'Back To Normal': A Review of "Strictly The Best Vols. 42 & 43" by Various Artists

Definitely going last and seeing what all of the other ‘competition’ has to offer has its advantages. In the general sense, it obviously gives you a more direct objective in terms of what you have to do better than and what you cannot possibly do worst than and, of course, when you speak of sports and the likes (particularly sports), that can give someone a potentially very large edge. In music and most forms of entertainment, what it does it kind of give you your own ‘audience’ as your product/event/whatever becomes the most anticipated of that time and when you do that in a given year, at the end of that year, it can really carry quite a substantial ways into the following year as well. In Reggae music we have a few significant year-end type of occurrences which typically standout amongst the rest. Certainly no one will EVER forget that on Boxing Day, each and every year, there is potential madness and skullduggery afoot in Portmore at Sting (although said “madness and skullduggery” this year will most unfortunately not include a clash) and there’re a few other events as well. On the album side, Lloyd Brown has taken care of his obligations for us this year with ”Cornerstone” and we’ll see him again in about eleven months and, as is customary, next up is one of the highest profile compilations of the year, ”Strictly The Best”, also from VP Records. Outside of ”Reggae Gold”, ”StB” is probably the biggest named annual release that we have and it’s also one of the most interesting as it comes in pairs . . . You REALLY should know all of this already, so let’s get into the specifics. This year’s installments, #’s 42 & 43, respectively, do come with a bit of a personal twist for me because I was rather pleasantly surprised by last year’s #’s 40 & 41. Typically, while this series carries more of a hardcore fan’s vibes than does ”Reggae Gold” (that isn’t hard to do), it usually only does so slightly and I think that last year’s editions (particularly #42) were some of the best in some time. So, with just a tiny bit more lustre for people like you and me, we roll into this year. How does it all workout? Well, while it isn’t necessarily a ‘down’ year for the ”StB” project, it certainly isn’t as good as last year’s versions, but it does offer enough pieces to get more than a glancing attention from most fans.

Strictly The Best Vol. 42

The first thing that I noticed about the even number installment of this year’s ”Strictly The Best” set from VP Records was how much it seems to almost diametrically differ from last year’s [#40]. A year ago I was so happy to see just how much of a ‘new push’ there was in terms of who appeared on the compilation. Names such as Maikal X, Sherita, Jah Vinci, Million Stylez and Hezron certainly weren’t (and still aren’t) household names to any degree (and the average age on that one, with people like Gappy, Etana and Busy also on board must’ve been a lot lower). This year, while we still have such artists, they’re older people and perhaps that is some type of sign as far as the intended artists this year.

Whatever the case, while the artist who stars on the first ‘show’ on ”Strictly The Best #42” isn’t an old man, the thirty-two year old Jah Cure isn’t a rookie, but he is joined by one, (the incredibly hard to spell) his SoBe Entertainment labelmate, Phyllisia, on their well traveled but still strong single, ‘Unconditional Love’. I’m not exhaustedly tired of this tune just yet and if you haven’t heard it yet (. . . What is going on with you???), it’ll do wonders for you and if you take time and the ‘quantity’ of the tune, it’s probably one of the best songs here actually. Next in is a returning and very impressive Courtney John on ‘Love Is’. I always say that I need to pay more attention to this sweet voiced singer, but the fact that I haven’t begun to do so just yet always makes me happy to see him on compilations like such because even if it’s a big tune (and it is, as it is almost always) I’m not tired of it. Such is the case here with a song which is CLEARLY one of the best and should you call it the supreme tune here (and, thus, on both of the album’s), that’s fine with me. Lastly for the opening lot is a singer who is also not an old man and fairly new to this series (I think this is his first song on one of the "StB" albums), but one who is already a veteran, 2009’s BIG breakout name, Stevie Face, with ’In The Living Years’ from his outstanding album, ”Tell It Like It Is” from last year. It would have made more sense on ”StB40”, but I suppose ’better late than never’ applies on this song and should he remain active, you can probably reserve a spot on future installments of this compilation for Mr. Face as well (and hopefully VP will pick up one of his albums at some point also).

As I said, 2010 appears to be the ’retro-year’ from ”Strictly The Best #42”, so you can expect a whole heap of familiar names throughout and the ones which aren’t too familiar aren’t unfamiliar because of their lack of time in the business either. For example, there is a chance that you may not be very well acquainted with the music of veteran Ed Robinson, but he’s been around for quite awhile and this year he struck up with arguably the biggest hit of his entire career, ‘Our Heroes’ which, to my ears chimes in as also the biggest tune on this album (it’s the best song on either album actually). The tune takes the listener through every corner of the history of Reggae music and for me, it has become such a powerful and BEAUTIFUL song and I was so happy that VP placed it on this album in anticipation of Robinson’s own album supporting the tune which is scheduled for early next year. HUGE HUGE tune! Similar to Robinson’s own is the case of Andy Livingston, a Reggae veteran of well over a decade at this point, but one who may not be too well known to the masses. He also had a big year which was boosted on the strength of his big single, ‘My Promise’. I don’t particularly LOVE this song, but I’m well into the tiny minority on that so, definitely give it a minute to grow on you before casting it aside because it’s done a heavy amount of damage in 2010. And I suppose I could throw in this same string the far better known George Nooks who comes with a remake of ‘If You Don’t Know Me By Now’ as well as Fiona who brings back Stevie Face, for another remake, ‘Baby Come To Me’. Both of these tunes, sonically speaking, sound excellent, but I’m not too much of a fan of either actually and they definitely fit more precisely on VP’s fine ”R&B Hits Reggae Style” which dropped a fourth installment back in August on which the latter of these two tunes appeared. Of course, on the completely opposite end of that is a neophyte, by comparison, Tessanne Chin who returns to a VP album with ‘I Want To Know What Love Is’ which is another remake of a song that I’m entirely too lazy to look up. I don’t particularly like this one either, actually, but I have such a GREAT feeling about Chin these days and I’m almost certain that either 2011 or ‘12 will see her doing big things on an international level, so stay tuned.

Apart from those names, the balance of ”StB#42” is full of artists who’re either very current or just very familiar and popular on the VP circuit, historically. Perhaps none are more popular than superstar Tarrus Riley who offers up ‘Superman’, the latest single from his 2009 album, ”Contagious”, which is a song which I enjoy more and more every time I vibe it. Of course, you knew Gyptian would be popping up in one way or another and here he is with ‘So Much In Love’. I don’t enjoy this one as much as I once did, but the ‘saving grace’ of the tune is and probably always will be the fact that the Jon FX licked riddim is absolute GOLD. From the current poster boy to the former, chasing Gyptian’s tune, sequentially, on ”StB#42” is Sanchez who returned with his first album for VP (or anyone else, for that matter) in a very long time early this year, ”Now & Forever”. His tune, ‘Feel Good All Over’, unsurprisingly is a remake of an older one, but it is VERY nice and the best such tune on the entire album perhaps. And also present is an artist for the future, the always OUTSTANDING Romain Virgo, with ’Dark Skin Girl’ from his self-titled debut album from this year. This song isn’t far from being HUGE and it is clearly one of the highlights of this piece. If Sanchez’ isn’t the most VP-familiar name on this album then that distinction goes to Gramps Morgan who, as a member of Morgan Heritage, has probably appeared on dozens of their albums and compilations over the years. Now still working on his solo career, he gives us the excellent ‘Come Back To Bed’ and it fits in so nicely (as it always does in his case, I really like this song). I can’t say the same about ‘Butterflies’ by Gappy Ranks, however. While it isn’t horrible, I’m just not quite sure what to make of it and I never have been.

And finally, joining Fiona and Tessanne as the female representatives on ”Strictly The Best #42” are a couple of VERY talented ladies. First is Alaine, now out all on her own, and scoring hits such as the angelic ‘You Are Me’ which is probably my second favourite tune on this album altogether. And fittingly closing the show is the legendary Marcia Griffiths who reminisces of times gone by telling us about ‘A Beer and a Girl’ over Penthouse’s so nice Big Stage Riddim. Between her tune and Ed Robinson’s I think we have that base well covered and simply adding Griffiths’ name to a project can inject some always welcome CLASS as well.

Strictly The Best. Vol. 43

Given the state of ‘Dancehall’ today (I.e. not really being Dancehall but . . . Something else), I wasn’t too hopeful about what we’d get on the odd numbered edition of ”Strictly The Best” this year, even before seeing the tracklist (and that’s generally the case for any non riddim album Dancehall compilation from me these days). However, although this release isn’t what I’d call stellar by any stretch of the word, I was pleasantly surprised to some extent.

Jr. Gong and Nas, having saturated the hell out of 2010, certainly aren’t going to surprise anyone by popping up on a compilation this year and the two, after having also appeared on ”Reggae Gold 2010” in June, are back to open up things on ”Strictly The Best #43” also. Their tune is the well worn ‘Land Of Promise’ which mines an old Dennis Brown tune (the ‘Crown Prince’s’ vocals are still intact) and . . . Yeah, you know that one by now. I don’t need to say anything. Okay, it is a big tune. I will elaborate more thoroughly on the next tune in, ‘How We Do It’, which links Bounty Killer and Ele across ZJ Chrome’s Mad Collab Riddim. This tune is part-WICKED and part-OKAY. The OKAY is Elephant Man who offers his usual flare, but Bounty Killer is downright DOMINANT on this track with the flow. Even these days, certainly past his prime years, when the Killer locks in on a riddim and is FOCUSED, no one can do what he does with the big voice ANGRY style of deejaying. And where you have Bounty, you must (you don’t have to, but they just do that) have a Beenie tune somewhere and on ”StB#43”, Beenie represents with one his biggest songs from 2010, ‘I’m OK’. I love this song and while I haven’t had the opportunity to mention it much this year, I’ve been very impressed with Beenie Man’s work this year and this tune was arguably his best, so definitely check it. And speaking of personal bests, I’ll also mention the fourth tune on the album, ‘Nah Sell Out’ by Khago, which rides the same Seanizzle built One Day Riddim that Beenie’s tune rode in over. I’m still pretty unsure of what I actually think of the funny voiced Khago, but he definitely shows moments of brilliance occasionally and this offering may just be his most intelligent showing to date (and good luck getting it out of your head also).

The biggest surprise on ”StB#43” came in the form of Achis Reggae favourite I-Octane who gets in two different tunes on the album, neither of which, musically, probably ‘deserve’ to be on this album (in terms of style). The first is the most fitting, ‘Puff It’ on the Orange Hill Riddim. It’s not one of my favourites from Octane, but it’s still pretty good actually and with that riddim (which is just STRANGE), I’m pretty sure it’s going to catch some big attention from some who haven’t heard it yet. And Octane also returns to wrap up things on the album with ‘Think A Little Time’, which is a song that I really do like, but isn’t Dancehall or even that freaky shit people try to pass off as Dancehall these days. I don’t why it’s here actually, but I’m not going to complain about good music and this is a good tune and one of this releases best to be perfectly honest (albeit out of place) (hopefully VP is trying to tell us something) (album!).

“Dem kill mi friend along di way
So bloody trigger spill back
But no!
I just chill back
An hold di meds a hilltop
Criminal dem waan fi tun di I inna, I will not
Marcus Garvey words dem I fulfill dat”

It may, in fact, just be the best song on the album, but thankfully my sanity prevents me from designating it as such. And the other surprise is the showcase of the MAD Basik Instink Riddim with a couple of tunes, ‘Wifey Anthem’ and ‘Video Light’ from Taranchyla and Delly Ranx & Froggy, respectively. Neither song is much, but that riddim is fucking ridiculous and probably has enough PURE Dancehall vibes in it to make up for the much misplaced ‘Think A Little Time’. And Charly Black shouldn’t be a surprise at this point, but he isn’t very familiar and I suppose we can honestly still call him ‘up and coming’. His tune on ”StB#43”, ‘Bubble Again’, is and always has been SERIOUS and in terms of actual skillfully done and deejaying it’s one of the best tunes here and in terms of anything actually it is the same case. Black is a big artist so keep an eye on him.

Apart from that, you pretty much know what to expect here. So let’s cover the bases. Vybz Kartel??? Check. Kartel, of course, gets two tunes and they’re actually two of his better efforts of 2010, ‘Better Can Wuk’ and the Smokin’ Riddim laced ‘Dumpa Truck’. They’re good songs, I prefer the former to the latter (‘Better Can Wuk’ is REALLY good) and that’s what I’m going to say, I’m sure you can find a million sites with people declaring them the greatest in the history of sound, so happy hunting. Mavado??? Check. He also gets two spins. His first, Di Genius produced ‘Nine Life’ was a very big hit from him earlier this year. I’ve always found that tune to be decent, nothing too special on it, but I’ve heard it trashed a lot over the months and it is not rubbish to my ears. And the next time we hear from Mavado, he’s with the artist he essentially ‘replaced’ as THE Dancehall singer of the moment, Tessanne’s Brother in-law, Wayne Marshall, on ‘My Heart‘. I don’t like the song, never have, but I can see a value in it and with anything regarding Wayne Marshall - Unless it’s six years ago (and it isn’t) and he’s on a track with Kartel (and he isn’t), I’m probably not going to enjoy it, so have a listen for yourself. Don’t take my word for it in his case. Sean Paul??? Yep. He’s here too with his own tune on the Smokin’ Riddim, ‘Turn Me On’, which might be the best tune on that riddim. He gets a cool little mix of the riddim and he absolutely dazzles right over it with old school style of Sean Paul deejaying. And of course Gyptian is here again with his bubbling ‘Nah Let Go’, as is Busy Signal with the infectious insanity that is ‘How U Bad So’ from the infectious insanity which was his album, ”D.O.B.”.

And finally, with all of that being said, hopefully you knew which was my favourite tune on ”StB#43” because Assassin is on the album after all. Anytime the man does a track these days, I’m WELL impressed and I’m never more impressed on this album than on the Stephen McGregor vibed ‘Hand Inna Di Air’ from THE MOST TALENTED PURE DANCEHALL ARTIST IN THE WORLD - Assassin . . . And it isn’t even him at his best.

Overall, while I’m not anywhere in the neighbourhood of being as enthused about this project, in full, as I was last year, I’m not disappointed either. In cases like this I always start to think more could have been done and I would’ve liked to see the youth movement of last year continue in the instance of #42 (especially via bringing back Hezron who has been flaming in 2010), but they’ve done very well with bringing in Ed Robinson. As for #43 (and I don’t know if I said it, but #42 is STILL the better of the two, as the even numbered edition usually is, but maybe less so this year), it is what it is. Dancehall is SO fair-weathered these days that you get the good with bad (probably more bad) and the album reflects that. Still, it does get good marks in the cases of Khago and I-Octane (Bramma VP! BRAMMA!). Altogether, I don’t have any problem recommending this one to newer heads in the physical. You can pick this one up and you might actually enjoy all thirty-two songs. Older fans, you fly down on this digitally and pick and choose what you want. 2010 isn’t a great year for ”Strictly The Best”, but it’s always so nice to see coming in and we’ll definitely be looking for it in 2011.

Rated: 2.999999/5
VP Records
2010
CD + Digital VP Records

Check It Vol. XX

Beenie Man EP [Tad’s Records/Zojak Worldwide]

First up this week is a piece which I certainly should’ve mentioned before as I kind of/sort of knew it existed, but didn’t actually have it (and I still don’t, but definitely the time is past due). For me, in terms of actual skill in Dancehall Music, at the top of the line 2010 has been all about exhibitions of Assassin, Busy Signal and Beenie Man. Certainly there’re others, like the next gentleman I’ll tell you about who have big years, but in terms of the actual craft of making Dancehall music, those three have been at the top (and you can find somewhere to put Bramma in there down the line also). Of course, the standout element of that trio is Beenie Man who’s been around from absolutely forever and is having a year which seems to signal that maybe the longest prime in the history of the Dancehall is still ongoing. This WONDERFUL release is a catch-up of sorts if you haven’t been paying a great deal of attention Dancehall this year or so (and I don’t blame you). The release is highlighted by ‘I’m OK’ and ‘I’m Drinking Rum & Redbull’ and it’s just fun fun fun from Beenie Man and hopefully 2011 will bring up that next LP.

Digital

Vybz Kartel - “Dancehall Hero EP” [ZJ Chrome]

Next in is the always active Vybz Kartel who comes through with an EP built around his latest big hit, ‘Dancehall Hero’. The tune is basically a very BROAD slap to those who rather routinely call his name to catch a hype (and do so at a nauseatingly active rate) and while he doesn’t call names (at least I don’t remember him doing so), if you’ve been paying attention (and you haven’t), you pretty much have an idea who he’s talking about. I kind of like the song, I like parts of it, but I can’t help but think that if he found himself in this situation about five years ago or so (and he wouldn’t have, because he would’ve responded to everything), this song would have been fucking ridiculous. On the EP release fans can get the tune, edited and raw as well as another recent piece, ‘You Mi Need’, also in two forms.

Digital

The Winnings Riddim [Di Genius Productions]

The Winnings Riddim is the latest offering from Stephen ‘Di Genius’ McGregor and although it’s a bit more ‘electric’ than I generally like . . . I do like this one. I do have to say, however, that in terms of riddim albums, this one isn’t GREAT and I think that, in general, McGregor’s riddim albums have kind of plateaued over the last couple of years or so (with only a couple of exceptions). But who cares? It’s Di Genius’ new riddim and that means that you’re interested. With him, McGregor has brought his usual cast of characters such as Mavado, Aidonia, Laden, Bramma, Busy Signal, Beenie Man and of course Chino. Surprises include a very nice tune from Flexxx, going all Peter Tosh on the people with the wicked ‘Stepping Razor’, a big and unexpected combination between T.O.K. & Wayne Wonder and a most unfortunate appearance by the worst named man in the world, Chi-Ching-Ching.

Digital

Congo Judah - “The Crown” [Judgement Yard/David Ghetto Records]

Hopefully I’m not the only one who remembers from a few years ago when Sizzla’s website for Judgement Yard was going strong and doing big things. Nowadays, it’s pretty much ran its course, apparently, but it still serves well as an archive of source. Anyway, one of the coolest things about it, in theory at least, used to be the fact that it was the only place online where you could get albums from some of Sizzla’s protégés, such as Joseph Shepherd and Congo Judah. Judah’s album, ”The Crown”, was the first of the lot, if I recall correctly, and now it is available through most of the digital channels, now a few years on. You might notice that I said, “in theory” when thinking of how cool it was when you could get exclusives off the website - Why did I say that? ”The Crown” is REALLY REALLY REALLY bad. It is AWFUL! So trod carefully my friends.

Digital

Commander Messiah - “Cry of The Sufferer” [Vizion Sounds Records/Zojak Worldwide]

This most most interesting release kind of caught me by surprise I have to admit. Commander Messiah’s is a name which I’ve definitely heard before, but I don’t know that I knew the nice singer from out Ghana actually had an album to his credit. Well, not only does he, but it came (I’m thinking this one may be a couple of years old now) via one of my less-active favourites, Vizion Sounds from out of Guyana and the UK. The album, ”Cry of The Sufferer”, which sounds pretty damn good to my ears (trying to get a copy of it now) is currently available now digitally. Certainly it isn’t the greatest thing in the world, but do give it a quick listen.

Digital (a CD probably does exist also)

“King Juggler” [Vizion Sounds Records/Zojak Worldwide]

Also jumping up this week as we stomping through the back catalogue of Vizion Sounds is this very familiar compilation that I definitely do remember from a few years back, "King Juggler”. What happened here was that the album was essentially a riddim album for Dean Fraser’s version of the old Three Blind Mice Riddim and, looking back, there was some TRULY big material here. Of course, with names such as Tarrus Riley, Duane Stephenson, Luciano, Louie Culture, Gregory Isaacs, Anthony B, Natural Black, Ras Shiloh, Big Youth and surely First Born, it didn’t hurt with stockpiling this EXCELLENT riddim album.

Hard to find CD & Digital

Gabriel aka Levardes - “The Rebirth EP” [Loud Disturbance/Zojak Worldwide]

I remember being so impressed by Gabriel a few years ago from before he mysteriously disappeared, only to return a little while back for seemingly no other reason than to detonate on Merciless’ career. So, technically you could probably say that I’ve been looking forward to an album . . . like thing from him for nearly a decade and here it is, an EP, ”The Rebirth”, from the suddenly very digitally LOUD, Loud Disturbance Records. The release features seven tracks from the DJ, including the well received ‘Check Me’ on the Karmasutra Riddim and the all around WICKED ‘Police Harassment’ on the relicked Duck Riddim. Certainly it wasn’t worth the long wait, but Gabriel continues to be most very interesting after so many people, including me, gave up on him a looooooooooooong time ago.

Digital

The Police Riddim [Own Mission Records]

I’ve fortunately been dealing with the latest from Frenchie label Own Mission Records, the Police Riddim, for a week or so now and I’m definitely well impressed just as I was not too long ago when the same label reached with the nice Bun Up Riddim (which birthed ‘Nah Go A Jail’ from Echo Minott, one of my favourite tunes of the year). While Echo isn’t to be found here, on the whole, the lineup on the Police Riddim is certainly the better of the two and some of the best work done by the label altogether in compiling talent. Voicing this ’moody’ composition are Pressure Busspipe, Cali P, Straïka D, Chezidek and a BIG combination featuring Gwada all-star Tiwony alongside the up and coming Mystikal Heights from out of St. Lucia. Also, longtime fans (of any genre) should recognize the ever present voice of Hip-Hop legend KRS-1 chiming in here and there as well. Very good set.

Digital

Black Lion - “A Better Place” [Black Lion Music/Zojak Worldwide]

Watch me here - I saw this one on a list sheet and it stuck out (amidst a whole heap of material which would normally be far more visually attractive to me, but I’ve known about Black Lion for quite some time now and he is a big artist and a very talented youth. Now, that isn’t to say that you’re going to enjoy EVERYTHING from his debut (and to my knowledge only) album, ”A Better Place”, it certainly does have more than its fair share of soft spots, but to my ears, they’re outweighed by the good. What is good here is the highly addictive and just GORGEOUS big single from awhile back, ‘Push Lady Push’, the big title track, ‘What A Gwaan’, ’Too Late’ (big tune), as well ’My Love’, a combination featuring fellow Beres Hammond disciple, Ginjah. So, don’t expect the greatest and remember I never told you to, but expect a decent vibes throughout.

Digital & Hard to find CD

The Jah Love Riddim Vol. 1 [Ranks Productions]

Should I go into how much of an obvious lack of creativity must be involved in strumming up a riddim and then calling it the Jah Love Riddim??? Normally I might, but the label is called Ranks Productions, so apparently naming stuff isn’t their strong suit. Fortunately, Tony Ranks and company at the label is pretty damn good at making music and the actual riddim is pretty good as is their taste in artists for the most part. [Lady] Spice’s name highlights a very eclectic group which also includes Natural Black, Lukie D, Tyrical, Louie Culture and Red Roze. So, yes - We’ll forgive them for drawing Danny English.

Digital

“Fully Loaded” & “Beat For Beat Vol. 1” [Mr. Roots Productions/Homebase Music]

And finally I close this week with a couple of pretty new Soca releases from Mr. Roots Productions and Homebase Music from out of Grenada which have thankfully gone digital and have immediately strengthened the world of digital Soca music. The first is one which I covered last year, ”Fully Loaded”. Unfortunately the digital release checks in at only ten tracks, which is half the number on the disc, if I recall correctly, but don’t let that stop you from picking up big tunes from the likes of Machel Montano, Patrice Roberts, Mr. Vybe & Mr. Killa, Mr. Vegas and Skinny Fabulous and Kage who was very impressive with the FUCKED UP (!) ‘Colours & Bumpas’ (be very very careful with that tune).

The other release, ”Beat For Beat Vol. 1” features two riddims, the Body Move and the Mango Seed. Here, listeners can find the likes of Patrice Roberts with the Dancehall-ish ‘Give Him’, reigning two time Antigua Soca Monarch Tian Winter and Mr. Dale on the Body Move, while Macka Diamond, Ziggy Ranking and Problem Child carry the Mango Seed.

Digital {Fully Loaded On CD}

Beautiful Tunes #38

Yep! Don't know which week this is let me check, I think it's #38 . . . Yes it is. Anyway, this week we have 3 familiar names, one VERY familiar, one familiar to me, but not to you and one which is pretty active around these parts and is, predictably, most timely as well. No more delays, let's go.

Okay so, this first is a one which I apparently inspired by posting all of that damn Soca. MY OWN FATHER checks in for the very first time (I THINK) this week with a tune which he told me about when I talked to him a few days ago, 'Heroes' by the legendary Denyse Plummer. He has just recently found the everlasting joy that is YouTube and he said after seeing my own drops, he was confused because he only thought I did Reggae Music. No, we do everything around here old man so, he said he'd suggest a favourite of his. This one isn't too old, if you ever see my Father's collection there is a TON of OOOOOOOOOOOLD Reggae and OOOOOOOOOOOOLDER Calypso. But here this one is and even if you don't like Calypso (and you probably don't), listen to what she's saying. Big tune ("Always wait until the heroes dead to put a crown on their head") and apparently it netted her a Monarch title about a decade ago as well - Thus the performance.

Next in is a tune from an actual friend of ours, The Missyl [pronounced 'missile'], originally from Bonaire, who is eternally trying to get her career started as a Deejay (and she actually has some talents, not the most consistent person in the world, however). Anyway, we had lunch (again) with her on Tuesday and I showed her my blog and she said she had a tune in mind that I wouldn't really like, but would make me smile and she got it full-on. Her suggestion was 'Smile' from Koyeba. NOW! I can listen to this song, but it isn't a great song, clearly. HOWEVER, the tune plunders the chorus from a Sizzla song, 'Show Me That You Love Me' and it's nice and it IMMEDIATELY made me smile. So biggup our friend and biggup Koyeba, while I don't love this tune, I am a fan of the boys from Suriname.

And lastly we have a very very predictable suggestion. A little while back I told you about our Artist of The Month of November, Jah Turban who was in the process of making quite the name for himself on the Danish Reggae scene - And of course we just happen to have a reader from Denmark, via the UK, Johnathan, who, after seeing that I did that, began to send me tunes from random Danish artists. The best of the lot was Wendy Wonder and the best of her own lot (maybe not the best, but the most attention-grabbing) was yet another tune from the obviously MASSIVE Alis Riddim, 'Wake Up'. I actually did know about her and it's kind of funny how it all worked out behind the scenes, but definitely keep an ear out for Wendy Wonder (sounding kind of Sara Lugo-ish) and if you haven't figured out just yet - Yeah. The Alis Riddim - Do that.

I'm pretty easy this week, because I've had a tune in my head from my Mother's birthday and it's one which hasn't been stuck in there in quite some time, so I think you'll like it too (if you don't - BE GONE!). It's the Killer with the masterful 'Miss Ivy Last Son'.

• Reviews this week for the new "Strictly The Best" albums (which is almost done and probably the easiest review I've written this year). And hopefully Jahdan's "Babylon Nightmare" as well.
• Link me at AchisReggae@hotmail.com to participate on 'Beautiful Tunes' next Sunday or any Sunday thereafter
• Biggup Nico everytime
  

Completely Random Thoughts 22: Da Grammys

Okay so, earlier this week the nominees for the 2011 Grammy Awards were announced and (on the recommendation of a reader), I thought that I’d briefly take a look at the nominees in the Reggae category and give my thoughts on them and the award in general because I haven’t really done any thing like this yet and I do very much have a few strong opinions. First of all, however, the nominees for the 2011 Grammy Award for the Best Reggae Album are:

• “Before The Dawn” by Buju Banton
• “Revelation” by Lee ‘Scratch’ Perry
• “Isaacs Meets Isaac” by Gregory Isaacs & King Isaac
• “Legacy: An Acoustic Tribute to Peter Tosh” by Andrew Tosh
  
• “One Pop Reggae” by Sly & Robbie
  
• “Made In Jamaica” by Bob Sinclair and Sly & Robbie
  

My thoughts. If you read my work to any degree, you’ll know that I almost never say such things, but in my opinion, of he six nominations, four of them are BAD albums. I mean they’re really bad. The only two which aren’t, Buju’s mediocre and increasingly worsening ”Before The Dawn” and Sly & Robbie’s ”One Pop Reggae” compilation, which was pretty good but probably not good enough to make my (or one else’s) “Best Compilation” list for 2010, certainly aren’t GREAT by any means. But are you really surprised?

The most obvious thing that came to my mind when I saw the nominations, even though there’re six of them, is PREDICTABLE. There is nothing here which comes as a surprise really because the ‘template’ for Grammy nominations has been pretty much defined over the years, we may not be able to predict which albums are going to nominated (or we may in some years), but you definitely know which TYPE.

There are the popular elders such as Burning Spear, Bunny Wailer, Scratch, I’ll place Sly & Robbie in there as well and a few others who’re going to be nominated almost every time they do something kind of new. There’re the Marleys and while ”Distant Relatives” didn’t pick up a nomination this year, all I need to do to make the point is say that last year, Stephen Marley completed a ridiculous act of winning the same damn award twice (two years apart) with one album. There’s the popular number - Meaning Shaggy, Sean Paul and whoever else is popular at the time - And then there’s Buju who, despite arguably being one of the most controversial artists in the world, regardless of genre, has the distinction of having his last four studio albums have been nominated for the award and whatever else he makes next will also be nominated. And you know it.

That’s it! If you do not fit into one of those categories, most likely you aren’t going to get nominated and most unfortunately that excludes probably 99.999999999% of relevant Reggae artists. It also excludes our most relevant of labels, VP Records [pictured], to a large degree. Say what you will about the label (because you will anyway), but if you know enough of them to complain, chances are good that you know enough to be disappointed in who has NOT been nominated for the Reggae Grammy.

By my research, no album which was a VP only album and didn’t fit into one of these categories (the only exception has been Shaggy) has been nominated for a Reggae Grammy since 2003 when, SHOCKINGLY, the label had three different albums selected [”Ghetto Dictionary: The Mystery”, ”Still Blazin’” and ”Anything For You” by Bounty Killer, Capleton and Freddie McGregor, respectively]. Not so shocking was the fact that none of them won of course, because Scratch hadn’t won a Grammy yet. And before that, there haven’t been many either and it is just SO fucking strange that you have the award which goes back to 1985 and have a dominant label which has only had a handful of albums mentioned throughout that time.

"I could burp for 45 minutes continuously on a record next year and still get nominated for a Grammy"

Specifically over the last few years it’s pretty much gotten ridiculous. How in the world Queen Ifrica’s ”Montego Bay” was not named last year is a mystery which probably has no common sense explanation. The same goes for releases from the likes of Tarrus Riley, Duane Stephenson and Etana over the last few years. These are artists whose international images haven’t been tarnished (and obviously that isn’t a problem because . . . Yeah. Buju) with controversies and seemingly they would be very fitting names to have brought up (especially when you consider how nice it would be to have not only NEW talent winning that award, but a female as well). And while I’m certainly not trying to overrate the impact of this award on people like you and me, I believe that this is a sign of something which is one of the main reasons why I, personally, like to pay the vast majority of my attention and the attention of this blog to CURRENT artists who are in or very near their primes, because this is one of the grand perceptions - That in Reggae Music ‘older means better’.

"Just 35 more years!"

This year in particular, removing my own feelings (because as much as I love it, Naptali’s album simply isn’t winning a Grammy and that’s fine, I get it), how can someone like Romain Virgo not be a PERFECT candidate for nomination? This youth presumably can be around making music as he does for the next HALF-CENTURY or so, and perhaps in the final decade or two of that, he’ll be old enough to ‘qualify’. Big deal. There’s Duane Stephenson, SANCHEZ, Luciano, Spragga Benz, Lady Saw and who knows who else would be on a list of names who would seem to be, for one reason or another (besides just the overall quality of their projects), very good choices for nomination and all of whom released albums which have been better received than ALL of those which have been nominated this year. The Reggae Grammy is simply ’backwards’ and ’backwards thinking’ and it pretty much always has been. In my opinion it is a slap in the face to our music. I cannot imagine that in a year when artists such as Eminem, Jay-Z, TI and Lil’ Wayne released albums that the Grammy for Best Hip-Hop Album would be settled between the likes of . . . Biz Markie and Bushwick Bill. And that’s certainly not to put those artists down, but it is to show the difference in the methods of thinking and perceptions between the two (and after checking, both Jay-Z and Eminem are nominated this year, and Eminem won last year and looking over the winners and nominees in the Rap category, they are much much more current to my knowledge than in Reggae).

Hip-Hop, and probably every other genre, has a contemporary award (I’m sure they have more than one also). Reggae essentially has a lifetime achievement award, with room for *special circumstances* (I.e. people named Buju and people who have platinum albums).

{Biggup reader Stephen}
{And for whatever it's worth, I think "Isaacs Meets Isaac" is going to win, but I haven't been correct on a Grammy prediction since "Welcome To Jamrock" won}

'Tis The Season': A Review of "Born To Rule" by Mikey General

At this time of year good people are in the mood for giving and, although it holds no great personal distinction or significance for me, I was raised under the notion that to refuse a gift was rude and I dare not disgrace my Parents and Grandmother by being impolite. So, if you were doing some shopping for Achis, what would you buy me? Well, I don’t know if you’ve noticed, but I really really like music. I’m a pretty big fan of Reggae Music, in particular - I absolutely LOVE it. Now presuming, of course, you could conjure up almost anything that I would want, maybe we could start with a new Sizzla album! I know that the New Year will almost surely bring the obligatory release from Greensleeves, now going for more than a decade strong, but if wanted to materialize such an album before the end of the month, I wouldn’t be the one complaining. What else? Well, 2010 is apparently about to end without a new studio album from Lutan Fyah, so if you could make such a thing happen, I’d be most appreciative. What else would I like? Well, in speaking more currently, looking at how the year has gone, I’d say that probably one of the greatest gifts I could receive right about now would be an album from someone like . . . Oh I don’t know . . . Let’s just say, hypothetically of course, that . . . Mikey General would just drop an album. That would be really nice. Why exactly? 2010 has been a bit of a renaissance year for the veteran singer to my opinion and the very fact that he’s simply been around more and more has helped to make the year even more memorable. This year, unlike most the previous for quite some time has found the General staying active and doing so through a very healthy variety of sources. He’s had notable appearances on bit time, top notch pieces such as the Guitar Box Riddim from Tiger Records, Dynasty Records’ Upliftment Riddim and various others (including the recent ”Cultural Vibes” compilation from Jahsolidrock & Not Easy At All Productions) releases which, although they may not have raised the profile of this wonderful artist in the grandest of senses, they’ve definitely gone onto to make up one of the greatest years of his career in recent times. So, if you could find a way to line up a Mikey General album for me that would be just such a nice thing to do.

THANK YOU! Apparently my wishes (and obviously that’s the only reason this album exists) have been responded to as a little while back came the word that an album which was going to get me REALLY excited was forthcoming - Mikey General’s latest release, ”Born To Rule”. By this point, I’m pretty beyond actually counting the number of albums the General has had (I do, however, believe that this album is his first since 2007’s very decent ”Confidence In Self”), but I do have confidence in myself when I saying that, in all likelihood (some confidence, right?), I’ve never before been SO excited to dig into one of his albums. Traditionally viewed as somewhat of a ’sidekick’ (and I mean that not only in the most respectful of senses, but I also don’t have that view, personally) to Reggae legend and his “spiritual brother”, Luciano (who, most coincidentally, also has a brand new album out these days, ”Write My Name”), for me and a hopefully ever expanding group of fans, the General is just as talented as his historical friend and probably has been one of the most wholly talented singers that this generation of Roots Reggae music has seen. For me, besides just acknowledging that he has had a very good year (and he has), Mikey General is one of the artists who I just always like to listen to because his music is just so well presented, first and foremost. While I may be able to find you artists who have better voices (but not many) or artists who have sharper pens (but not many there either), I cannot name you a single one (including Luciano) who appears to have a greater COMMITMENT to what he/she sings than Mikey General. Also, in terms of the most tangible, I definitely consider the General to be one of the finest lyricists singing today. It isn’t necessarily something he gets due credit for, at least not in my opinion, but when you REALLY check Mikey General’s words and his messages, it’s quite clear. Now, speaking of credit, credit goes to the General himself (obviously) as well Luciano, for pushing the ”Born To Rule” album through their very own label, Qabalah First Music, in conjunction with Domacran Music from out of Germany. Previously, Qabalah has released albums for Mikey General and combination albums between the two and it’s so nice to know that they’re still in business and not only that but are in the business of undertaking such a project. With labels coming (especially) and going so often these days, Qabalah is one which, although not very active, always has found the time and resources to do the works of Mikey General and Luciano and that is the way things should be. As for the music here, it appears that the album has been placed together with former singles from the General and while some are familiar, some are much less so (and presumably new-ish). With that being said, of course should expect the same proven style of high and higher spirituality and inspirational type of vibes from the singer. There’re some twists and turns and one in particular, but to my mind the album doesn’t attempt to go about shedding any type of tradition of Mikey General and that’s so nice because we definitely like him the way that he is. By its end, while I’m not overly impressed or prepared to call ”Born To Rule” Mikey General’s best album to date, it does serve the purpose of not only keeping his name ‘out there’, but also - More Mikey General music is just a good idea and thank you for the gift!

If you know Mikey General’s music and you can at least somewhat put together this album, then the prevailing sentiment is very clear and so clear, in fact, that I thought that I’d start there for a change. Mikey General sings to praise to His Imperial Majesty and at least indirectly EVERY song on his new album, ”Born To Rule”, is done with that in mind. Directly speaking, there is a stretch in the early-mid portion of the album which has a string of what is some of the best material to be found on the album and all of the tunes are giving direct honour and glory to His Majesty. The first of these tunes is the fourth tune on the album, the delectably vibed ‘Jah Send His Love’. This one is just a ‘feel good’ type of a moment. It isn’t an over-cheery type of a song or corny to any degree, but I think that most listeners are going to have a very hard time vibing this tune without cracking at least one smile. Next in is my choice of the album’s finest moment altogether, the sublime title track.

“Seh mi nah tek no idiot chat
Cuz my knowledge is based on fact
Mystery babylon caan make I stop
Praise the toppa top
Cuz my faith is solid as a rock
I’m now the shepherd of the flock
And even though they put on the pressure
I remain a total Rasta”

The song is really (at least to my ears) about the wonderfulness which comes with walking with His Majesty and I think that, although the title and the chorus of the song are pretty specific, it is a song which definitely captures the main point of the album and absolutely a clear choice for the album’s title. Following that big selection is probably the most familiar draw on ”Born To Rule”, ‘Father God Almighty’. The tune came across Joe Fraser’s Chi Chi Bud Riddim from a few years back and it’s as nice now and it’s ever been to me and this is the type of seemingly ‘lost’ tune that can definitely be reenergized on album like this. ‘Ababa Jahnoy’ is the album’s previously alluded to changeup and it’s also the only combination you’ll find here. Joining the General are, of course, Luciano and Ethiopian artist Haile Roots and it was apparently recorded in Addis Ababa. The vibes are this one are . . . Different to say the least. It took a while to grow on me but, at this point it’s one of my favourites now so do give it a few spins before passing judgment. And finally there’s the declarative ‘So Amazing’, which speaks on the power of His Imperial Majesty. This is another one which will probably take more than one spin so give it some time, but it is fairly accessible and probably one of the better lyrical efforts on the album (particularly when the General begins to sing about the difference between KNOWING and BELIEVING).

As for the rest of the tunes on ”Born To Rule” as I said, they all have something to do with giving thanks and praise to The Almighty, but they do so, for the most part, indirectly and that alone isn’t a bad thing (and most of the time that’s my favourite type of song). For example, while the opener isn’t a song which I particularly really enjoy, ‘Full Speed’ is decent social commentary where Mikey General speaks the nature of the way the world works these days being too fast, literally and figuratively, and how it would be so much better if things ‘slowed down’ and everybody could enjoy the fullness of His Majesty. Continuing on, the second track ‘Free’ (which I REALLY like) has a bit of an odd vibes around it and it speaks on breaking free from the same type of situation elaborated on in the first track (and guess how that is accomplished) and perhaps the dynamic ‘Now Is The Time’ is the needed ’umph’ to get those things going - Becoming “free”. And I’ll jump ahead (just messy this time don’t?) to make a comparison between ‘Now Is The Time’ and ‘Tek It To Dem’, the album’s closer which is another type of ‘kick’ type of song. This one, however, is one which seems to be very personal for Mikey General as he speaks on his struggles in the business of making music and how he’s thought of leaving it all behind him.

“So many years of service yeah
Still can’t get no justice no
My family and friends encourage me
And let me know it’s worth it
My conscience rebukes me
And ask me if I am mad
How could I give up now and be unfaithful to God?
I‘ve got a mission to do
I’ve got to complete my trod”

This one really struck me because you and I can look at Mikey General’s career and say how it seems that he’s been struggling to make a name for himself along his journey and that’s one thing - But to hear the man himself say is certainly another FAR more revealing and fascinating and while that tune isn’t terribly impressive sonically speaking, it’s easily one of the most significant on the album.

The best of the remaining songs on ”Born To Rule” is probably the Da’Ville helmed ‘Joy & Laughter’ which is just really strong and upful. The tune is somewhat limited, but I do really enjoy the vibes which just light up not only this track, but the whole of the latter portion of the album, arguably. ’Better Place’ is another decent effort as is ’Me Myself & I’, but neither really offer too much exceptional. What I would suggest is to listen to both from more of a sonic standpoint. In that aspect, both are very nice (particularly the latter). And finally also check both the very familiar ’For The World’ and ’Need To Know’. The second of the two remains me quite a bit of ’No No No’ by Dawn Penn and it is the only ’traditional’ love song on the album as well. ’For The World’ is a pretty good honestly (it‘s also the shortest song on the entire album) - Although despite the fact that it does make a pretty large statement, my greatest interest in it is the fact that it sounds so nice.

Overall, what I’ll say about this album is that it is by no means the greatest album that I’ve heard and it’s not Mikey General’s best either. There are some soft spots here and lyrically it isn’t top notch either (particularly getting on towards the end). HOWEVER, there certainly are no BAD tunes here and none which you kind of frown upon being here as ‘experimental’ or simply drawing down the quality of the project. On top of that, like I said, it is a Mikey General album and the world (and MY world) instantly becomes a better place when he drops a new project. It should also be mentioned that the album itself is so nicely presented with very nice photos, graphics and words in the liners (including a very powerful (and extended) quote from His Imperial Majesty). So, given the year Mikey General has had, it is most appropriate that he blesses the masses with his latest album release in 2010 and while ”Born To Rule” is not a GREAT album, it’s more than enough to keep us interested (and even if he didn’t release it, we’d still be interested) and looking forward to an even bigger 2011 from Mikey General. Thanks for the gift.

Rated: 3.5/5
Qabalah First Music/Domacran Music
2010
CD + Digital


Mikey General @ Myspace

What I'm Listening To: December

Peter Broggs - “Jah Golden Throne” [Jah Warrior Records - 2000]

I didn’t have to dig back too far to find this absolute GEM of an album from Jah Warrior, the once mighty label from out of the UK. Peter Broggs is one of a very small group of artists who I just tend to make sure I’m listening to something from (others would be people like Yami Bolo, Batch and Ras Army as of late) as I almost always pick up something new from them on each and every spin. Lately, I’ve been thoroughly enjoying ”Jah Golden Throne” from Steve Mosco and company. This wasn’t Broggs’ best piece of work, I acknowledge that, but it’s always been one of my personal favourites. With a big big new version of ‘Jah Voice Is Calling’, ‘I Put My Trust In Jah’, 'Jah Is Mighty In Battle', ‘Rasta Nah Lose Him Culture’ (TEARS!), ‘Lef Babylon’, ‘Hail Him’, ‘Warning’ . . . You know what? Maybe I should take that back. Maybe it was one of his bests!

Black Dillinger - “Live & Learn” [MKZWO Records - 2007]

It’s easy to say that it must’ve been those two nights two or three weeks ago when his latest album, ”Love Life”, was absolutely MURDERING my players that brought the debut release of South Afrikan Reggae star, Black Dillinger, ”Live & Learn” back into my sights. In no way was this album as complete or as . . . FUN as it’s successor (when you listen to one after the other, the difference is SO obvious), but it also wasn’t AWFUL either. Today, the highlights on the album have perhaps changed (and again, my expectations are a bit higher for Dillinger these days than a couple of years ago), but I still think tunes such as ‘Dangerous’ alongside Vido Jelashe, ‘Dem A Wonder’, ‘Jah Jah Love’ (LOVE that ridiculous riddim) ‘Sinking Sand’ (especially that one) and a few others (like ‘Mama’) (Hey Mama!) are certified big tunes, regardless of the album they appear on.

Lutan Fyah - “Healthy Lifestyle” [VP Records - 2006]

“I know there’s a thief in Jah Garden
They only come to spoil Jah Jah Harvest”

The Xterminator produced ”Healthy Lifestyle” is an album I very much have a ‘hot & cold’ relationship with. I can remember when it first dropped and although I was pretty impressed at the time (it wouldn’t have been hard to be impressed at that time), I certainly wasn’t blown away by what I heard and soon after the album pretty much fell out of players and out of my favour as well. Over the last year or so, however, it’s slowly been creeping back to me, and it is outstanding because it’s almost like Lutan Fyah released a new album to my ears (instead of not taking off ALL of 2010, which is what he did) It’s not his best (I’m sure this time) and you would’ve hoped for that for his debut on VP Records, but what it is, is typically high level material from one of modern Roots Reggae’s greatest and most unquestionable lyricists. Every tune isn’t stellar (I don’t particularly like ‘You Can Do It’ at all), but you can drop in at almost any point of the album and hear something powerful being said - You can pretty much say the same thing for the Fyah’s entire career.

Peter Tosh - “No Nuclear War” [EMI - org. 1987, re. 2002]

There’s no surprise at all why I went rummaging through my embarrassingly small collection of Peter Tosh albums in early November - Early next year we will FINALLY be treated to the release of the LOOOOOOOOONG awaited ”Bushman Sings The Bush Doctor” tribute album to Tosh by Bushman (with February 15 supposedly being the actual date). The surprise is why I eventually settled on ”No Nuclear War” which just happens to be the final album Tosh was to release before his September 11, 1987 death (just days before actually), because this one, while certainly not horrible, wasn’t amongst his finest work. The original eight track set ( and the re-release with nine) pretty much only features three songs that I like . . . Did I say “like”??? I mean LOVE in every possible way. There’s the misty-eyed ‘In My Song’ which is beautiful, ‘Nah Goa Jail’ which is such a SIMPLE herbalist tune that the fact that it is as dazzling as it is comes as another surprise and of course arguably my favourite Peter Tosh tune ever is on the album, ‘Vampire’. Hopefully Bushman sings at least the latter (although he kind of tried that on ”My Meditation/A Better Place” with downright DISASTROUS results), but I am WELL looking forward to that album.

Riddim Driven: Diesel [VP Records - 2002]

Awful. Bloody awful (biggup Sherman) in almost every way. You know that you’ve made a really bad riddim when just about every artist you choose to voice it sounds off-beat and you don’t voice rubbish artist after rubbish artist, but some big names. Well, that’s exactly what happened with Peter Jackson and Rattler Records, but it wasn’t because his riddim, the Diesel was BAD, because it wasn’t, it was HEAVY (incidentally Rattler was also the name behind the most ‘difficult’ Trafalga Riddim as well), but with fifteen songs on the riddim’s album, it had maybe four tunes which were at least decent. Of course, the greatest was ‘Wosen’ from Kartel (then still spelled Vybz Cartel).

“Dem no got no girls like mine
Nor girls my kind
Whether down to di minute or up to di time
All the time
Some time
More time
Less time
Some bwoy a Joe Give, but mi ah Joe Grind”

Also doing well was Bounty Killer with ‘Chicken Head’, unfortunately the tune also featured the underrated Angel Doolas who wasn’t in a fine form but was annoying, Ward 21 on ‘Topping’ and Shadu (remember Shadu???) with ‘Money’. That’s it! I think Ele’s tune was a hit, ‘Passa Passa’, but it was bad and others such as Anthony Cruz, Vegas, of course Bling Dawg and Galaxy P, Bugsy Malone (remember Bugsy Malone??? He’s now Thugsy Malone) and even Mad Cobra and LMS with Morgan Heritage - All of them just missed the mark, but still draw this one for ’Wosen’.

Treason - “Word on The Street” [VP Records - 2003]

In retrospect . . . I have absolutely no idea what in the hell would have caused VP Records to take a chance on a pretty unknown trio named Treason (now named 3Suns), but also in retrospect, I’m pretty glad they did. Their debut, ”Word on The Street”, was probably one of the first Soca albums that I bought and back then at least, with tunes such as ‘Carnival Darling’, ’By The Bar’ with Bunji Garlin, ’Muddy Angels’, ’Dread Angels’ also with Garlin (and over the Tempted to Touch riddim) which is probably my favourite song these days and definitely Karnamania, I really enjoyed it. Not so much these days because I’m well spoiled and I probably haven’t like a 3Suns song in two or three seasons now, but it definitely helped to reopen a personal gate for me and to that end, it and 3Suns’ later album, ”Definitely” from a couple of years on, will always be kind of special for me. Just not very good anymore . . . although still pretty fun!