Check It Vol. 21: Ridiculously Random

Tessanne Chin - “In Between Words” [Tessanne Chin]

So, we’ve heard for years now about Tami’s little sister, Tessanne Chin, delivering her debut album and while it had yet to materialize for quite some time, she’s finally taken matters into her own hands and put it, ”In Between Words” out on her own terms. The first time I’d EVER heard anything about Chin it was reported that she was basically a Rock singer and it’s well reflected on her album, despite the fact that most of her recent work (at least to my knowledge) had been Reggae and borderline R&B type of vibes. Some of those vibes are here as well, but I would well suggest that all who pick up this one be preferably a fan of Chin’s, but if not then at least a fan of Rock and One-Drop Reggae. I was also happy to see that both ‘Hideaway’ and ‘Loving You’ alongside Kees from Kes D Band are on the album as well.

Digital

Crisopolis - “Sirens From A Distance” [RPR Production]

I’m still not too sure what I think about this one here. Portmore native, Crisopolis, is an artist who I just really started paying an attention to back last year or so and we look up now and he has an album already! Crisopolis is a big artist, if I recall correctly he had an EXCELLENT tune by the name of ‘Sieve Out’ just a while back and while that tune isn’t on the album, so far (I don’t have it yet) , ”Sirens From A Distance” does sounds fairly promising. Consider this one a work in progress, because I may just pick this one up and review it before the end of 2010 . . .

Digital

Kaysha - “Works of Art” [Sushiraw]

I thought that I’d do just a bit of ‘cleaning up’ on a few releases and right when I was about to go with what I had . . . I saw that Zouk/Kizomba/allofthoseotherstrangegenres star, Kaysha, had actually just released an album to my surprise, “Works of Art“. I am, by no means, the biggest fan of Kaysha’s and I may not even pick this album up actually, but he may just be my favourite producer anywhere near Zouk (his label, Sushiraw, has worked extensively with some of my favourites such as Thayna and Fanny J), so the vibes here may just be pretty impressive (and they sound so on the clips, definitely). This album follows the big double set, ”Forever Young” from a couple of years back and like that release, it appears to feature quite a bit of English tunes, and it’s twenty-two tracks long also. The album also features combinations with Teeyah, Shana, some guy name Tony Sad and Loony Johnson and I’m sure this one is a REALLY big deal for a lot of people. And if you’re in Canada or the States in the next week or so, apparently you can spend the Holidays with a touring Kaysha as well.

Digital

"Turn It Up" [Madhouse Records]

Once or twice a year arguably the greatest producer the Dancehall has EVER seen, Dave Kelly and Madhouse Records, finds the time in his busy schedule of . . . Doing whatever it is the hell he does for the other 360 days out of the year, to actually produce a riddim and well, here’s his latest work, the Turn It Up Riddim. Musically speaking, of course, whenever Kelly vibes anything it’s almost guaranteed to be genius work and this time is no exception. Kelly also comes with a ‘secret weapon’, which is Baby Cham and his protégé absolutely RULES this riddim with the MASSIVE ‘Dat Mi Seh’ which sounds like Cham circa 2001. Also on board is Pinchers of course, unfortunately Bling Dawg, a reunited Bounty Killer (credited as Rodney Pryce) and Timberlee who joins Cham on another tune, ‘Tump Mi’. Masterclass as usual from Madhouse.

Digital

The Camel Riddim [House of Riddim]

The first time I heard a bite of the very nice Camel Riddim, frustratingly I was sure that I had heard it from somewhere, but I couldn’t quite put my finger on it, exactly. That was the case until I noticed that the producers of the riddim was the same House of Riddim who had pushed Natty King’s latest album "Born To Be Free” earlier this year . The riddim backed a very strong tune on that album, ‘Don’t Be Foolish’ and alongside that tune, listeners can look forward to the riddim being put through its proverbial paces by the likes of Zareb, Fitta Warri, Pad Anthony, Uwe Banton & Ganjaman, Karli Owli, Monsoon and ‘Vido’ (I think it’s Vido Jelashe).

CD & Digital

The Ovaseaz Riddim [Hemp Higher]

Riga and the overactive Swiss label, Hemp Higher, is back at things again with its own latest creation, the Ovaseaz Riddim. This riddim is just as charged as its creators with its very electric feel to it, something which certainly isn’t foreign to fans of HH’s work. Of course new Hemp Higher riddim means a new tune from Gwada born Swiss grown star, Cali P and he’s brought a whole heap of artists with him as well. Straika D, Tiwony, Antonio West, Mad Killah and Fulklip are just a few of the biggest names also trying the Ovaseaz Riddim out as well.

Digital

The Dancehall EFX Riddim [ZJ Chrome]

This one, I don’t really like. The Dancehall EFX Riddim is the latest release from ZJ Chrome and it’s just . . . Well . . . It’s pretty average if you ask me. Currently (and unsurprisingly) the riddim has quite a bit of talk around it largely because Vybz Kartel has struck with a big tune on the riddim, ’Dancehall Hero’, and pretty much everyone else is just kind of revolving around that tune. Some of them, however, are pretty big ’PLANETS’. The biggest, technically, is Mavado, but there’s also Aidonia (who for me has the best tune on the riddim, ‘Chat From No Boy‘, which may or may not be aimed at a certain super hero), Ce’Cile (hey Ce’Cile!), Bugle, Flexx and the same other damn people who’re always around on shit that sounds like this (Stephen McGregor is also here with a tune which kind of makes you think that he built the riddim doesn’t it). But, like I said, I’m not overly fond of the riddim itself - But I don’t know shit, have a listen for yourself.

Digital

Vybz Kartel - “Clarks: De Mix Tape” [Tad’s Records]

We’re going to call ”Clarks: De Mix Tape” exactly what it is, essentially - A 2010 Greatest Hits album for Vybz Kartel. ‘Clarks’, ‘Money Tree’, ‘Cake Soap’, ‘Yuh Love’, ‘Clarks Again’, ‘Straight Jeans & Fitted‘, ‘Better Can Wuk’, ‘Dumpa Truck’, ‘Touch A Button’ and a version of ‘Dancehall Hero’ (which supposedly features Ce’Cile, but I don’t hear her on that tune). Others, such as Charly Black and Mavado also chime in on the project which also features a mixed version (which may mean that the CD is a double) via DJ Wayne.

CD & Digital {CD releases on December 21}

The Golden Whiskey Riddim [Dream Entertainment]

Here’s another that I’m not all too fond of, the Golden Whiskey Riddim (which I keep calling the Ghetto Whiskey Riddim for some reason) from Dream Entertainment. Here’s the thing about this one: It has some decent moments, including Ratigan on ‘Love Mi Style’, but the riddim is pretty average and there’re only six vocal tracks. HOWEVER, two of those six just happen to come from two of my favourite artists, Mad Cobra and [General] Degree who effectively lay the riddim to ruins with their two songs, ‘Look Good Time’ and ‘Party On’, respectively.

Digital

The Revolution Riddim [Dream Entertainment]

The same Dream Entertainment is responsible for piecing together a pretty decent compilation album for the old Revolution Riddim (which you know from Dennis Brown’s tune of the same name). I have to say that this piece did make me feel pretty stupid because after all these years, I’d never realized that I Wayne’s tune ‘Touch Her Softly’ (which is on this compilation) was on the Revolution Riddim (dumb!). Anyway, also joining the strange singer from Portmore are the likes of Natty King, Luciano, Turbulence, Capleton, Lutan Fyah, Perfect and even Peter Hunnigale . . . All of which prove to be almost enough to make up for the fact that the atrocious Danny English is also here.

Digital

“Revelation Time” [Zion Bound Production/Zojak Worldwide]

And I thought that I’d mention this decent set as Zion Bound Productions (I don’t know who they are) release a riddim album by the name of ”Revelation Time”, through the wonderful people at Zojak Worldwide. I’m pretty sure I know this thing from somewhere and probably even a couple of the tunes as well but - This is a pretty nice project with some big tunes on it, regardless of its origins. Check out tunes from bros. Richie Spice, Pliers and Spanner Banner, Lutan Fyah, Mikey General, Jah Mali, Jah Mason, Lutan Fyah, Warrior King and others. Very nice and I think I’ll grab it as well.

Digital

Perfect - ‘Light Up’ (single) [Weedy G Soundforce]

And lastly this week (I think it’s probably taken me about twenty minutes of actual work to do this entire thing) is just a BIG single from Perfect for Weedy G, ‘Light Up’, across relick #9,014 of the Punany Riddim. This tune is FUCKING ridiculous! Absolutely reeking of ‘No Badda Mi’, Perfect literally throws himself across the legendary riddim to a big effect with probably one of his best herbalist tunes ever. When the planets and the stars all align just perfectly and Perfect’s oddities match up . . . Perfectly with the riddim, the results can be outstanding - Just like this tune.

Digital


{Note: Ignore some timely shit in this, I kept adding things and then more things}

'The Genuine Article': A Review of The Catalog Riddim by Various Artists

The most distressing trend which developed in 2008 or so and has unfortunately bled into 2010 of basically deconstructing and attempting to, incorrectly, rebuild and redefine what is Dancehall music is one which has turned me into someone who I speak out against every chance I get. Surely you know someone who, be it in the case of music or perhaps even in the sporting arena, may not be too much older than you (or they may be), but he/she will seemingly go out of their way to point out to you that whatever it is that you enjoy of today is SHIT compared to what they experienced in their youth (even more ridiculous is when you and that person are the same damn age). It is the most ridiculous and annoying ‘purveyors’ of the ‘older is better’ mentality who do this and . . . Yeah. I’ve been one of them as of late. To my own defense, however, I think I’ve had pretty good reason and I wasn’t directly in that line either. My creed was ‘older is DIFFERENT’. Of course what I’m talking about of is just how fucked up my most beloved Dancehall has become recently. It’s almost gotten to the point where I kind of want to sit down and write some incredibly awful article and title it ‘Dancehall Is Dead’ (and if the genre (or whatever’s left of it) has a similar 2011 to the last couple of years, yeah, I won’t be above doing that) or something misguidedly profound like such, because the music has just gotten so watered down with other styles and people are still calling it Dancehall because whoever is rhyming on top of the backing has a Caribbean accent, but that isn’t Dancehall. Now we almost seem to be where, unfortunately, we simply start to give people credit for being average or for doing what they ‘should’ be doing and so has everyone else. For example, not too long ago one of the biggest Dancehall labels in the world, Daseca Productions, dropped the Dancehall Again Riddim and while it’s gone over pretty nicely, it’s gotten people like me to use terms like ‘old school’ and shit like that in praising it for really absolutely nothing. It isn’t exceptional or anything in retrospect. It’s not even really close. There’re some good performances, but the praise paid to the riddim (and thus, to the label itself) is largely given because a Dancehall label made a real Dancehall riddim which is just fucked up. We don’t give credit like that to Dr. Dre or to Timbaland for making Hip Hop music, but Serani and the boys get credit for doing something so ‘different’ than . . . What it is they do??? What the hell?

Thankfully there are actual moments to give praise to certain entities in making Dancehall music because not only have they made genuine Dancehall, but they’ve also made it exceptional. Just in terms of the actual composition we have had special riddims in 2010 such as the Badda Don, the D.N.A., the Cosa Nostra (probably my favourite) and, of course, the Jim Screechie, but as far as CONSISTENTLY melding the big riddim with big vocals, no one has done it better to my ears than, fittingly, Stephen ‘Di Genius’ McGregor on his EPICALLY BEAUTIFUL Catalog Riddim. I’ve been meaning to review this one for some time now (if for no other reason than just to make this point) and the final bit of impetus came in reading an article with an interview from McGregor where he actually mentioned that part of the idea behind the Catalog’s creation was that he had been mindful that many people were thinking that Dancehall was simply getting too far away from itself and becoming mixed with too many other things and becoming less and less recognizable in its most ‘natural’ form. Now, the difference between McGregor doing what he does here and most others is that he does it within what the scope of what he does - He never breaks his stride. What I mean is that you can go and listen to his output for 2010 such as the Championship Riddim, the Bad People (which is also very strong) and even his most recent cut, the Winnings Riddim, and the Catalog doesn’t standout as being much of a deviation at all. Furthermore, if you go wayyyyy back from a few years to the days of the Tremor and the Powercut and the Red Bull & Guinness even, despite the fact that, perhaps even more so than any of his contemporaries, McGregor always and has always remained CURRENT. I’ll be the first to say that I don’t like everything they put out (this is the first riddim album from McGregor I’ve reviewed in at least two years apparently), but it definitely always sounds like something from this current era of music making and maybe just a step beyond. Specifically, the Catalog Riddim has that certified Dancehall KNOCK to the vibes, but it carries that sound beneath a few different effects and it has the same HEAVY sound you’d imagine existing in an era which, honestly, still has yet to actually define its sound, but if I were to attempt to do so based on the time (and I think I can do that fairly well), it isn’t far from what is in my mind. It also comes is very dark to some degree. Should you go and listen to much of McGregor’s work, that is well a quality which he has and, again, in that respect, unlike the Dancehall Again Riddim and very similar to the Cosa Nostra, it just fits in excellently with that producer’s trend (the Cosa Nostra is produced by Ward 21). What’s left, obviously, is to lineup a solid group of vocal acts who’re equipped to deal with one super modern and super accurate Dancehall riddim and having the status he does, there aren’t too many artists McGregor can’t work with so, in his case he should really be (and is) held to the highest possible standards in terms of artist selection. In this instance, he plays it safe and there weren’t many names here (out of the nineteen different ones) which stick out as being ‘strange’, but in this instance, it proves to be a very wise choice by the young genius. Let’s find out why!

'Sketel Shadow' by Beenie Man

As I’ve mentioned in the not too distant past, I haven’t been paying a great deal of attention to Stephen McGregor in 2010 and if you haven’t (or never have), it should be said that he is easily one of the two most well regarded and popular producers in all of Reggae/Dancehall along with Don Corleon and it’s always a great thing when the big names turn in big performances. On the album of his most recent HUGE performance (in my opinion), the Catalog Riddim, McGregor taps Agent Sasco to get things going and as usual, he doesn’t disappoint with ‘Dem Sick’. I don’t know how many times I’ve said it in the past, but I’m going to repeat it with no problem, none at all: Assassin, RIGHT NOW, is simply the most talented Dancehall artist in the world. Period. This tune is a prime example of that how the man just puts together words over this dominant riddim and although this isn’t the best tune here, it’s second! Next up on the riddim is an artist who is clearly talented and perhaps over-talented at times, the scathing Aidonia who offers ‘Wi A Tek It Off’ for your listening pleasures. The song is kind of funny and it’s toned down from Aidonia’s typical forty word/minute pacing and it’s good! 2010, at least in my opinion has been a disappointing one for the DJ, but surely this was one of the few highlights in retrospect. Beenie Man does pass Aidonia in terms of quality, following him with the ridiculous ‘Sketel Shadow’, which gets a crazy mix from Di Genius. It would’ve been a damn shame had Beenie not voiced the Catalog, but thankfully he’s managed to become (unsurprisingly) one of McGregor’s absolute favourites and his versatility has always come in handy on his big productions. Here, we have no exception.

Speaking of Stephen McGregor’s favourites: Quite a few them shine brightly on the Catalog Riddim. For me, the most surprising is McGregor’s brother, Chino, whose tune, ‘No Gyal’, is one of my favourites here, despite the fact that, in all honesty, he’s probably one of my least favourite artists in general. This tune is clearly one of the greatest displays of deejaying had in his entire career and I simply must give credit where its due that the man can make a song just three seconds more than two minutes, write a chorus and completely DAMAGE the verses.

“City to city mi have a gyal in every county
Holeon!
When mi check, mi have a gyal in every country
Love di gyal dem bad, but mi is a yute, mi know mi boundary
No gyal can lock mi inna no room and do no laundry
Yuh mad!
No mi nah go mek no gyal go clown mi
Gyal dem waan so much til dem wish dem coulda clone mi
Gyal dem tek a whiff and waan fi know weh di cologne be
Di vegetarian girl dem waan fi sample di bologna”

MAD!

'They Don't Know' by Freddie McGregor

Even more of a favourite of Stephen McGregor’s than his brother is a next artist by the name of Stephen McGregor who floats in on his own riddim with ‘Nah Forgive Dem’. There’s a very interesting story behind this tune (and one or two more like it) which I won’t get into, only to say that you’ll probably notice who ISN’T on this riddim or any other semi-recent Big Ship projects. But I will say that the song is kind of clever from McGregor. He never really names anyone directly, but everyone knew who was meant, so he really didn’t have to. And rounding out the family is the captain of the Big Ship, Freddie McGregor who essentially stands up for his label and his Family with ‘They Don’t Know’. I REALLY like how Freddie has responded to the success of his children - Like the PROUD PAPA he clearly is - And while he doesn’t bless every creation from the camp (thankfully), when he does it’s almost always excellent as it is here. There’s also ‘indirect’ relatives such as Laden who does well with ‘Red Eye’. I’ve never REALLY been too high on Laden’s talents, but I know more than a few people whose opinion I do respect, who think otherwise. I have, however, been REALLY high on the skills of one Bramma, who ATTACKS the Catalog Riddim with ‘Dem Anuh Friend’. Bramma didn’t have the best or biggest of years this year, but he’s steadily been improving anyway and hopefully 2011 proves to be the biggest of years for him because, seriously, as far as that NEXT ‘class’ of coming Dancehall artists, Bramma is and has been my choice as THE most talented for some time now. Oh and while I’m here, I guess I should include Mavado who comes to discuss “dat ting unda yuh skirt” on ‘What It’s Worth’ - And I’ll leave that right there (this has to be the first time I reviewed something with a solo track from Mavado in how long???). And Ele also well impresses with ‘Worry Dem’ which is HARD. I pretty much stopped paying attention to Elephant Man a couple years ago, but thankfully when I do go back, it’s a tune like such which is big (and he has an album dropping early next year apparently so . . . Yep).

So who’s left? The balance of the artists on the Catalog Riddim is a mixed bag, to say the least, but thankfully, in terms of quality most do well - One does much much much much better than “well”. Shockingly doing okay is Flippa Mafia with ‘Nuttn Over Wi’. The song is, by no means, exceptional and it isn’t one of the best here, but I generally cannot stand Mafia’s music and this one is an exception to my raging apathy in his output (mind you I haven’t even heard a new Flippa Mafia tune from this one (which dropped back in May or so) despite the fact that he’s still pretty active, so there you go). Young Savage also shows flashes of goodness on ‘Graveyard’, most of which show themselves in the tune’s infectious chorus, before going very Red Rattish on the tune’s verses - Oh no indeed. And later on, the final two vocal pieces come from two of my least favourite artists also, ‘Good Wid Di Gyal Dem’ and ‘Stay Far’ by Voicemail and Wayne Marshall, respectively. The former just isn’t for me and I’ll leave that right there. The latter, however, has been THE best tune from Marshall I’ve heard this entire year (I’ve had this thing from sense it first reached, but when I went back to dig into it for the purpose of this review, I had forgotten just how nice it was actually. It should be said, however, that this sounds absolutely NOTHING like the Marshall I know.

One of the highlights of the Catalog’s Riddim comes in a very interesting streak of four tunes from some serious veterans, consecutively. Singing Sweet, Spragga Benz, Terror Fabulous and Frisco Kid all reach the riddim in order with ‘Tonight’, ‘Wi Nuh Wear’, ‘Catalog’ and ‘Gweh’. To my ears, Singing Sweet (another favourite of McGregor’s) does the best of the lot with a ripping Terror Fabulous not too far behind. They all do definitely handle the riddim as you would imagine artists with their experience level might and impress in certain aspects.

'Mash Up The Place Yah' by Capleton

And FINALLY (after 2312 words) - Speaking of an impressive veteran, tearing up the Catalog is Capleton who offers the greatest bit of fire he’s had in some time with ’Mash Up Da Place Yah’.

“ Who start di show weh name Stars In Action?
I am di Champion for Champions In Actions
Always ah give di people dem satisfaction
Mek sure di ghetto youth dem get dem fraction
Cocoa Tea call mi fi lock dung Ram Jam
Mi explode di place inna Island Explosion
Anyweh a St. Mary Mi Come From!
Beer bokkle fling when mi no perform a Portland”

The tune just speaks on Capleton’s profound ability to destroy anything standing on any stage anywhere and it is an EXPERIENCE of a tune (not the smallest of which is the actual EXPLOSION you hear at the beginning of the tune) and it is the single greatest EXPERIENCE on the whole of the Catalog Riddim. And Di Genius does serve up a clean version of the riddim and this was in the days before he began talking over his instrumentals. The pure foundation of this thing is GOLD! IT IS BEAUTIFUL with that knocking style that is one of several signature signals of authentic Dancehall.

Overall, this one clears up everything and takes a big recommendation from me and does so in one of the simplest forms possible. The album for the Catalog Riddim features very good to exceptional DANCEHALL MUSIC. That is all. I can see a few older heads enjoying it, but the album is largely recommended for fans of what was to be heard in the late 90’s/early 2000’s as it clearly has more of a lean to the ‘new school’. What I’m waiting for is one of these riddims to REALLY just take over EVERYTHING and start a similar to trend to what Stephen McGregor did a few years back when almost everyone wanted to check in with these big EVIL sounding creations (side note: Pay a careful attention to the cover of this one. Very clever) and although that didn’t happen in this case, he, again, may just be the one to do such a thing if it is to happen at all. Still, well on its own merits the Catalog Riddim proves not only to be one of the best Dancehall riddims of the year, but it also births THE best Dancehall Riddim Album of 2010. Period.

Rated: 4.70/5
Di Genius Productions
2010
Digital

Stephen McGregor @ Myspace

The Best Reggae EP's of 2010

Let’s consider this reason #4,876,876 why you should be embracing the digital market for Reggae music these days - The vast number of EP’s it can produce and just how quickly it can do it. There’re many reasons why companies and artists, presumably, release extended plays. Be it just to keep an artist’s name ‘out there’ or maybe even to INTRODUCE an artist or just to prepare the masses for the eventual album release and you know what? I REALLY like the idea. Of course I love all things album, but this has to be the next best thing in my opinion. 2010, like 2009 before it, saw an expanded attention paid to digitally released EP’s and, in terms of numbers, there were probably more in 2010 than in all of the other years combined to date. With (even almost certainly completely inaccurate) statistics like that, it gets well crowded in that market. SO! In order to narrow things down for your potential purchasing prospects, I submit for your approval, The Best Reggae EP’s of 2010.

{Note: I consider an EP a release which has more than one, but less than ten actual different songs (remixes not included)}
{Note 2: For the sake of this review I’ve chosen only to focus on EP’s which feature one starring artist instead of compilation/riddim releases}
{Note 3: I’ve also chosen to disqualify releases which would lead to an already planned album, such as the releases from VP}
{Note 4: Dancehall - Yes. Soca - No}

#10. “Roadhog” by Influential [Sons of Spoon Music/Zojak Worldwide]

“Roadhog nearly kill me!” Checking in at number ten on this list is a release which, although it didn’t get a great deal of attention (any), was well solid and, so much so, that I’m probably underrating it here actually. Influential is an artist who, while still in the process of building his name, has already acquired a pretty significant hit in the title track of this EP from Sons of Spoon, ”Roadhog”. That tune did wonders for Influential’s career and certainly opened up quite a few doors (such as the one leading to this EP, surely). It wasn’t the only big tune here, however, as it was joined by seven others which were highlighted by STRONG pieces such as ‘Principle’, ‘Behaviour‘, ‘Prayer For Mama’ and the all too personal tune, ‘Cancer’.

#9. “Life” by Zamunda [Fearless Sound System]

Zamunda, the wonderful young singer from out of St. Ann (!) may just have more untapped potential than any other artist on this list and Fearless Sound (which I believe is his homebase label) offered up a decent taste of that label with ”Life”, Zamunda’s debut five track EP. This release, unsurprisingly, kind of went under the radars of most (probably because it lacked ‘Jah Surround Me’), but for those of us fortunate enough to have caught on - What we got was five very strong pieces, including one hit, ‘9 To 5’ from this excellent young artist who’ll definitely be popping up on scopes in 2011 and beyond.

#7. “Same Difference” by Ziggi Recado [Rock ‘N Vibes]

Perhaps it’s a testament to just how strong this artist is (or maybe I’m just underrating it) that I didn’t particularly rate too highlight ”Same Difference”, the EP of one of my absolute favourite artist’s, Ziggi, now renamed Ziggi Recado (and, formally (I THINK), for the first time on this release), for most of the year and it still isn’t that great to my ears, but you see it’s still made this list. So-so Ziggi is still a pretty big and the artist here was more than so-so. There were six tunes on ”Same Difference”, including one already certified big tune, ‘Ganja Smoke In The Air’ [bka ‘Joka Smoka’] and one which would go on to receive a bit of promotion, including a video, ‘Baddest’ (both produced by Curtis Lynch Jr. and company at Necessary Mayhem). Also here was a combination featuring the legendary Marcia Griffiths. It’s still not my favourite, but it was hot enough to secure a spot here and hopefully when it comes to Album of The Year 2011, we’re talking Recado’s name again.

#6. “Zebi-Lion EP” [Andrew Bassie Records/Zojak Worldwide]

Who??? However many months later now (it’s been like five apparently) and I still don’t know too much about Zebi-Lion. I haven’t heard much of his music spinning and I probably haven’t heard a new tune, at all, from since he dropped this very modest looking EP through Andrew ‘Bassie’ Campbell. And you know what? Chances are fairly good that if you were to ask me about him five more months from now, things probably won’t have changed too much then either. AND, on top of my ignorance on the Grenada born chanter, his release was only three tunes . . . So why is it even on the list? Well, as it turns out, EVERY song on the piece was excellent - ALL THREE OF THEM. From the twisting old school style of ‘Babylonian Inna Problem’, to the COOL and upful nature of ‘Messages’ and the big sound of ‘More Love’, this one proved to be a total winner, full on.

#6. “How We Ride” by Erup [Truckback Records/Zojak Worldwide]

If it weren’t for the fact that, even when it dropped, ”How We Ride” from Erup and the nice people at Truckback (hey Heather!), was already dated, it’d make a pretty convincing surface argument to not only be on the top half of this list, but the top half of the top half of this list as well. Erup is a big artist and this time a year or so ago, his popularity was at its peak (speaking thus far, I fully expect him to turn it up a notch, from there, sometime in the next couple of years or so) and he was dropping big tunes on top of big tunes (most of which were for Truckback, incidentally). So, in this set, a few of them are included such as, of course, ‘Click Mi Finger’, ‘Roll Serious’ (here called ‘Ignorancy’) and ‘Mek Noise’. Also here were combinations with both Anthony B and Nature in an excellent form and then FOUR remixes of the biggest tune on the release.

#5. “If I Ever” by Wayne Wonder [Singso Records/Zojak Worldwide]

Still one of the most talented singers the Dancehall has ever seen, and probably one of the most popular as well, Wayne Wonder recently pushed a pretty unexpected EP release, ”If I Ever” from his own Singso Records imprint. What was unexpected was that he was actually doing such a thing, what most certainly was not unexpected was the fact that it was outstanding. Wonder is a very unusual artist because, after going through the ‘No Letting Go’ days, obviously it gave him a career boost, but it also seemed to make him BETTER. So not only are people like you and me (and who knows who else around the world) checking more and more for his output, what he is doing is arguably (consistently) as good as it’s ever been for him as a solo artist. This project featured four of his better tunes of the past couple of years from a variety of production sources, the title track, ‘All About You’, ‘I’ll Never Leave’ and ‘Don’t Say No’. If you got on at ‘No Letting Go’ and still haven’t let go (did you see that ???), you’ll like this stuff . If you got on a million years ago at ‘Saddest Day’ - Guess what - You’ll still like this stuff.

#4. “My Life” by I-Octane [Tad’s Records/Zojak Worldwide]

Probably the biggest personal disappointment for me in 2010 in terms of albums is (Lady Sweety’s vanishing act) the fact that the MUCH anticipated debut studio album from the SENSATIONAL I-Octane didn’t actual materialize and now, I’m probably even less hopeful for next year than I was for this one at the end of 2009. Officially speaking, however, the ‘closest’ I-Octane has gotten to releasing an album as far as something which does actually exist is ”My Life” which was the most stacked of a number (a billion) of EP’s/digital singles that he’s released over the past couple of years or so. Just about all of Octane’s music resonates with me, so while I could give you the track-by-track here, let’s just say that I liked all of it. The only problem was that it was a bit dated also, but even with that I think I’m probably still keeping a bit low, because it excellent.

#3. “I’m Drinking/Rum & Red Bull” by Beenie Man [Tad’s Records/Zojak Worldwide]

Just in case you thought he was finished, my choice as the Dancehall’s most talented artist of all time, Beenie Man, made a pretty big statement in 2010 via having arguably his best year in a while. Still, he didn’t manage to deliver his first LP since ”Undisputed”, but that release doesn’t figure to be far off. Still, in the meantime, he linked together a lot of BIG singles this year, several of which were corralled by Tad’s Records and put together on an EP named after two of his biggest in the calendar year. Besides those two, also on board were the DOMINANT ‘I’m Okay’ is also here as are a few top tunes from 2009, as ‘The Doctor’ continues to work on showcasing the longest PRIME years the Dancehall has ever seen.

#2. “Africa Is Our Home” by Jah Turban [S.J.P. Records]

You’ll notice that the top two entrants on this list are from artists who are largely unknowns in the Reggae world (around here, however, they’re really popular because I write about them alllllllll the time) and don’t have full LP’s to their credit as of yet, so I feel that they’ve gone about placing their absolute best foot forward on these releases. The first of the two is Jah Turban whose “Africa Is Our Home” just recently was pushed by SJP Records who, like the hotbed of Turban’s career seemingly, is based in Denmark. Despite the rather obscure origins of the music makers, however, the sounds they’ve come up to combine with Turban are as familiar as the origins of the artist, himself and because of that, this EP is a straight forward WINNER! Of the six tunes, there’re some which stick out as better than some of the others (my favourite now is probably ‘Move Vampire’, but all are AT LEAST very good and, all around, you simply cannot help but be impressed. Largely because of this work here, I’m placing Jah Turban alongside others such as Jah Marnyah and the next artist on this list who’re Caribbean born artists doing most of their work abroad and are theoretically prepared to carry the mantle of Naptali in 2010 and set FLAMES to the world with album releases in 2011.

#1. “Lively Road” by Smiley [Love & Unity Music]

And finally - Taking top honours for Best Reggae EP of 2010 is an artist I’d hoped would be making an appearance on ‘Album of The Year’ when the year began, outstanding Aruba born Dutchie, Smiley. This one is so good that it’s almost frustrating that he couldn’t . . . You know . . . Add like five or six tunes to the seven here and just run out a full album and should he do just that next year, you’ll probably see me write the review using words like “dated” as my critiques. This year, however, we can call it RIGHT ON TIME that ”Lively Road” included some of the biggest tunes Smiley is known for a single release. The title track (which was Smiley’s cut of Rootdown Records’ infectious Ska vibed Kokoo Riddim), ‘Distance’ which was not only sublime but also spawned the best video that I saw in 2010 (which is also included on the disc for this release) and ‘Dem A Wonder’ alongside Junior Kelly (video also on disc), which was Smiley’s first big tune to my knowledge, are all here. Also there’s ‘Big Money Bag’, the nearly HUGE ‘Dissaray’, ‘Miss Sassy’ and ‘Da Weed’ - All potential newer favourites as well. Put it altogether and you have a dynamic release which is also THE Best EP of 2010.

{Note: This isn’t #1 on this list because I have my own autographed copy . . . But that is cool!}

The Best Videos of 2010

Videos. At least in theory the music video is designed to visually do what the song does with audios - Capture attention - And first and foremost and for whatever reason, that is what the great videos do. After that, the true standouts of the visual music arts are those which can either convey some type of significance or grand relevance or can literally dazzle the viewer while in accompaniment of a song. This year, although still woefully far away from even being near someone who might be an expert on the subject, I’ve probably paid more attention to videos than ever before. So, I’ve kept track of quite a few which have managed to either dazzle or create some type of big significance for me. Thus, I submit for your approval - The Best Music Videos of 2010.

{Note: Anything Goes}
{Note 2: Again, I am clearly no expert of videos}
{Honourable Mentions: 'Nah Let Go' by Gyptian, 'Just A Text' by Shelly G and 'Chaque Jour' by Goldee &}

#10. ‘Jim Screechie’ by Spice [Directed by Kirk Lee]

Besides probably being my favourite actual Dancehall tune of 2010, the megahit that was ‘Jim Screechie’ by Spice over the big big riddim of the same name from Equinoxx, the song also happen to produce one of the greatest videos of the year in my opinion as well. The star here, obviously, is Spice and it is her general and perhaps natural outrageousness which shines through amongst the rest of the . . . Madness. Be it using cans to giant roll her hair, the sunglasses with the (used) cigarettes on them or even the nearly ritualistic and much discussed back of neck piercing, Spice’s winning ways made this video a ‘can’t-miss’ even more so than watching her awful lucked lover risk life and limb just to attempt to live Spicy once again.

#9. ‘Anything’ by Ce’Cile [Directed by Dexter Pottinger]

Almost like I was 5 again - You put a sexy girl on a beach and I’m probably going to enjoy it. This time around it was (still) THE sexiest in Reggae today to my opinion, Bad Gyal Ce’Cile, in support of her biggest hit of the year and one of the biggest from anyone in 2010, ‘Anything’ on Don Corleon’s Feminine Riddim. This video is simply beautiful. It is gorgeous! And while, in retrospect, it doesn’t carry the type of imagery one would typically associate with the kind of ‘ride or die’ philosophy discussed in the tune, what it does, instead of that is to highlight (one incredibly lucky rock) exactly WHO it would be who waan “cook fi u, wash fi u, make up yuh bed and clean yah house fi u” (and her hips and ass).

#8. ‘Never Give Up’ by Tiwony & Konshens [Directed by Lostyca for Alasani Productions]

Newsflash! Tiwony makes excellent videos . . . All the time. Seriously, I remind you (for the hundredth time) that videos are by no means my specialty, but when just about EVERY TIME I see a new video from a certain artist, whether I like the tune or not (and I generally do), something needs to be said. In the case of Tiwony, his ‘reign’ in the category extends even to combinations as this year he found himself linked with Jamaican star Konshens for ‘Never Give Up’ and what happened? Yes. Another great video. Besides being beautiful with the colours, this one scored for being quite simple actually. I really like the idea of the two coming from different parts of the world (not really) and linking somewhere else (Germany I believe) and then, more than that, the imagery of the people who, although they may not be in the best of set of circumstances, they’re still smiling and happy about the way things are going, which is at the heart of the song (some REALLY beautiful people her also doesn’t hurt any at all).

#7. ‘Enmé Mwen An Kreyol’ by Kénédy [Directed by Deejay Slam]

You knew she’d be here sooner or later. Technically she’s the only pure Zouk singing artist you’ll find on this list, she’s also my favourite in the genre and Kénédy has one fantastic year for making videos. First there was ‘Entre Toi Et Moi’, the title track from her big sophomore album and then there was this utter GEM of a release, the EPIC ‘Enmé Mwen An Kreyol’, which found our heroine returning to the shores of her homeland, Guadeloupe and making it look SO good! From the time she steps off the airplane and out of the airport terminal Kénédy looks sensational and from this video and just a few back, you really start to notice how she’s changed from that girl with just a bit ‘babyfat’ in the ‘Mon Oasis’ video, to one of the most beautiful artists today. She’s also developed a big presence as well which is probably what makes this video stand out as much as it does (as if anyone would wear that thing and just walk up country road), but the visuals surely don’t hurt. Eventually she wakes up, seemingly back in France in her everyday urban life, but even if she can only take us home in her mind, I don’t mind traveling for THIS.

#6. ‘Life of A Gun’ by Tarrus Riley [Directed by Gareth Cobran]

It’s a battle of good and evil from the only artist whose name appears on this list twice, Tarrus Riley. For his first trick, ‘Life of A Gun’, Riley kind of makes a spectacle out of having fun, but what a spectacle it is as bad man Tarrus and his camp runs meets good time Tarrus, face-to-face, before, basically, breaking out in a clash. If you make a video and clash YOURSELF, it's going to be hard to not score HUGE in the process and I’m interested! Very interested! Eventually the video does offer a bit of hilarity for the scenery, near its end and on its way there it manages to absolutely THRILL in the process.

#5. ‘Superman’ by Tarrus Riley [Directed by Rik Cordero]

Completing the double dosage of Tarrus Riley with videos from his latest WOW, ”Contagious”, is the big themed ‘Superman’. This one is like a small movie and it also tells a story which is so nice. Apparently the victim of a pretty bad car accident, Riley is left, memory not intact, trying to piece together bits and scraps of who he is and where he’s been exactly. Meanwhile, all the time looking for him (DAMN!) is (a GLORIOUS piece of human chocolate) the one who will be there for him. The video’s end reveals how we arrived at the video’s beginning and just learning everything and experiencing the tune in that context helps both with visuals and audios. EXCELLENT!

#4. ‘Summn A Guh Gwaan’ featuring Bounty Killer by Busy Signal [Directed by Ras Kassa]

Besides the fact that this tune is FUCKING RIDICULOUS it manages to produce a fantastic video largely based on some trickery of sorts. ‘Summn A Guh Gwaan’ features the legendary Bounty Killer linking up with protégé (remember that) Busy Signal for his third studio effort “D.O.B.” and in terms of what actually became a video, this is probably the most surprising of the lot. What we have is young Bounty and young Busy (who appear to be the same damn age despite the fact that Bounty is like a decade older than Busy) going through life and experiencing many of the things which the song speaks on and the visuals also show to have the same dynamic EDGE to it that the vibes of the tune does as well, making it a literally PERFECT marker for it and one of the best videos of 2010 as well . . . If not the best altogether.

#3. ‘Beautiful’ by Stevy Mahy [Directed by Pasquale Pagano]

Less truly is more. Certainly you had to know that this one was well on its way. SENSATIONAL Gwada Kreyol songstress Stevy Mahy did what the title of her beautiful song, ‘Beautiful’ would suggest when the big hit reached the visual level - She delivered the most BEAUTIFUL video of the year. The visuals here aren’t exactly laying on the beach with Ce’Cile (not far however), or skirting the country roads of the same island like Kénédy (not far from there either). Instead, they are just so damn CAPTIVATINGLY COMFORTABLE that literally watching this thing is a form of minor therapy. Mahy just looks so happy and so comfortable and so FULFILLED that it starts to bleed through the lenses at the viewer (ME!) and tap into places which would later be explored on her fantastic ”The Beautiful Side of A Kreyol Folk Trip” album. She’s singing to YOU, she’s laying in bed with YOU, she’s kind of flirting with YOU and it was one hell of a day!

#2. ‘Dread’ by Protoje [Directed by Leann Ollivierre]

Don Corleon’s little cousin, Protoje, left no stone unturned and no idea unexplored on his big HELLO of the year, ‘Dread’. This video is just a good great time (no typo there, my Wife says that ALL the time and now it’s presented for your annoying pleasure). You may not even care, but Protoje is going to show you who he is and where he’s been and where he is today. Beginning at his birth (exactly two months before my own actually) he shows us how when he was a youth he caused much mayhem and even linked up with his cousin which is just a fantastic piece (and Protoje’s Mother . . . Yep!). Eventually we get to today and the same cop to whom the duo gave so much trouble as kids has now become a fan. WONDERFUL and the best Reggae video of 2010!

#1. ‘Brave’ by Bunji Garlin [Directed by ForceFed Productions]

“Tell dem mi no fraid Nuttin!”
Soca videos, when done good, are usually very good, however they come few and very far between at the highest level. This year, that was again the case as most of the biggest names the genre has to offer (including a largely absent but generally photogenic Machel Montano) eschewed making videos for their biggest tunes (or their smallest or mediumest (???)) either, but the look what happened for one who did - He made the best video of the year. ‘Brave’ was the big tune for the 2010 Carnival season from Soca lyrics champion Bunji Garlin and not too shockingly, despite the fact that he hasn’t had a video in quite some time, it was a champion of a video. Just like the tune, the video reaches hard at people showing some STOMACH and some BOTTLE and COURAGE to go after whatever it is that you want. Particularly the video strikes, as expected, for Carnival, and Bunji specifies to make a point which rings loud and crystal clear.

If no one is going crazy, You go first.

I love the imagery. There’s kind of three running separate but similar incidents with each of the individuals eventually finding their own ‘brave buttons’ and MADNESS ensues. Mrs. Garlin provides a slight but COOL cameo as Bunji Garlin proves he can do no wrong in serving up ‘Brave’ - The Best Video of 2010.

'Pow Pow!': A Review of The Everlasting Riddim by Various Artists

At least we’re consistent. I like to think that one of the best things about we, as Reggae fans, is the fact that we can be quite loyal. Of course, music fans, almost by definition, are fickle and it is that same fickleness which surely helps the music business (that we’re open to hear new things and new artists), but I’d like to think that we jump wagons even less than big fans of most other genres. The greatest example of our both our loyalty and our capricious ways comes in the form of how are elder artists are treated and how they are revered. On one hand, the downright heartbreaking stories of once mighty artists being down on their luck seemingly has no end in Reggae and as more artists age, it seems to be a trend which is likely to continue. But on the other side of that, how many times have you yourself referred to the work of such an artist as “classic” and done so simply based on the age of the work or the experience level and age of its creator. The word is probably as common in the genre as “riddim”. To expound on that idea, I can well add myself because as I look into what I’ve been doing and speaking on in 2010, I definitely see it in my own case as well. Like where? Let’s talk about European labels. 2010 for me has been a very informative one on so many levels in the specific subgenre of European Reggae. How so? While I’ve spent a great deal of time singing the praises of fairly new entities such as Necessary Mayhem, Oneness Records, Rock ’N Vibes and Akom Records (and Own Mission, and Hemp Higher and almost countless others as well), I’ve also managed to cover a bit of work from the real modern pillars of the music in the region as well. Frenchie and Maximum Sound has had quite a strong year, producing both the second installment of ”Bobo Revolution” as well as Luciano’s latest VP album, ”United States of Africa”. There’s also been the incredibly active Irie Ites, Peckings and, most indirectly, Don’s Music, doing big things for French Caribbean and French Reggae. So we’ve covered a wide arrangement of labels this year, but I have to say that after all of that, it still doesn’t kind of seem like something is missing doesn’t it? There’s something or someone out there who would really help to wrap up the year if they managed to release a project.

Perhaps that someone is the arguably the most esteemed French label today, Special Delivery? After working on (I THINK) Lyricson’s solid return album, "Messages”, the label recently did drop their very nice Westside Riddim and just like was the case with the end of the year in 2009, that label is joined by their German counterpart, arguably the biggest and most popular of all of the German Reggae imprints, Pow Pow Productions. Last year there was the Sugar Riddim from Special Delivery (which I think I called THE best riddim of 2009) and the Surfer from Pow Pow, this year the German label chases the Westside with their own return, the Everlasting Riddim. It’s so interesting that now, doing my research, I see and remember that the only release that I knew of Pow Pow having in 2010, prior to this one of course, was a ‘Best Of’ release which was apparently released to celebrate the label’s twentieth year in the business, but apart from that and appearance on Gentleman’s “Diversity” album, I can’t say that we’ve heard much from them in terms of releases (I should mention that they also have a pretty well established sound and reportedly are one of the most active on that continent so they certainly haven’t just been . . . Sitting around). BUT that all changed the second the Everlasting Riddim dropped didn’t it? When I first heard this riddim I wasn’t very impressed and it did, for some reason, kind of remind me of an older set from a couple of years back or so, the Movements Riddim from Jamplified (every time I hear the Everlasting, still, in the back of my head I find myself singing ‘Far Away‘ by Queen Ifrica). But when you REALLY tune in on the Everlasting Riddim, I mean REALLY do it, all of it’s little . . . ‘Activity’ begins to develop and flourish right before your ears and while I’m not trying to call it the label’s greatest of inventions, it’s definitely well worth the lofty “Pow Pow” tag which it carries. To that end and furthermore, I could probably go on to make a very strong argument for this one, on the foundation of it alone, being one of the better developed and crafted riddims that I’ve heard in all of 2010 - Yes, it’s that good. Now, with that being said, everyone knows that the most important part with a riddim album like such is the achieving not only the proper mix of artists with the riddim itself, but also achieving the proper vocals from those artists with the riddim and in the case of the Everlasting Riddim, it doesn’t quite go over too well in my opinion, there’re more than a couple of ‘so-so’ efforts here and, unlike in most cases, it stands out to me with Pow Pow’s work, not only because of their obviously large stature and standing in the business (so the levels for them aren’t exactly the levels for everyone, because they have shown that not only can they be great, but they can sustain it as well), but because they do have a very rich history of doing strong riddim albums and scoring hits along the way as well. The Everlasting Riddim, as undeniably GORGEOUS as it is, kind of proves itself to belong to a very unfortunate group of riddims which are spectacular or nearly spectacular, but unable to produce an album of a similar quality level. Clearly that isn’t due to the quality of artists on board either as merely looking up and down the roster of names here, regardless of the compilation, I’m pretty damn impressed. And it I’m definitely not trying to say that the album is horrible either, but like I said, the standards are (or at least should be) raised in Pow Pow’s case. Ultimately while the album may not live up to those standards (or the even more lofty ones which accompany its riddim’s name) it does manage to provide a few thrills from a few big and will be big names.

Reading over the press surrounding the riddim one thing which stood out, but not in a surprising manner, was the fact that the riddim here was actually laid by the venerable Firehouse Crew. I don’t know at this point how many times I’ve done work on their productions (especially considering all of that Sizzla stuff) and in terms of this modern era, they’re probably my favourites and it surely helped create that CRISP sound heard in this case. Also not coming as a shock is that most likely the first time anyone ever heard the new Everlasting Riddim from Pow Pow Productions was earlier this year with what is essentially the riddim’s title track, ‘Everlasting Love’ from the aforementioned Gentleman on his aforementioned 2010 release, "Diversity”. It would only make sense that the real big German label links with the real big German artist and time again on tunes such as ‘Runaway’, ‘Unconditional Love’ and definitely ‘Superior’, it’s proven to be a mighty link and with this big tune, there’s been no deviation from the norm. This one was a highlight from that double album of Gentleman’s and . . . Yeah, in all honesty it’s probably the best song on the riddim named after it as well (of course I’m bias, however. More on that later). Next, Pow Pow continues to put it’s best foot forward at the beginning of the album by drawing another big tune, ‘Just Be There’ from the always welcomed Natural Black. The Guyanese chanter can probably do more with a straight forward vibes like such than anyone in the game today because he just infuses so much of his own personality and while I’m still working on this one, I’m very comfortable in saying that it’s one of the riddim’s finest. The big names continue to roll in as up next is Chuck Fenda with the LOUD and forceful ‘Deyah Long Time’. Big tune.

“Nothing no new to wi
Cah wi deh yah longtime
A millions of years and wi still deh yah a climb
No new to wi
Cah wi deh yah longtime
Marcus Garvey prophesize a wi seed come shine”

Not that the first two selections are exactly melancholy, but Fenda definitely gives the Everlasting a kick in the ass in terms of the pace and the tempo of the tunes and interestingly enough, charged with keeping that tempo up is an artist who is pretty regularly compared to Chuck Fenda in sound, Bescenta who is wrapping up arguably the biggest year of his career thus far with his tune ‘Health & Strength’. This is one of the biggest tunes on the riddim as well. On his album, ”Genuine”, Bescenta (in my opinion), made the mistake of incorporating too many love style tunes when the big sounding cultural/spiritual tunes are what he really does best (especially with ones which have a bit of ‘bite‘ to them) - ‘Health & Strength is one of those types of songs and it well helps to make my point even further. Other big names on board the Everlasting are the expectedly strange Perfect with the riddim’s obligatory herbalist number ‘My Herbs’, as he continues to find melodies which don’t seem to exist for any of his peers and furthers his standing as one of the most inventive Rootsmen today; and there’s also Ginjah, another artist enjoying a seriously big year, who offers up my second favourite tune on the riddim, the immaculately done ‘Serpent’.

“I dreamt of all the serpents in the sky
Last nite!
Putting up a fight
I dreamt of all the serpents in the sky
Searching for soul
Hunting to take control”

And to make that point as glaring as I can. Although I certainly have criticisms for this album (about to get to them now actually), it should be said that with the possible exception of Perfect, the biggest names on the Everlasting Riddim (all of whom are situated on the first half of the riddim’s album) do a VERY good job with it.

The ‘up and comers’? Not exactly. I was really delighted that there were three females voicing the Everlasting Riddim, but two of them don’t really hit the mark. The first, Jennifer Washington, is very impressive. Her voice sounds so nice on her song, ‘I Wanna Know’ and she has no problems staying in touch with the riddim but . . . I just don’t like her song. It’s pretty average and I’d really like to hear something else from her. Then there is Tamika who sounds VERY interesting on her tune ‘Gotta Focus’, but there seems to be some type of disconnect between her vocals and the riddim itself which makes it sound like she’s simply off-beat at times - She seems to ‘over-sing’ or ’out-sing’ the riddim actually.

There’s also Nature who does his very best Jah Cure impression on ’In Love’. This tune certainly isn’t a bad one, but it’s almost wholly unexceptional as the world seemingly has yet to figure out that Jah Cure is the only one who can sound like Jah Cure (and Zamunda sometimes). I wasn’t too fond of ‘Love How It Feels’ from Singing U (who I believe has an album which I’ve been trying to track down for the better part of a year) (I THINK it exists) alongside Shocking Murray. Murray is just a bit too shocking on the vocals on this one and I’ve never been a big fan of his, but he’s done better material than this and his rock and HARSH delivery, for some reason, sounds even harsher in this instance and his lyrics aren’t top notch either. And finally in the negative and most disappointing is the fact that one of my very favourite newer artists, Smiley from out of Aruba, has a tune on the Everlasting Riddim by the name of ‘Bad Mind’ which I just do not like and don’t like it from the first note. He’s done WAYYYYY better material and this may be my least favourite from him catalogue altogether that I’ve heard thus far. The song is very mechanical and with his type of FREE and natural style it’s most unfortunate.

Now that’s not to say that every non-huge name on the Everlasting Riddim fails to deliver because that’s certainly not the case. I hesitate to put the big voiced Raymond Wright in this camp simply because although he may not be the biggest name, as his 2009 debut album, ”Many As One”, could attest, he’s no new artist and particularly not new to Pow Pow (who did that album). His tune here ‘Time’ is nearly special and it’s clearly one of the best times to be had here. I wasn’t terribly impressed by his album, but perhaps it’s well time to dig it up and have a next listen. Also impressing, rather surprisingly, is the Norwegian artist Nico D with ‘Make It One Day’. I was originally going to include Nico (biggup Nico!) in the pack not too hot up and comers but the more I vibed his tune, the more impressed I became. It’s still not the GREATEST song I’ve ever heard, but I have to say that there is something to be said for musical ARRANGEMENT and harmonies and in both of those aspects this tune delivers big time. I also had the same initial experience with the very strange ‘Zero Tolerance’ from Malijah. This song seems as if it’s stuck in a sort of middle vibes and while you spend the entire duration of the song (which just so happens to be the shortest on the album, by the way) waiting for this EXPLOSION to take place - It never really happens. BUT! With that being said, where it is “stuck”, if you keep listening, is pretty nice and very original.

“Everywhere you go is sireeeeeen
Babylon and dem destructive machiiiiiiiiiiine
Dem waan fi wipe out communities cleeeeeeeean
Dem alla fight di Binghi man fi him Red, him Gold, him Green”

The song shows itself to be one weird, but mighty, social commentary, with a powerful spiritual edge to it as well and I’m thinking that it might be destined to be ‘lost in the shuffle’, but if you read this, definitely spend a bit more time on it before risking losing this nearly excellent tune.

And finally Pow Pow delivers a personal BOOM for me as arguably my greatest and favourite new find of the last year or so, Sara Lugo, also hops on the Everlasting Riddim, dropping ‘Bombs Of Love’ on every corner of the globe.

“I’m gonna stay on track
There’s no looking back
I’m ready to attack if I have to
No, they’re not going to fool me with their lies

I’ve got bombs of love dropping dropping dropping dropping dropping down”

The tune, like just about every song I’ve heard from her to date, just makes me smile! It also is probably one of her better vocal performances to date as well (which probably makes the ear-to-ear extended smile even wider) and she goes onto declare the fight a complete "lose-lose" situation for babylon. And, while I’ve said that 2010 may’ve felt slightly incomplete had Pow Pow not dropped a next riddim this year, I have to say that a final completely new tune from Sara Lugo isn’t bad either - It has been an UTTER JOY in 2010 listening to her develop.

And Pow Pow was (smart and -) nice enough to include a clean version of the Everlasting Riddim which is divine. It is BEAUTIFUL with the saxophone dancing so gracefully right over the top of it.

Overall, maybe the album is better than I thought. While there clearly are soft spots, the tunes ranging from ‘pretty good’ and better outnumber them greatly and it manages to provide scintillating moments as well. Most importantly, even if you ultimately think it an average project on the whole, is the fact that the riddim itself is so nice which is the work of the producer and I always think that one of the most important things in all of music is that whoever is on TOP, for whatever reason and however they got there, continues to show that they deserve to be there. And because Germany is known as being such a Reggae-hungry region, surely whoever is on top of that scene should be pushing material like such. That line of thinking also extends to the artists here and I did stress the point that most of the ‘big names’ here do perform well. The Everlasting Riddim album from Pow Pow isn’t their greatest piece of work to date, no question about it, but it does help to make quite the lovely ribbon on the gift that was Reggae music in 2010.

Rated: 3.75/5
Pow Pow Productions
2010
CD + Digital

Pow Pow
Pow Pow @ Myspace