire the best material the singer has to offer and of course with the biggest promotional vehicle to be offered outside of the mainstream for our music, they’re going to make sure it does as well as it possibly can. So, Luciano’s brand new album, ”United States of Africa” was already a big deal, just for the situations surrounding its releasing, before you even get to the parameters of the music itself. The biggest of those most certainly became the fact that the album would be Luciano’s first for yet another new producer (new for him) which, alone, is a pretty big deal, but in this case it’s not just any ‘Johnny Come Lately’. Instead, helming the new Luciano album just so happens to be quietly one of the most active, consistent and experienced names in the Roots arena today, Frenchie from Maximum Sound. Having produced albums for the likes of Jah Mason, Lukie D (more than one) and particularly Anthony B (three or four now I believe), Frenchie has definitely risen to a point in his own career where the weight that his name alone should carry when attached to a project is more than enough to grab the attentions of a great deal of hardcore Reggae heads. On top of that, he’s also done quite a few riddim albums and compilations (including one, ”Bobo Revolution Vol. 2”, which will drop shortly from Greensleeves), but still, if I’m not mistaken this album does mark Frenchie and Maximum Sound’s debut release via the flagship, VP Records. The very suggestion of Luciano working alongside Frenchie on an ALBUM and not just the occasional single here and there, is mouthwatering and although definitely unexpected (although I’m not quite sure why on my part), it is a very welcome surprise. So, if after all of that back story and back situation doesn’t make you interested (then just go up and click that ’next blog’ tab), there’s also the matter of the actual music itself and, of course, you already know what you’re dealing with on ”United States of Africa” is top notch material, but I have noticed a bit of differences in it, here and there. For some reason, Luciano does sound just a teeny tiny bit different than he usually does. I don’t know if it’s because I haven’t vibed anything new from him on this type of scale in awhile and my senses have just been readjusted because of it or it was recorded in a different way, but he seems to exhibit a little more energy at times which is a very nice thing to have happen. He just seems to be more comfortable or confident in what’s going on here, even more so than I would say he did his last two VP albums, ”Jah Is My Navigator” (2008) and ”Child of A King” (2006) and that’s not to say that this album is BETTER than those two (but it may be), but it’s something which I noticed which stuck on my attentions. There’s also the matter of the musical direction on the album - This album definitely and clearly is more filled with the old school sounds, even though it doesn’t seem to be as much as the all but forgotten ”God Is Greater Than Man” album from 2007. In this instance it just seems to be a matter of happenstance - a nice coincidence - and to no one’s surprise AT ALL (at least I hope not), Luciano, the very definition of ‘modern Reggae veteran’ has absolutely no difficulties in mixing the old with the new. Having already determined that the album is good (as if you needed me to tell you that), the question is now how good. . . Without comparing it to anything (yet), it is very good. Perhaps more importantly, however, this album is just VERY interesting for several reasons. Let’s discuss!

While the lion’s share of the tunes on the album are completely new to me, the album, unsurprisingly, is built on the backs of tunes Luciano has done for Maximum Sound over the years. As I alluded to, the label continues to remain very active and Luciano’s has been one of a few names Frenchie has been sure to link when he has new material, so it isn’t like they bumped into one another at a football match or something. The title track is what introduces the listener to Luciano’s new album, ”United States of Africa” and even though I think that there is certainly better material on the album, in terms of transmitting the message and the vibes, this STERLING tune works so well in tandem with a later effort, in my opinion. This is one of the tunes where I think he sounds as if he’s ever so slightly pushing more energy into his tones and here, it works to a nice effect. Of course the concept of the song has been explored in our music previously (Cruzan chanter Xkaliba also had an album with this same title a couple of years back), but as is his norm, you’ll NEVER hear anyone sing it like Luciano. And although I NEVER do something like this, I almost feel that I have to - Later on we run into a very bubbly tune in ‘Unite Africa’, which is, of course, on a similar vibes as the title track. This one may even be a bit stronger (although I still favour the opener), but I think that they work so well together because with the first tune, it’s almost like a repatriation message. The latter is more about - ‘Okay now that we’ve arrived, we have work to do’ - so they both work together in bringing through the proper message, I’m sure. “Babylon is my footstool” is the stirring statement Luciano makes before diving in on ‘Footstool’ and literally that alone made me smile from ear to ear when I first heard it (and the second and third times also). The tune is nearly vintage Messenjah as it calls in inspirations from the highest source possible and does so with a downright intoxicating vibes! I’m going to call it maybe the third best selection on the entire album, which is saying a great deal in this case. The third tune on ”United States of Africa”, ‘In This Recession’ may also rise to such a status, however, for me the story with this tune is just that it’s incredibly interesting and unique for Luciano. I always say that the singer is far more of a spiritual singer than a tangible one and this tune is the complete antithesis of that as he speaks on the troubles of the world economy (even referencing the nefarious Bernie Madoff by name at one point). What you think is on its way, the spiritual connect in the song, never really comes and the song stands a very big and fascinating social commentary.

Even though the album does start of quite well, there is a stretch of about seven tunes on ”United States of Africa” which really takes things to the proverbial ‘next level’ in my opinion in terms of quality. It begins with the previous single, ‘Invasion’, the album’s obligatory herbalist track. Fittingly, the tune comes across Maximum Sound’s I Know My Herbs Riddim and it speaks of just the fight that people (farmers in particular get in regards to the herb and you know that Luciano sings these type of songs pretty much unlike anyone else in the world, so you can expect something BIG. Not quite as big, however, as the tune which chases ‘Invasion’, ‘Be Aware‘, my favourite tune on the album altogether. This song is SPECTACULAR! It kind of reminds me of a Bushman song, ‘Creatures of The Night’ ( ”Signs” album) because what it is, is a big warning for righteous living and keeping people to stay far from those who aren’t quite as uplifted in their own journey. It’s also very vibrant and colourful and when you push a song with such a heavy message and one which just sounds so pleasing to the senses, you’ve won in my opinion and ‘Be Aware’ is a HUGE goal for this album. Incidentally, with that tune having set the bar SO high, a better tune to keep the standard up probably couldn’t have been chosen as it is followed by my choice as the set’s second finest selection altogether, ‘King Of Kings’. Lest you thought, from ‘In This Recession’, that Luciano was moving in a new direction, there’s a tune like this one (and pretty much almost every other one on the album) to reassure you otherwise. This tune is very interesting because what it does is, by way of certain people’s destructive acts, to lead Luciano to question whether or not their heart and their intents are in the right place as far as exactly Whom they serve (“some go to church on a Sunday, disregarding the seventh day”). I could play with this thing for a long time and I probably will - You might also because it is excellent. The next tune, ‘A No Like We No Like Them’ should probably be the oldest on the album as it featured prominently across the World Jam Riddim, Frenchie’s relick of the famed World A Music Riddim (aka the Welcome to Jamrock Riddim), the World Jam. The tune was ultimately a pretty decent sized hit for the singer and it remains a very nice and far from stale addition to this album, half a decade on. The aforementioned ‘Unite Africa’ is also in this stretch as is the very nice lover’s piece ‘Nubian Queen’ and the MONSTROUS spiritual track ‘Hosanna’, which I knew I’d heard before and upon researching it, I found that the version that I knew featured Luciano’s sweet singing comrade, Mikey General (who isn’t on this version, unfortunately). The tune is still VERY strong and one of the undeniable highlights from this album (when he jumps in to start with, “I wanna sing about the King of Kings” . . . TEARS!).

The few tunes outside of that lot and the beginning are also pretty good. The excellently vibed ‘I Will Follow’ (which almost certainly features Dean Fraser on saxophone) is probably the best of them all. This tune is another piece of classic Luciano material, which is sure to please older fans of the artist (and I stress that this one definitely sounds like one from an older batch than, at least presumably, most of the selections on this album). ‘Moving On’ may very well be a remake - As if the classic riddim weren’t enough, I found myself either just doing an excellent job of anticipating what was going to be said, or just knowing the song already for some reason or another. This tune, I’m anticipating growing on me and maybe even to a large degree which will be saying something DEFINITELY as I already enjoy the kind of personal and reflective type of vibes (and despite the general ‘mood’ of the song, I definitely feel it to be somewhat melancholy and stoic and that’s not to the detriment of it in this case). The high-stepping ‘Murder & Thief’ is a song I’m not terribly high on right now and I don’t really know why because it’s obviously very good and it also features Luciano doing a bit of deejaying to boot, which is rare and he does it well in this instance. So I’m going to predict that by time you read this, I’ll be pretty impressed by this one and you will also be. I’m also not very fond of ‘Only Jah Can Save Us Now’ and this one might stay like such. It’s just a testimonial type of song (acoustic of course) and it doesn’t really go anywhere after that. It’s the type of tune we’ve heard time after time from the singer and so much, in fact, that you start to look for something to differentiate it from the pack and I didn’t find anything here, but you may, so definitely give it a few opportunities to grab you up. And lastly, the final tune on the album is sure to catch attentions as it just happens to be the sole combination on ”United States of Africa”, ‘Another Terrorist Attack’, which pairs Luci up with the big chanting Fantan Mojah. You know very well I would have criticized the album had it been sans such a tune and I’m happy that I don’t have to particularly because (like a reverse of ‘Hosanna’) it seems to have been redone with Mojah on board because I knew it as a solo track on Maximum Sound’s EPIC Zion Train Riddim. Mojah only adds to a tune which didn’t need any help (but got it anyway) and makes a formidable pair with The Messenjah that I hope to get to hear again some day. The tune itself makes a pretty powerful statement and it’s one which is strong enough to conclude this even stronger album on to my ears.

Overall, as I said it definitely sounds slightly like a more enthused version of the singer, which goes to add to my notion that this one is easily one of his most interesting and colourful releases to date. How does it stack up to the others? Right now (albeit VERY fresh in my mind) I have no problems calling ”United States of Africa” one of Luciano’s 4-5 best albums to date and you know he has like forty, so that’s well saying something. Typically the singer does his best work for VP so that next great album (whatever it was going to be) would almost certainly come that route. I’m going to recommend this one for more seasoned Luciano fans (who hopefully will agree me with in the slight change variation) (and thus confirm that I am not insane) almost strictly who’ll absolutely LOVE an addition to your collections from the singer which comes with a twist or two, but by its end proves to be yet another stellar release.

Rated 4.35/5
VP Records
2010
CD & Digital
{Digital available now. CD Releases August 3}


Luciano
Luciano @ Myspace
{Album officially releases today, Digital and CD}

Free Stuff Vol. 8: Bizzarri Records Presents The Everywhere I Go Riddim

Yeah. Back again is the biggest and baddest label from out of Italy, Achis Reggae favourite, Bizzarri Records, providers of 2009's biggest moment, Lion D's "Burnin Melody". They seemingly have not the slightest care at all about money because everything they do, they seem to just kind of give away and this time is no exception as they now deliver the EXCELLENT bounce that is the Everywhere I Go Riddim. Still going through it as of yet, but highlights thus far include efforts from Ras Tewelde with the title track, Miss Triniti, Miss Linda and of course the Lion himself (and I do have to admit that I'm not AT ALL a fan of Dr. Ring Ding's (and I mean NOT AT ALL), but his tune, 'Rub A Dub Styler' is pretty good as well. But, don't take my word for it, have a listen for yourself and biggup Leo & Bizzarri everytime.

Download Here

Bizzarri Records
Bizzarri Records @ Facebook

{Posted with permission from Bizzarri Records}

Stuff: Shall Break Every Chain

Yow!

It's August! The second of the month means that I am twelve days away from entering the final year of my life when I can call my self a twenty-something year old man, which is, of course, most fucked up. I never wanted to get old and 30 definitely qualifies, but unless I find a way to get myself dead in the next year and twelve days (and I'm not planning on it, but shit happens), that's exactly where I'm headed unfortunately (the Mrs. is already there, she turns 30 in four months and fifteen days). So, yeah, that's disgusting, but why dwell on the negative when instead we can put a cap on the wonderful month that was July 2010 and although definitely fret the hell out of this month, still look forward to the big work to be done. What big work? Listen me.

• Reviews: Okay, because they officially delayed Luciano's new album "United States of Africa", I will be reposting it tomorrow. I will take down the old piece and the count won't change because of it, so now you can run out and get it when you see it up yeah. Besides that, later this week I will be dealing with Maikal X's new album "Genesis", already at work on that (got REALLY into a couple of nights ago and just couldn't stop writing for awhile). And in August we'll also hopefully be going back and dealing with a few compilations new and old, so expect "Bobo Revolution Vol. 2", The Repeat Riddim, um Necessary Mayhem's "Digital Acoustics" and a few other pieces maybe. It seems to be a less hectic month in terms of releases than I expected (particularly when that 'new Etana' turned out to be a digital EP and not a full blown album as originally thought (and maybe the same for Duane Stephenson as well). Oh and I might even go back and deal with the DNA Riddim album and some other Dancehall stuffs as well yeah. Oh and Ras Midas MAYBE and Clinton Fearon too, because everyone has been telling me how great it is and I haven't even dug into it yeah (but that first tune, whatever it is, is DAMAGING!). And besides that WHO KNOWS what else these wonderful people who send me music have up under their sleeves (Skinny???) (Methi'S!).
  

• While I may just go ahead and not write for my earthday, three days later is of course an even more special occasion as we celebrate a 123 for The Most Honourable Marcus Mosiah Garvey and last year I pushed what remains one of my more pleasing and noted posts 'Texting Garvey: The Influence of Marcus Garvey In Modern Reggae', so hopefully I can come up with something just as nice (if I do say so myself), maybe even a sequel of some kind.
  

• I got an email maybe two weeks ago about an album (I'm not going to tell you what it is) that I said I was definitely going to review (and I was), but hadn't gotten to yet, because it turned out to be pretty . . . mediocre. I will review albums I don't like, but I like to have passion about why I don't like it, otherwise it's pointless to write and this one I just . . . I'm disappointed and I don't like it, so I'm not going to write about it. HOWEVER, I'm thinking about starting a new series (yes, another one) regarding albums, from various times, that I just don't like. Perhaps the more controversial, the better, but maybe I'll do such a thing later this month.

• I'm still trying to think of a nice list, still haven't gotten any decent ideas, but I'm still working with that. And of course the usual stuff. I'm probably going to do a Video Drop this week. People have been making quite a few apparently and two weeks on and I'm a little behind. Still have that lyrics feature I mentioned last time to work on and everything else you've come to expect, so hopefully a fun month yeah.

• Oh and I did forget that we might have two interviews. One which I already submitted for response to Camille from United Reggae (biggup yourself Camille, everytime) and a next which I'm mulling over. Not going to tell you about either one of them though, but both are big (even though I find that I just don't like doing interviews after all this time) so there yo go.
  

As far as what's been going on, definitely just a couple of days on, I'm getting the most response from the review for Toussaint's "Black Gold". Got two comments on the actual page (including one which apparently comes directly from Toussaint himself (I like how he said it seems like I listened to every word. Of course I did, we always do) (and Bredz just told me he tweeted about it as well) (and biggup Bredz just sent us our mail last week, nice releases in there). And I've also taken maybe five emails now about it, so just remember it releases digital on August 10 and physically two weeks later and I'll probably be dealing with it again for UR as well.

I also wrote the article 'Without H.I.M.' that got a nice bit of response and actually started a somewhat intense conversation with a reader (who supposedly has a website, yet he won't give me the address) which is nice though (I always go back to Ras Iba's tune, 'Warrior' from the "Matsahyel" album, where he says, "I've got to spread a message that a consciuos mind is our Jah given right - A message to my people that we can disagree without having a fight" YEAH!) and ultimately stuff like that do stand best, perhaps, as discussion pieces and reference aids so they're here yeah.

Did a lot of Soca this month and justly so, so we got some serious feedback from Reggae heads who're kinda/sorta starting to open up to Soca which is, as you know, something that I LOVE! So we'll definitely be keeping up with that in the future, hopefully El-A-Kru drops an album for 2K10 and a few others that we can deal with and if not, it's nothing a vault review for a Destra album wouldn't cure.

See I'm writing this after everything - But I have to say THANK YOU to my new friend Akeunde from Jahlight, Trini label, who told me that Royal Dainties, who I just told you about, recently changed his name officially to Mr. Royal (Mr. Marlon Asher and Mr. Royal). I like the new name, of course he's a bit advanced in his career to do it, but no complaints here and I'm also not going to complain about the fact that Akeunde then gave me a new tune from the newly christened Mr. Royal and it's just part of a pack which I hope to tell you about in a little while yeah.

I think that's it yeah? Biggup everybody. Link me at AchisReggae@Hotmail.com for stuff and definitely for Sunday's big big tunes if you have a thing in mind. And biggup everybody. Biggup Susan from Zojak, going on European tour with Anthony B as Tour Manager for a month and hopefully Bobo gets in the studio for an album when he returns. Also biggup my friend Darryl from Lion Zeal who just got married to awomanwhosenameIforgotbutI'mcheckingnow Steffie. Biggup Jeff, whose link I hope I remember to add and if I was smart I'd do it right now . . . Yep. And everybody else, you know who you are, JC, Dale Cooper, Nico, John B, Asher . . . blah blah blah blah.

I'm leaving before I think of something else. Need a song, had a nice one in mind when I started, but I've since forgotten (been listening to Clinton Fearon from since I started writing this basically and it's NICE) so uhmmmmmmm, let's see what I come up with -
Big big artist, Mazaya with 'Natural Spices'

Pictured, The Lion

Biggup all

Leo