'Watch Ya Back!': A Review of The Backstabber Riddim Sampler by Various Artists

As is the case with just about anything in life, success definitely brings with it a more than a fair share of baggage. The horrible cliché applicable to such a situation is ’more money, more problems’, but for as ridiculous that it surely is, it is fitting in many ways. In athletics we tend to think of a player or an entire team having a great performance and when they prove unable to duplicate it in short order, they’ve become a disappointment or a fluke. Music’s equivalent to the fluke is the ‘one hit wonder’ which is essentially the same thing - An artist who has done something great one time and has proven themselves unable to scale similar heights ever again. That’s generally the business of a single artist, but as I do this thing more, I find that the pressure to achieve can come in some pretty strange ways. A couple of years back I can recall saying a similar thing about VI Reggae star, Pressure Busspipe who had seemingly built up a great deal of . . . Pressure on himself (by simply being wicked) doing the outstanding works with Don Corleon and his then new album at the time, ”Coming Back For You” was going to have to be something serious in order to keep the spotlight shining as brightly as it was - That wasn’t much of a problem for him as not only did he deliver, but he delivered on that album in a very similar style as the big big tune. And just last year, of course, we ran into the emerging case of I-Octane who had strung together more big singles than almost anyone in Reggae and the pressure builds for him, even now, to continue to keep that fine output up. Now, those are the cases for artists, today we’re going to look at a label which caught a HEAVY amount of attention in 2010 and are hoping to do the same for 2011. No! I’m not talking about Jah Solid Rock & Not Easy At All who, following a great year last year, are going to almost HAVE TO deliver such results again in order to keep people like me talking (and as far as I know, they intend to do that shortly with Earl 16). There was also Necessary Mayhem and, they’ve wasted absolutely no time in solidifying themselves as perhaps THE best UK Reggae label today and showing that their (entire) year was no fluke already in 2011. Still, based on the fact that they provided 2010 with what was, in my opinion, the best release of the year, perhaps no one in 2011 has more pressure on them to perform than Oneness Records.

Backstabber Riddim Mix

I’ll spare you a direct recap of what they did last year (No I won’t), but it would be an understatement to say that the German label had merely a “big” year in 2010. Of course the crowning jewel (told you) was the single best album of the year (and I don’t care how many messages we get saying otherwise) (biggup my readers), ”Long Journey” from The Great Naptali. That album, I have spoken about almost endlessly, but let’s just say that I’m sure it opened the door for Oneness with so many fans and made their name one to look forward to seeing in the future. The “future” would come fairly quickly as later in the year, the same label also release a very nice riddim album for the Soul Riddim (which had a cover which I’m just now realizing actually has the word "SOUL" on it) (I digress) and they just proved to be one of the best European based labels around. Besides delivering quality releases, surely Oneness Records experienced their most successful of years in 2010 which also saw their general popularity raise with people such as You and me. So! With all of that being said, the pressure is one and they now have to continue to deliver big in 2011 to maintain the talk and they didn’t waste much time because in January Oneness pushed its first release of the year, The Backstabber Riddim. Going back (quickly), Oneness also had a release, which may’ve been their very first to reach internationally, the very strong General Key, from a few years ago, so obviously they know exactly what they’re doing in this area and the Backstabber rather easily shows itself to not be the low exception amongst Oneness’ work to date (and there was also a Oneness Riddim). The riddim was constructed by the Next Generation Family, which I know almost nothing about, but are apparently they are also from out of Germany (Munich), and they’ve done an EXCELLENT job here. On first listen you almost get the feeling that the Backstabber is a remake of sorts, but as far as everything I’ve read and heard it is an original creation. The riddim has tons of old school tones and colours to it and I’m positive I’m not the only one thinking so - SO maybe we’ll be able to tell from Next Generation’s future releases if it’s ‘simply’ apart of their style. Regardless of its origins, however, the riddim itself is SUBLIME. It is a gorgeous and very FULL sounding track and, even before we get into the actual songs, it seems to be the type of vibes which transfer into not only a nice bag of good songs, but into a good running album as well. The songs? Not a problem either. Besides one very curious selection, we have some very strong entries from what, personally, has to be one of the best selections of artists that I’ve seen on a riddim in . . . a really long fucking time.

I have to mention that there is something very curious about the sonic ‘situation’ on this album. Whether you like the particular songs or not is another question, but what is unquestionable is just how GOOD this thing sounds. It sounds like every song is a live track - recorded in a studio with a live band - And while I don’t know for sure (that may have actually been the case), my very humble digital copy (196kbps) sounds as good as anything I can think of in recent memory on our really bad computer speakers, so whoever was in charge of putting this together and recording it - Very well done.

'Backstabba' by Jah Mason & Fyah T

As I said, Oneness Records taps the Next Generation Family to create their new release, the Backstabber Riddim, and while, as I said, I know next to nothing of the NGF, I do know that German Fyah T is a part of it (not to coincidentally, however, I don’t know a great deal of him either) and he gets things going on his own riddim on ‘Backstabba’ alongside the first big name here, Jah Mason.

“Di pagan dem disgusting and mi know seh dem tun bad
Mi nah stoop low to yah freak standard
One aim, one destiny, tell dem a one God
Cah tile mi nor defile mi, lak di people dem ah Baghdad
Well babylon ah raffle and ah play dem grab bag
There’s nothing to smile about
You no si di youth dem sad sad?
Some get caught and can’t escape, you know seh dem tag tag
Look who did ah boast and ah brag brag”

I identify one excellent stretch from the Mason, but this entire song is very good. Fyah T is an artist whose voice may ultimately be even too big for my tastes (he sounds like Jah Thunder at times, during Thunder’s most agitated of moods), but when you put him in this type of context and throw an equally fiery Mason alongside him you get what you have here - Near magic, on a very big tune. Charged with keeping the vibes high is none other than Turbulence and if he’s operating ANYWHERE NEAR his finest form, he’ll have no problem doing that. If he isn’t he’ll serve up one completely mediocre piece of love song. While not his best, ‘We Remain’ is no love song, which means that it at least has a chance at being pretty good and it is. The song is about self perseverance and determination (“wi remain, remain, because the earth is for the meek so tell di wicked fyah flames”) and it is a good tune. I speak so much about how Turbulence, in my opinion, fails to live up to his actual talent, but I well look forward to opportunities when he shows just how skilled he can be and ‘We Remain’ is such a display. Who’s next??? We have the aforementioned breakout star Naptali who just had to be on the next riddim from Oneness (he was also on both the Soul and General Key riddims, respectively) and his piece here, ‘Deceitful’, is an excellent one. Naptali really has a way of providing a very SIMPLE brand of intensity. If you listen to the vocals here, they sound so laid back immediately, but when you take the entire tune into an account, you wouldn’t think of it as being a very lax song and on top of that, his delivery is almost perfect to get across the particular message here (and it’s case it almost always is).

'Be Careful' by Jah Marnyah

After and including Naptali, I looked at the Backstabber Riddim’s selection of artists and I thought, as I alluded to, how wonderful it was. It almost seemed as if they’d asked me PERSONALLY who I wanted them to voice on the track and got as many of them that they possibly could. Going sequentially, the next of my favourites to reach the riddim is the always on-point Lutan Fyah who tells everyone to ‘Stop’ from doing their negative acts. For just about ANYONE else making this type of tune, I’d just go on and call it a full on lyrical winner, but for someone as decorated as Lutan Fyah with the spoken word, it’s almost a bit gimmicky (mind you, it’s a good gimmick in this case, I’m not criticizing here), but in typical Fyah form, he manages to make it work and does so on so many different levels. The next name here which I was delighted to see on board the Backstabber Riddim was the outstanding Jah Marnyah from out of Montserrat. I’ve made so many predictions on what Marnyah will become when his career hits the top flight and many more people begin to know his name and as long as he continues to drive up material such as his effort here, ‘Be Careful’, I’ll continue to feel justified in doing so.

“Cah afford to drop yah guard
Safeguard yourself from yourself from some frenemy outta street
Dem know how to reach yah wealth
Pretending to be your friend, set you fi a fall
Rise above the struggle, always stand tall
Think dem was yah true friend
Dem a false pretender
No goodness inna dem heart
Dem a bad vibes sender
Wi tell dem purge dem soul, but folly ting dem ah enter
Marcus I
Emmanuel I
Selassie I
Ah wi defender”

MAD!

'Take Control' by Queen Omega

One of my absolute favourite artists, now and always, Trini Reggae queen, Queen Omega gives the Backstabber what is, in my opinion, its greatest moment (although I’m VERY partial) with the HUGE praising track, ‘Take Control’. Queen Omega can literally do ANYTHING on the mic and this big piece of tune rolls in with such a ‘deafening’ range of emotion that it sounds like more than one tune wrapped up into one as she lays it all down in the name of His Imperial Majesty!

“Cause in your eyes I am made perfect you don’t see my flaws
For in my sickness and discomfort Jah you, were the cure
So clean and righteous gentle humble Father, you’re so pure
And I will give up everything just to walk, through your door
To see you sitting HAILE with the Lion Paw
Is The Conquering Lion for sure

Take control of my soul
Cause when the enemies try to eat up my flesh
In The Most High God I will trust”

And finally, I was also very pleased to see big voiced classy singer Mark Wonder return to a Oneness riddim (he also was one both of the previous two and supplied the General Key with what was my choice as its finest tune, the SWEET ‘Soul Deep’) and he also draws a big tune to give thanks with ‘Devine Livity’. Mark Wonder has been FLAMING for quite some time now (maybe around two years actually), just offering top notch release after top notch release and if this tune is any indication (and it certainly is) the end is nowhere in sight.

Of the other two songs on the Backstabber Riddim, one is another title track, ‘Backstabbing’ , this one another combination - featuring another HUGE voice, traditional Gospel style singer Raymond Wright, alongside the venerable Prezident Brown. This is another big tune. I just LIKE hearing Wright sing and while I was never the biggest fan of the Prezident’s, his is a name which I more than just welcome on modern productions because he almost never disappoints. Da Brenner is a German vocalist who rhymes in German and you know how I feel about that, but his tune ‘Zuviel Vorgenommen’ (which means ‘Too Much Made’ according to our good friend Google) isn’t horrible from what I can tell. THANKFULLY, Oneness also provides a clean version of the riddim so you can try singing over it yourself at home. It is a very nice composition and I love when the labels realize exactly what they have and give the people an instrumental track on the albums.

'Backstabbing' by Prezident Brown & Raymond Wright

What’s wrong??? There’re only nine vocal tracks on the Backstabber Riddim. Fortunately just about all of them are very good (and they all check in at four minutes+), but a nice round #10 would have seemed so much better in my opinion and as I look down the roster I can’t help but wonder what Sara Lugo may’ve been doing that day (although I have recently seen the tracklist for her album (biggup Markus) which has EIGHT tracks which I’ve never heard, so maybe she did voice it) (you didn’t actually think I was going to get through an entire 2500 words+ review about Oneness and not mention her did you???).

Overall, thankfully what is present on the Backstabber Riddim is more than enough for me to sink my teeth into and I’m very happy altogether with what happened here. Oneness, as I mentioned, has an increasingly growing reputation for providing excellent riddim albums as now four deep into their catalog (that I know of), they now have three winners on their hands and had this one had just a couple of more tunes, it may’ve been their greatest work to date on a full album. There’s also the Next Generation Family who definitely gets a big credit here and whoever chose the artists really did something special by me and I won’t forget it in this case. Oneness Records jumped up on many radars in 2010 and while they ultimately may not be able to outdo themselves this year, they can damn sure give it a good try and the Backstabber Riddim is a big sign that they intend to do just that.

Rated: 4/5
Oneness Records
2011
Digital
Oneness Records @ Myspace

Legacy

Okay so, I find that one of the only ‘real’ critiques that can be lobbed in my direction by my readers is the fact that I pay very little attention to the foundation artists in regard to what I write. This is fine by me - It’s accurate in a sense, but I do have good reason. If I write a review/article about Bob Marley or Dennis Brown, am I really likely to help anyone or anything by doing it? I don’t think so. A lot of people wayyyyyyy smarter than I am have already said what is to be said in their cases, so I tend to focus more on the new-school and the ‘now-school’ names of today. However, if you are such a person who still harbours thoughts that I should pay more mind to the greats of yesteryear then . . . Well this post certainly IS NOT for you! Instead of going back, I’m leaping ahead, thirty years to be (kind of) exact.

I got to thinking about how some guy, three decades from now, running a RIDICULOUS blog like this one, might view some of the big names from today and what might become of them altogether and I’m impatient. I just can’t wait thirty years (in such time, I’ll be either completely dead or lamenting that I’m approaching sixty years of age in less than six months’ time). So I thought that I’d do it myself! Here I have a first installment of a list which jumps ahead to ~2040 and looks back at some of the big vocalists of today and what became of their careers: Legacy.

{Note: Names appear in absolutely no particular order}
{Note 2: I purposefully attempted to pick people who still have things to gain and things to lose - Thus no Beenie & Bounty and the likes}
{Note 3: Obviously I’m ignoring general changes such as - Sometimes people find other stuff to do with their time - or - People die}
{Note 4: Probably will end up doing this again at some point, with a fresh batch (biggup Batch) of names}

Aidonia

20 years too early. ‘Unfortunately’, the RIDICULOUSLY talented Aidonia was well into the second half of his thirties before he seemed to get focused and STAY there. With the early (and middle) stages of his career seemingly spent displaying how wicked he was (and he was), in retrospect, he failed to create a lasting impression until he realized that the rest of had long ago realized what he was attempting to prove - That he was wicked (did I mention that he was). And he was also bogged down by various arguments which went absolutely nowhere. ~2015 (having still not delivered an actual album that he supported) seemed to signal a significant change for the DJ and he would enjoy eventual redevelop into the outstanding voice many knew he could be. He started doing Roots music, he FINALLY gained a foothold internationally and it would ultimately lay a foundation for the stellar career he would enjoy well into his late forties and early fifties. STILL, perhaps the greatest thing which could be said about Aidonia’s career is the fact that if you listen to him at his tongue-twisting best and turn on the radio station now - Maybe you’ll notice that nearly ALL of the top male Dancehall DJ’s (and a few of the females as well) sound almost EXACTLY like Aidonia - 30 years later.

Turbulence

We can never go home. Never. Turbulence’s career as a whole, while definitely solid, remains to this day somewhat incomplete because he never seemed to stress what was CLEARLY his best trait. Coming up in a generation which was ruled by the likes of Luciano, Capleton, former label mate Sizzla Kalonji and the likes, when he reached the height of his talents, one could argue that, with an excellent chanting talent, deejaying talents and one of the most underappreciated singing voices in modern Reggae history, ostensibly, Turbulence was THE most naturally gifted Roots Reggae artist around at the time. Sadly, however, he spent far too much of his time ‘trapped’ singing lukewarm love songs and the result was a career which not only saw its biggest hit, ‘Notorious’, arrive well ahead of his thirtieth birthday, but also saw Turbulence eclipsed in popularity by names who had not even a quarter of his overall abilities! Still, it was that ability which makes him remembered to this day - We just still wish the Xterminator product had given us more of the Roots before he decided it was time to fall in love - 30 years later.

Baby Cham

Ghetto enigma. Who is Baby Cham? We still have no idea. Cham would seemingly only come out to say hello as often as his mentor and producer, the incomparable Dave Kelly of Madhouse Records (arguably the greatest Dancehall producer of all time), would make a new riddim - Which was, at most, once a year. And as Kelly got older and more and more detached, it didn’t do what you would expect: Make Cham more available to other producers, but it limited it. HOWEVER, with that being said, what is most frustrating about Baby Cham’s career is the fact that when he did have something to share, it was absolutely FLAWLESS! The Sherlock Crescent native’s big time in the spotlight would come with the MASSIVE international hit, ‘Ghetto Story’, which would spawn an album of the same name in 2006, his second. It would be another six years before he would follow it up and do so, again, in brilliant fashion. Also, when he would leave the comfort of Madhouse, Cham’s work for the likes of Stephen McGregor and Don Corleon was also top notch and he may’ve been actually been as talented as his far more celebrated peers, but we’ll never know because his activity level was never high enough to know what was really going on, but some suspect that was the plan after all as Baby Cham now exists as one of the greatest mysteries in Dancehall history - 30 years later.

Busy Signal

The colours! If Dancehall is mainly about having as much fun as humanly possible and enjoying oneself, then Busy Signal has had one of the greatest careers of all time, without question. When his career began, the up and coming DJ caught onto audiences, alongside singer Mavado, as yet another very hardcore artist from Bounty Killer’s camp - But even then, his was a talent which set him apart from the likes of Bling Dawg and . . . Those other guys, immediately. While that talent which was heard by mostly everyone did prove to remain well intact throughout Busy’s career, what we didn’t read too well, apparently, was what was present on ‘strange’ tunes such as ‘Dat Bad’ and others from early on which would eventually sprout into Busy Signal in his prime years who now has to be regarded as one of the most creative and inventive Dancehall products of all time. The man would eventually go into doing covers and remakes of material from The Commodores, Phil Collins and even full-on singing Beres Hammond. Busy would also go on to become the very first big named Dancehall act to qualify for and then PLACE in the International Soca Monarch competition in Trinidad and along with running a successful clothing line (although that whole Zouk phase he went through is still most unfortunate), his rise to power is one which is still truly one of a kind in the annals of Dancehall history - 30 years later.

Pressure Busspipe

Real king. Having reached the entry level big time of his career as early as 2004-05 when his MAMMOTH debut album, ”The Pressure Is On” dropped, VI Reggae legend Pressure Busspipe would have originally come to the attention of most during what would have been the prime years of what is now regarded as arguably the greatest Reggae band of all time, Midnite, but that certainly didn’t stop him from making his own course and his course ultimately would flow straight through the home of Reggae music. Pressure would become the first VI born artist to score a #1 tune in Jamaica when he sent on ‘Love & Affection’ for super producer Don Corleon. And album between the two would soon follow and Pressure was a household name in Reggae music. He would still maintain a dominant presence back home, recording with the same Dean Pond who licked his debut album and early hits throughout his career (and even to this day). Also, it’s taken all this time, but he’s FINALLY managed to receive his just due in another area as Pressure is now regarded as one of the finest lyricists in Reggae from the turn of the century and he’s become THE most influential artist in the VI Reggae scene since Vaughn Benjamin himself - 30 years later.

Ziggi Recado

Open the gates. Speaking of “influential” - The Dutch born, Statian grown Ziggi Recado would come along at was obviously the PERFECT time, not only for himself and for fans alike, but for the whole of Dutch/Dutch Caribbean Reggae music - Providing the region with an immediately transferable star. Following a less than impressive debut album in 2006’s ”So Much Reasons”, Ziggi would return a much much more refined and defined artist on 2008’s HUGE ”In Transit” and that would be the version of the chanter who would go on to become the face of Dutch Reggae. A name change would follow, as would a new self-titled album in 2011 and it was at that point where Ziggi’s popularity began to shift and you had this remarkable situation of his being a name ranking alongside the Gentlemans and Gappy Ranks of the world as THE most popular current European acts, while still CONSTANTLY representing hard for the Dutch Caribbean (biggup Regatta). Like Pressure, Ziggi would also enhance his status in Jamaica eventually, recording with some of the biggest producers in the world such as Kemar & Stephen McGregor and others and opening doors for not only his Dutch contemporaries such as Smiley, Maikal X and Mischu Laikah, but also a line of STRONG names which we have yet to see the end of - 30 years later.

Queen Omega

Far away. Both Pressure and Ziggi are examples of what GOOD happened when you had a big artist breakthrough towards the ‘Reggae mainstream’ - It opened doors for more and more people from the same area to do the same or to potentially do the same - Queen Omega is the opposite of that. Perhaps because a great deal of her work was done away from her home in Trinidad and most of her big hits came through European channels, she never really got the recognition she deserved as being a pioneer for Trinidad Reggae alongside names such as Marlon Asher and Khari Kill, but in retrospect, she had significantly more productive careers than either of them and than any other Trini artist in the day. Later she would gain a greater popularity back home but only after achieving greater successes in Jamaica first and she would continue to dazzle fans worldwide (but in Europe especially), touring with the likes of Marcia Griffiths and later Etana and recording with both as well. And as of late, much younger artists have began to invoke her name more and more and she’s even began to pop up more and more on Trini recordings (more now than ever before actually), so it seems as if perhaps a forty year check up would prove to be more positive for the Queen as CRAWLINGLY SLOWLY fans in Trinidad are beginning to wakeup and realize that a STRONG case could be made for them having birthed THE MOST TALENTED FEMALE ROOTS REGGAE ARTIST EVER - 30 years later.

Admiral T

Mr. Christy Campbell. The later exploits and ventures of Admiral T, perhaps, have now overshadowed the fact that he was one of the wickedest DJ’s the Dancehall -anywhere- has ever produced and although he probably can’t be regarded as a pioneer in general, definitely his level of stardom was previously unseen from someone coming to ‘regular’ Dancehall music from out of the FWI. The Admiral would become, to most, a bit of an overnight success, following the strength of his MASSIVE hit, ‘Gwadada’ and ultimately leading into a big album and an even bigger contract for Universal (a link which would span more than a decade). Admiral T’s time at the top, musically, was very fruitful and he would go on, in 2015 to drop an album with former protégé, the scathing Saïk, which is still regarded as the greatest French/Kreyol Dancehall album of all time. He was simply one of the most popular Dancehall acts of all time also. Still, for those who didn’t favour him in those days, Campbell would venture outside of the music, towards acting and other pursuits, which would eventually find him in front of a camera more than a mic, but for those of us who remember the days of ”Mozaik Kreyol” and ”Instinct Admiral”, stuck in our heads is the omni-talented DJ who could do no wrong with words - 30 years later.

Ce’Cile

Rolling stone. Looking back, quietly Ce’Cile has formed a career which is most remarkable in a genre which has a surplus of remarkable stories and situations. If you really think about it, a very strong case could be made for her being one of the most resourceful and durable stars the genre has ever seen. When most people first caught on, after the boom that was ’Changez’, Ce’Cile was already producing and writing for other artists (not to mention that she actually co-produced that tune as well on the Chiney Gal Riddim alongside Scatta and her earlier years on the top level were marked by her serving similar roles on other productions, most notably the EVIL Double Jeopardy Riddim). That was first and that was the highlight of her years spent alongside Scatta and the likes of Norris Man and Chrisinti at Iley Dread’s Kings of Kings imprint (and it also included the controversial (for you people) ‘Do It To Me‘). Later she’d move on and have arguably even greater successes at Danger Zone (which included her releasing about 4 albums in about . . . 20 minutes after having sat through an unfortunate deal) (biggup Delicious Vinyl) (not so much) which would include ‘Waiting’ and just when you thought she may’ve ran her cart as far as it would go, she found a yet another new productive set with Don Corleon. NOW! When you take all of that into consideration and add on the fact that she scored hits along the way outside of those labels also, you have one of the most consistent hitmakers of the early 2000’s, whether we realize it or not. She would also go onto do heavy business in the Soca arena (biggup St. Lucia) and a later updated redo of ‘Changez’ would add even more heat to a career that didn’t even need the help and these days STILL, Ce’Cile, well into her sixties can be counted upon to turn out the occasional hit - 30 years later.

{Note: Of course Ce’Cile is one of our favourite people on Achis Reggae, so you should go and vote for her as Female DJ of The Year from the Eme Awards}

Bunji Garlin

Real revolutionary. And finally there’s the great Bunji Garlin whose abilities with the spoken word would ultimately go on to play a major role in revolutionizing an entire genre of music. For everyone who didn’t necessarily like the standard ’jump & wave’ of Soca music (shame on you, shame on you), there was Bunji Garlin who fulfilled and embodied this ultra-lyrical form of the music while virtually redefining the how high crowds should jump and how dizzingly fast they should wave. His style would have immediate benefits, evidenced by the fact that he finished his prime as the first (and still only) person who could lay claim to having won TEN Soca Monarch crowns (although an excursion to attempt a Groovy title in 2016 didn’t prove to be very smart) and he would also make massive strides in the Dancehall arena, particularly later in his career when he would release two Dancehall albums. Bunji is also to be credited with inspiring a league of younger acts such as Skinny Fabulous (who won St. Vincy Monarch eighteen consecutive times) and others. Mrs. Bunji Garlin, the incomparable Fay-Ann Lyons (who I’ll surely update you on next time), also played a big role as she helped her husband FINALLY win a Road March title with their big combination tune in 2014. Bunji’s lyrical talents would also help him to put meaningful and socially conscious lyrics into popular and well received Soca songs, a trait which would become more and more prevalent as his years advanced. In later times Bunji would also go on to energize another sacred Trini art form which could use a boost as he IMMEDIATELY became the most popular Extempo voice in the world - Running unmatched -

{Break! Can you fucking imagine sixty-somethings Bunji & Machel doing Extempo????)

Until, of course, he made the fortunate mistake of drawing out the one rival whom he could not approach. Fay-Ann Lyons. Today the pair can be found lyrically sparring all over the world and occasionally offering a glimpse of the fire they blazed in their heydays - 30 years later.

Check It Vol. 23

‘Get Out’ [single] by Ziggi Recado [Rock ‘N Vibes Entertainment/VP Records]

Okay first up is only a single, but what lies behind is definitely a very big deal. Achis Reggae favourite Ziggi Recado serves up his new tune, ‘Get Out’, for his homebase of Rock ‘N Vibes and VP. The tune is expected to be the very first single off his brand new self titled album, which is expected to drop in APRIL (that’s just a few weeks away now)! The kind of funky sounding tune sounds pretty nice and something different from Ziggi (you can hear it on Juno) and we cannot wait to get our paws on that brand new album (hopefully they FINALLY link up Ziggi and Maikal X) and apparently a video for this tune is forthcoming also.

Digital

“The Love Directories” [Necessary Mayhem/Zojak Worldwide]

Next we have a release which is aiming directly at Valentines Day which was earlier this very week - A stacked compilation of big and solid Lover’s Rock from Curtis Lynch, Jr. and the fine people at Necessary Mayhem (going digitally courtesy of some other fine people, Zojak Worldwide) - ”The Love Directories”. While UK Reggae is traditionally built around Lover’s Rock music, in recent times NM has been one of the big young companies (definitely the biggest) to come around and change things up, but with this release, they prove they can play it old school as well. The album features contributions from the likes of the late and great Gregory Isaacs, Tony Curtis (alongside Angel), Delroy Wilson, Brinsley Forde, the always impressive Blackout JA, the flaming Chantelle Ernandez and others.

CD + Digital

"Perfect EP" [Tad’s Records]

Well how interesting is this?! I was actually thinking not too long ago that it would be pretty nice if we could get an album from the most interesting Perfect in 2011 and apparently someone else was thinking the very same thing . . . Kind of. The always (over) active Tad’s Records, apparently misunderstanding what an EP is (or maybe I am) has released an ALBUM for Perfect by the name of, ”Perfect EP”. There’re SEVENTEEN different songs on this thing (eighteen tracks in total, with an edited version) and it’s still called an EP. Perhaps that’s the case because it’s stuff you know already. Tunes like ‘Kutchie Cup’, ‘Police Boy’, ‘Tax Extortion’ and even pieces such as ‘Handcart Bwoy’, ‘All I’ve Got’ and ‘Nuh Badda Mi’ highlight the tracklist of this . . . EP album which I suppose is a good time to catch up if you haven’t yet.

Digital

The Bus Stop Riddim [Cash Flow Records]

Here’s an interesting one (even though I don’t like it). Cash Flow Records steps up and releases a jam packed riddim, the Bus Stop, and does so in two editions - the City and the Country. To my ears 9which are almost certainly defective in this instance), it’s the exact same riddim on both and I don’t like it very much. The one difference you can see on the two is how the tracks were compiled. The more cultural artists such as Zamunda and I-Octane are on the Country, but that’s VERY minimal and as I look further, it may be just by chance (because Tony Matterhorn is also on the Country Stop. Also here is Hawkeye (yep), Aidonia, Hyah Slyce, Munga Honourable and Diablo & Navino from Aidonia’s camp who do pretty well actually on their tune, ‘Real Bad People’. Still, to my opinion, the only one to see BIG success on the riddim (out of twenty-two different tracks and acts) is a surprising D’Angel who chimes in with the riddim’s LARGE title track.

Digital

“All The Love” [EP] by Glen Washington [Tolen Music Productions]

Glen Washington has been making EXCEPTIONAL music for the pass couple of years or so and he’s quietly managed to become one of my favourite singers in the process also. Well, he’s back again with another big single for Valentine’s Day, ‘All The Love’, for Tolen Music Productions. The digital set features both the original song and a remixed version which features the increasingly visible Jhaytea from out of the very Reggae friendly Roatan. So definitely check this one out, but try to avoid actually watching that video because it is truly, truly awful.

Digital

‘Mi Love Dem’ [single] by Kalash [Chabine Productions]

Another pretty big single comes through this week as the world’s angriest man, Kalash, provides a bit of Caribbean love with ‘Mi Love Dem’. Fresh off a 2010 which gave us his impressive self-titled debut set, Kalash has become an even bigger deal (apparently that album was pretty successful) and is keeping things going with this decent set. The digital release also includes the clean riddim which is nothing special.

Digital

The Orlando Mahgix Riddim [Ghetto Network Productions]

The Orlando Mahgix Riddim ( . . . Yeah) from Ghetto Network is short on good performances and short on big names as well and nothing about it, ostensibly, stands out too far. However, when you give it just a brief spin, you can CLEARLY hear that it is very very strong. I wish we could’ve gotten a few more talented names on this one because it is very good. Still, making good usage of it are the likes of Delly Ranx, Kiprich, Buju Banton (!) and the name which originally caught my ears as it turned out, the always over agitated and energized Silver Cat (LOVE Silver Cat).

Digital

“Another Story” by Hotta Flames

Interesting thing here. Hotta Flames is a very respected chanter from out of Barbados and he had an album from before by the name of ”Life” which I listened to pretty deeply and I didn’t really enjoy it too much. But I came back to it later and I was significantly more impressed the next time around so I’m going to suspect (and do so rather confidently actually) that the same thing will occur here. Hotta Flames now brings forth his sophomore album (I THINK), ”Another Story” and just listening through the clips I’m already starting to change my mind on how I feel about it, but I’ve yet to hear the entire album. Beat me to it and let me know how it is.

CD + Digital

“Steel Drum Rub-A-Dub: Bob Marley Tribute” by Bob Lyons [Bob Lyons]

So maybe I’m in this kind of mood because of the time of year or . . . I don’t know. There’re probably a billion of these kinds of albums, I have no idea who Bob Lyons is and I’ve never been the biggest steel head in the world, but suddenly and shockingly I found clips of his new album, ”Steel Drum Rub-A-Dub: Bob Marley Tribute” to be absolutely delightful! Nothing here goes unexpected, it’s pretty much just Lyons playing Marley classics such as ‘One Drop’, ‘Rat Race’, ‘Is This Love’ (which sounds particularly impressive) and others and it sounds damn wonderful and we may take a closer listen someday and actually pick this one up. Check it out.

CD + Digital

The Perfect Harmony Riddim Vol. 1 [Tunesberg Records]

I suppose somewhere in the world Collie Buddz, Joey Fever, Jabaman and Etzia are bigger names (actually the first one doesn’t surprise me at all) and more well known than Machel Montano and that’s depressing, but who cares! This is a really cool release because I’ve known this riddim for the past two seasons (I THINK) (maybe it was from last year) and very shocking the Perfect Harmony Riddim from Tunesberg Records (apparently from out of Norway) is now available for your digital consumption. Of course the big attraction here is the tune ‘Fly Away’ which links the riddim’s two biggest names, Montano & Collie Buddz, in one sterling piece of Groovy Soca brilliance. But a couple of the other songs sound nice as well (and Etzia, for her part, along with having a cool name is very easy on the eyes) and I may have a listen to this in the future as well.

Digital

And Then There's This

“Choices” by Gyptian [Kingston Records]

And finally, I thought that I’d throw this one in because I just may forget it the next time I do a ‘Coming Soon’ post and perhaps I can start early in getting the word out. Gyptian has a new album coming out. Whether he knows that he does, however, seems highly unlikely. Someone named Kingston Records is issuing up ”Choices” on April 12th from the singer and looking through the tracklist - It’s full of material that we know already. A great deal of it (and probably all of it actually) is produced by Kemar ‘Flava’ McGregor and when I first saw it and heard the label’s name, I suspected that it may be McGregor’s release or whatever may be left of the Bogalusa Records imprint that he used to make albums for, but it does seem unlikely to be something with which McGregor is directly involved because he sends 900 newsletters for everything he does and, of course, he just did his own Gyptian album last year, ”Revelations”. Anyway, this release is full of well traveled and EXHAUSTED stuff you should know already such as ‘Beng Beng’ (still love that tune for some reason), ‘Take My Money’ (which happens to float over McGregor’s recently completed Throwback Riddim) and even one of his first big hits ‘Mama’. You can pretty much think of this one as an expanded version of ”My Name Is Gyptian” and I don’t think the world was starving for such a release so step carefully here my friends.

Releases April 12
CD + Digital

'For Entertainment Purposes Only': A Review of "Dance & Sweep! - The Adventures of The Energy God" by Elephant Man

Maybe I’m just getting too fucking old for this stuff. Despite the fact that the main thing I do around here is reviewing albums and big time Dancehall albums seem to make appearances about as often as . . . Soca albums, I certainly do find more than enough adequate time to express my frustrations as to what has become of my once beloved Dancehall. And seemingly, at least for the foreseeable future, things won’t be changing much, if at all, in that area, so I’ve begun to cling onto the very few sources of GENUINE Dancehall music which we have such as the output of artists such as Beenie Man, Agent Sasco and Busy Signal, as well as the lion’s share of what’s coming out of the FWI on the highest level. Still, I do long for a full scale return to the Dancehall circa 2002 or so, so even if it isn’t something which would ‘typically’ catch my ears, I’m going to pay at least some attention to it if I hear something somewhat familiar - Like an Elephant Man. I actually have to give quite a bit of credit to Elephant Man. Besides being simply one of the most original entities to ever exist in all of Caribbean based music, and perhaps all of music as a whole, what most people won’t admit and tell you without ANY reservation is the fact that Ele is rather easily one of the most talented Dancehall artists of all time. You can say whatever you want. You can jump up with any argument you like - His command of deejaying words and (RIDICULOUS) melodies is something which truly places him in a class in which he has very few peers. Not only that, but his track record also proves it to a great degree. When Elephant is an old man and largely removed from a career making music and doing crazy shit, we’ll be able to look back and see that not only did he make significant strides internationally and into the ‘mainstream’ arena, but he did so and maintained his presence and was not only one of the most popular, but ‘popularly durable’ acts that we had. Still, what impresses me most about Ele, perhaps, is his consistency. Consistency in Dancehall music is pretty rare and when we have it, it often comes in the very stale ‘Beenie .vs. Bounty’ type of form, but we definitely cannot call Ele stale, he’s been refreshing from ever since he first picked up the mic and if he holds it for another thirty years he’ll be invigourating every step of the way. But with all that being said . . . Why don’t I like his music anymore?

'Nuh Linga'

Like I said - Maybe I’m just getting too fucking old. The last time Elephant Man released an album, ”Let’s Get Physical” just a few years back or so, I paid it almost no attention whatsoever and the album before that, ”Good 2 Go”, his ‘major league’ debut, didn’t exactly grip me either. Also, over the past couple of years or so, either Ele has slowed down significantly in recording (and he hasn’t) or I haven’t been paying a great deal of attention to his releases and it’s primarily due to me pretty much knowing what to expect at this point. Elephant Man, as I mentioned, is an INCREDIBLE DJ. He’s so impressive and consistently so, that with all the things surrounding him, it remains the one unquestionable piece of him - The man can simply deejay like very few others - But what he rhymes about these days is dance and Dance and DANCE and that‘s not my favourite thing (although I do love them occasionally - See ‘Willie Bounce‘). There have been and will continue to be exceptions to that, of course, but for the VAST majority of times, rest assured when Ele has a new big tune about which is receiving a push, you know what it’s going to be about (currently he‘s riding high with the 'Big & Nasty'). So, when the information arose that 2011 would bring forth the next studio album from Elephant Man, this one from VP Records (which SHOCKINGLY becomes his first album released ONLY on the label), I wasn’t very interested but I kind of was: ‘Talented Dancehall artist’ goes a long way with me. And then we see the album - ”Dance & Sweep!: The Adventures of The Energy God” (Yep - More dancing) - And we get a look at the tracklist (more on that in a minute) and while it was pretty much what I expected, there was still something very attractive about this album for some reason and that reason is revealed in almost any song from Elephant Man that you’ll pick up or hear from . . . Pretty much anytime during his career: Listening to Ele is an experience. It’s almost like listening to Bunji Garlin or Skinny Fabulous - some of the more explosive talents from the world of Soca - He will inevitably do something musically or say something lyrically which will either leave you scratching your head, with jaw dropped or just completely amazed in one way or another. The cover of this album may’ve actually elicited the entire aforementioned range of emotions from many and that’s even without listening to the album and when you get into the music, although expected in a way - You can never FULLY categorize or predict Elephant Man and he does end up offering a nice bit of surprises along the way. The way I look at ”Dance & Sweep” in its best possible light is to accentuate the OBVIOUS in this case: VP Records and Elephant Man set out to make a very FUN album. This album isn’t going to remind anyone of Etana’s recent ”Free Expressions” release or anything from the likes of Queen Ifrica or Tarrus Riley or anyone like that. But, where those extraordinary artists have their place - Making exceptional and meaningful music and taking the genre into the proverbial ‘next generation’, Ele also has his place: He makes FUN music and like I said, he’s been very consistent at doing it. So while he may not be one of my favourites anymore (and he isn’t), Ele earns a doubleshot of respect on this album by making a FUN album and by dashing in the occasional flash of that nearly peerless talent.

'How We Do It' featuring Bounty Killer

I like how the album isn’t pretentious or exaggerated at all: It makes no mistake about what it was created to be and to do. This album is about making Dancehall music and having fun - That’s it. The album’s cover also helps to set that idea forward (although the mighty Dale Cooper was quick-witted to point out that it is somewhat ’retro’ looking, in reference to the old albums from the Scientist for Greensleeves) and so does the very first track to be found on Elephant Man’s latest album, ”Dance & Sweep!: The Adventures of The Energy God” from VP Records, ‘The Genisis’ [sic]. The piece is an intro and, if you take away the movie-like setting with it, it essentially outlines the ‘mission statement’ of the album: To bring fun and colour and creativity back to the Dance. Fair enough. The first actual song on the album does an excellent job of doing just that. ‘How Do It’ is a tune which rode high on the Mad Collab Riddim from last year and it did so partly because it featured Ele alongside the legendary Bounty Killer in a big BIG combination. The song, for me, is very emblematic of the best this album has to offer (although I don’t think it’s the best song here, I’m assuming most people will and do) because it doesn’t set itself up to change lives or save the world or anything like such and it’s also kind of sleekly produced Dancehall music and it isn’t really saying much of anything. BUT, sonically it is amazing in every single way with top notch deejaying and it is a hell of a great time without a doubt (LOVE the Killer on that riddim). Next is the pounding ‘Party Up In Here’ across the European Swing Riddim from a couple of years back or so. This song is a good example of another kind which appears on the album to my opinion. The riddim here is just clearly ridiculous - It goes entirely too far and then keeps going - It is space-electro-Dancehall circa 2090. But you can hear the delivery of the lyrics on top of it and Ele never misses a beat and it sounds, at least in that respect, very good. And then there’s the boom. I know I wondered aloud that maybe I’m just too old (at the ancient age of twenty-nine) to enjoy most of Ele’s music so it probably makes me seem like quite the hypocrite (and aren’t we all) that arguably the most CHILDISH construction on this album is my favourite song, but I DON’T CARE AT ALL! ‘In Jamaica’ is HUGE! The Stephen ‘Di Genius’ McGregor produced set kind of sounds like Groovy Soca to my ears which may explain why I like it so much, but whatever the connection, I can’t stop listening to this song. The riddim is infectious and once again Elephant Man provides a downright dazzling delivery atop it.

“[Then how ghetto people party so?]
It is a mystery
To how wi party hard, mek di rich worry
Usain Bolt dance, celebrate victory
Party dung di whole a Cornwall, go straight to Middlesex
When we done, wi visit Surrey
Dance wi ah dance and keep di place merry
Stephen no drink alcohol, give him a cranberry
Fi stay focus necessary

In Jamaica!
This is what wi like!
To dance and party all nite!
The Caribbean flavour!
Wi nah no other choice
Wi ah dance from now to daylight”

The song is just a BEAUTIFUL and LUSH celebration of having a great time (a celebration of celebrating!) and as a Soca fan I couldn’t say a bad thing about it, even I wanted to (and I don’t). On an album built to have a fun a time, it is clearly the funnest (not a word) and craziest of times to be had. EXCELLENT!

'In Jamaica'

The main critique likely to float around about ”Dance & Sweep” from the hardcore heads is that it features too many songs that they already know and while that is true, I try not to dwell on that too much (out of fear of sounding even more like a recording), but in this case, given Ele’s international and ‘mainstream’ successes, I’d say that it is crystal clear that any project with which he’s involved to this extent is going to have larger aspirations than ‘just’ You and I (even though we are wonderful in every single way). So, by my almost certainly incorrect count there’re three tunes on the album which will probably elicit the most ‘I know this tune’ reactions from Dancehall heads and the most ‘Oooohs!’ from new fans. The first, of course, is ‘Nuh Linga’ . . . Was Beijing that long ago??? I was probably one of all of about four or so people who constantly heard this tune who didn’t enjoy it too much because, in retrospect, it was probably one of the biggest hits of Ele’s entire hit-packed career and I’m just tired of it now, but I don’t think too many people who pick up the album are likely to agree with me (and STILL I like the delivery on the tune at times). Then there’s the title track which was another big hit for Elephant Man (produced by Di Genius) and I don’t think it’s nearly as old as the tune which I just mentioned (which also immediately precedes it on the album) so I’m not as moaningly tired of it, but I never liked this song. ‘Nuh Linga’ is definitely catchy and HEAVY in some aspects, but ‘Dance & Sweep’ is just too damn much for me (this coming from someone who LOVES ‘In Jamaica’) (don’t judge). And later we get ‘Dip Again’ which was very popular from a couple of years back. The song features Ding Dong and was over the WICKED Day Rave Riddim (Di Genius again), which is the best part of it to my opinion, but have a spin for yourself.

'Step Ova'

Also sticking out and commanding attention on ”Dance & Sweep” is the tune ‘Sweep’ which was another popular piece (although not on the levels of the three I just mentioned). This tune has the ultimate fortune of being backed by Scatta’s DOMINANT Self Defense Riddim (an update of his modern classic composition, the Martial Arts Riddim) and the rest of the track is decent as well (I LOVE that riddim, someone could’ve probably burped for four minutes on it and I would have still enjoyed it) (and by “someone“, of course I mean Ce‘Cile). Check the captivating ‘Swing’ which is easily one of my favourites here (producer you say??? Di Genius), featuring yet another dynamic riddim, underpinning yet another equally dynamic flow from Ele. I might hold this track on the album, above all others, who have something negative to say about the DJ’s SKILLS. I don’t know how you can question him on that end, say what you will about the zaniness, but his actual talent is above reproach to my opinion. The KNOCKING Smokin’ Riddim (who built it??? Di Genius again) tracks ‘Step Ova’, another very catchy tune and one which would have come well within the phase of me not paying a great deal of attention to Elephant Man’s output, but having heard this one before, I don’t recall it being this good.

“It no really matter if you drink or yuh sober
All who ah drink wi call, down to dem kids dem wid dem soda
Step ova dem
Stretch ova dem
Like seh you ah do yoga
Dance!
Lak di Greek dem wrapped in a sheet ah do toga
Stretch ova dem, run ova badmind lak a rova”

I also have to mention the CD closer ‘Let Me Be The Man’ which is clearly the changeup ton the album. The sterling City Life Riddim, a colourful REGGAE piece, is utilized by the song on which Ele finds himself making his case for a potentially very special lady. It does sound somewhat out of place here when you hear the vast majority of the other tracks, but it’s also BETTER than a great deal of them and it’s currently enjoying somewhat of a ’second wind’ as well.

And finally, while not BRAND new, the balance of the tunes on ”Dance & Sweep” are likely to be at least relatively fresh to your ears, regardless of how much of a fan you are (unless I really haven’t been paying any attention). These songs include a pair of songs produced by Truckback Records (hey Heather!) ‘Wine & Dip’ and ‘Shake It’. The former is something SERIOUS, particularly because it comes through across one of the finest ACTUAL Dancehall riddims of 2010, the twisting Tun Up Riddim (which features a pair of tracks from Soca lyrics king, Bunji Garlin and the always impressive Bramma which are ‘simply’ not to be missed). ‘Shake It’ on the other hand, while not as strong ostensibly, is almost impossible to get GLUED OUT OF YOUR HEAD. It also features a very unusual melody (I guess that’s what I can call it) and ‘typically atypical’ vibes from Ele. There’s also ‘Clear’ which sounds familiar but I don’t know that I’ve actually heard it before. The song is another combination, this time featuring Canadian Hip-Hopper, Kardinal Offishal who we run into on big Reggae/Dancehall albums about once or twice a year. It isn’t a highlight on the album for me personally with more of a LARGE Hip-Hop sound prevailing, but it isn’t horrible either. And if you buy the CD and only the CD of the album, you’ll be missing out on another combination which closes the digital set, ‘Life Of The Party’ which finds Bounty Killer stopping by once again, this time on the very well superhero-ish Dancehall EFX Riddim. This song isn’t as strong as the first link between these two in my opinion, but it isn’t bad either. Bounty Killer (surprisingly) tends to have pretty good tangible musical chemistry with just about everyone and Elephant Man would well fit into the top of his consistent collaborators and they’re to the point where they don’t even have to bring their absolute best to do well and this is an example of that.

'Wine & Dip'

Overall, should you take this one for what it is there should be no problems at all. ”Dance & Sweep!: The Adventures of The Energy God” is meant to entertain. Too many times I get albums and I read press releases which say shit like “the most anticipated Reggae album in a billion years” and things like that - This one doesn’t do that (actually it may have, let me check, no it doesn’t!) it speaks on bringing back the energy and the fun and it does just that. Also, as I speak about it almost everyday, credit should also be given for making an authentic Dancehall and Caribbean album with minimal Hip-Hop and Pop overtones which is so unfortunately rare these days - So all of that stuff . . . Well most of that stuff, mentioned in the intro is true. I’m happy to say that while not paying the greatest of mind to the goings on of Elephant Man, he’s still remained true to form. He may not be concerned with your ultimate goal in life or your state of well being at the time, he simply wants to make you have a good time when he’s involved and this time around, again, he’s managed to do just that without a hitch.

Rated: 3.25/5
VP Records
2011
CD + Digital
Elephant Man @ Myspace