'The Chameleon': A Review of "Unstoppable" by Cali P

I will support the talent level of this current generation of Reggae artists against that of any other until my fingers fall off. As we and many others have established previously, Reggae is an art form which is very much 'old school oriented', so more times it seems as if the journey to discover class may very well begin, and sometimes even end, decades ago. However, it is my position that RIGHT NOW, we are very much experiencing a "golden age" of sorts in Reggae music, specifically in regards to just how many truly talented practitioners of the craft we have on the planet at this very moment. The fact is that the music now is not only heard, but celebrated in regions of the world which it has never even reached before and, as we'll talk about today, Reggae is now as diversified as it has ever been to date. The fans are diverse, the producers, the labels - Everything is a bit more colourful than ever before. That also includes the artists themselves and the actual music as well and what we're seeing now are these amazingly doubly talented individuals who show an intense amount of versatility in what they're able to do. Because that simply wasn't an option in the days of yesteryear, it's something which has no established or set direction - These multitalented and multifaceted MINDS in the music. Like I said, Golden Age. Between last year and this year the UK sensation, Gappy Ranks put on a display of musical diversity which should not go underrated and overlooked. Between dropping his debut set, "Put The Stereo On", and its followup, "Thanks & Praise", Gappy basically showed himself to be two (or three) different artists: One, as one the first album, with a mind towards more old school compositions and able to succeed for a label distinguished for such material as Peckings. Gappy's other half, meanwhile, was extremely modern in both Dancehall and Roots Reggae and, again, quite capable of succeeding in both. Lining up to perform a similar feat, although one very much of his own creation, is a light who had already revealed himself to be amongst the next group of up and comers poised to become one of the most talented Roots Reggae chanters of this era and the next, but is now back to doing a revealing of another kind and show us all that it was only just a half of his abilities. Meet Cali P.

"Lyrical Faya" [2008]

Hopefully you exercised some good common sense in 2008 and picked up a copy of Cali's debut album, "Lyrical Faya" which is probably one of the better debut albums you'll hear of its time. That Pow Pow helmed project was FULL of outstanding modern Roots Reggae music and for fans of the genre, like you and me, it was exciting taking Cali P's name and adding it to the list of artists to look for. Not only that, but when you dug into his story, even back then, you saw that "diversity", in so many ways, was something which he had a great deal of, even before getting into the music. He is the son of a union of Gwada and Swiss parents and, reportedly, spent extensive time in both places while growing up. That first album also showed great flexibility, while staying primarily in its genre - It was a very entertaining Reggae album and it still is.

Hemp Higher

And that was only the first half. Since (and probably even before) "Lyrical Faya" reached shelves, Cali P has come to associate more with a producer, Gary 'Riga' Burke, of Hemp Higher Productions from out of Switzerland. Riga . . . He doesn’t make Roots Reggae. No. He makes a brand of intense and agitated Dancehall and that, alone, makes him quite odd. With very few exceptions (one, incidentally, being Weedy G Soundforce, also from out of Switzerland), Europe pushes Roots Reggae music exclusively and has seemingly not yet been bitten by the Dancehall bug. Furthermore - small world - with the type of vibes that Riga makes, it almost sounds like what you would have heard from the likes of Krys, Daddy Mory, Admiral T and others from the French/FWI scene a few years back, with its almost OVER done force, and, as it turns out, he also produced quite a bit of that. Small world indeed (TINY!: I'm pretty much allergic to French Hip-Hop, but one of the very few artists in the genre who I enjoy, Ol' Kainry, has also apparently worked with Riga) (biggup The Demolition Man). So, I don't know how the link between artist and producer in this case was formed, but they have been blazing for the better part of the last year or so with a constant stream of singles. A few years back, while wondering what happened to Cali P, I noticed that he'd dropped a couple of mixtapes on his Myspace page and I think it's probably likely that Riga had a hand in those as well. Also, even before the first album, I can remember reading about Cali P's popularity in the winter sports community as well and that's apparently gone to even higher heights these days as, as somewhat of a 'pre-album', the chanter appeared on nine of thirteen tracks on the soundtrack of "Like A Lion", a documentary for skier and good friend (and fan) of Cali's, Tanner Hall.

"Like A Lion" soundtrack [2010]

So, what better way to cement a change in style than to cap everything off with a big album? That's exactly what Cali P and Hemp Higher do with his sophomore studio set, the perhaps increasingly fittingly titled "Unstoppable". In a perfect world where everything went according to how I wanted it, this album would have been another Roots winner and it probably would've arrived last year, but as someone who really had been looking at Cali P as one to really enter a dominant state in Reggae in Europe (and he PROBABLY will still), I was looking forward to another impressive Roots album. HOWEVER, after really tuning in "Unstoppable" and having a close listen, I heard a very original and DIVERSE skill which hadn’t struck me so greatly listening to some of these tunes as singles. By its end, a large part of the album had fallen within this unusual talent and it had become much better than I had thought it would be. Let's discuss!

'Wine Up'

Although it certainly does come close, to my opinion this album never fully goes off the radar in terms of just losing scope of what it actually is and who the artist is. Why is that? Cali P has a very fascinating way of maintaining his focus and PRECISION in the face of the incoming fire. It’s normally a quality not associated with Dancehall, but Soca - with lyrics king Bunji Garlin being the prime example, but it's also present in individuals such as the DAMAGING Tiwony, Jah Mason and perhaps Turbulence at his absolute best, respectively (not a very crowded lot). These are people who, although they may mold their intensity to match the vibes of the tune (and generally do), what you're going to hear most times, is still the same lyrical step forth and Cali well does that here. So, what happens is that the album, very much, takes on this three dimensional sound - Reggae messages over Dancehall backs - where even a more experienced listener has to be keen about what he/she is hearing and HOW they are listening to it. After I figured out the direction "Unstoppable" was headed in, musically, I have to say that I was damn happy to see the way the album began, with the very first selection, 'Jah Rule The World', being not only one of the slower tracks present, but also one of the best, so it kind of eases you into it, instead of blowing you away IMMEDIATELY as a listener. Indeed, for that reason, and the fact that the song is positively STERLING, I'm tempted to call it, by the slimmest of margins, the single best tune on the whole of the album, but this is the type of project on which I would expect fifteen different people to have fifteen different opinions on which tune takes top honours. For me, however, the opener is a gem:

“And even when the times cold
Wi blaze di fyah cuz de warriah dem brave and bold
Pray to Jah and neva lose di control
Cuz inna babylon it easy fi go sell your soul
Give thanks Jah guide mi pon di road
Bring I to different places and mek di truth be known
RASTAFARI, IS THE RULER OF THE GLOBE!

My people rejoice and shout it out loud!
JAH RULE THE WORLD!”

The song kind of picks up in passion as it progresses and although Cali follows similarly in his delivery, at every twist and turn he remains as meticulous as ever in route to starting off his new album with a BOOM of a track which had me SMILING brightly at its end. Trusted with maintaining the early quality heights on the album is the very familiar 'Dreadfull' which was THE highlight of the aforementioned "Like A Lion" soundtrack. I'm expecting this tune to do even more of a damage once many ears get a taste of it here, it's probably my personal second favourite tune here as it very much builds on the concept of the opener while steering it in a more 'terrestrial' direction and right about now, I'm seriously reconsidering my choice as the album's finest moment (told you - Actually, if you asked fifteen people, you might get THIRTY different opinions on that). Next in is what I believe is one of the official singles from the album, 'D Sunne Schint', which features another Swiss Reggae voice, Phenomden. I don't know a great deal about Phenomden (and I have absolutely no idea what the hell he is saying on this song), but from a strictly sonic direction, the tune is very impressive and an obvious choice for a single. For his part, Cali P definitely gives you what you've come to expect - significantly powerful and meaningful vibes.

'D Sunne Schiint' w/Phenomden

As I said, Cali P and Riga have been up to some serious work recently and the fruits of their concentrated labour is evident all over "Unstoppable". With that being said, even if I wasn't paying the greatest of attention, there're a few very familiar sets throughout the album. Perhaps none are more familiar than the very visual 'Wine Up' which is a dance floor filler to its very core. A very nice video surely helped keep this one on my mind, but I can also recall hearing it and thinking it very un-Cali P-like and then . . . Well I started to like it and I still do. This is a song strictly for the senses, but it also shows a great deal of diversity that he can not only do something like this, but do it well (be careful with that damn song, it stays with you!). Also quite difficult to shake is Riga's Ovaseaz Riddim from last year which serves as foundation for the tune, 'Mek She Feel It'. This tune is another like 'Wine Up', where you come to appreciate it almost solely for its sonic appeal. I do think it’s the lesser of the two, but not by much and, again, you can just appreciate the versatility present here as this is quite a far way from "Lyrical Faya". 'Dat A Wah Mi Prefer' is Cali P's cut of the recent Moonlight Riddim and it is a pretty fantastic example of what I meant in regards to the artist's unique ability to maintain his concentration in the midst of so much madness. It's pretty much a social commentary and were it not over this type of composition, that's what would stand out because lyrically it is well WICKED.

“Fi si di youths live betta
Dat a weh mi prefer
Money over war and gyal over beretta
Every youth tun star
Dat a weh mi prefer
Mi haffi reach far cah man a go-getta!”

Another big prior single, the unification anthem 'As One' is also on board and it features Stress, who is rapper from out of Switzerland. This one is just BEAUTIFUL. Everything about it - from the message to the riddim to the link between the two parts - It's just excellent and is a tune really in possession of star quality to my ears as well. 'Tell Me Why' is a remix of a tune apparently originated by UK Hip-Hopper, Lowkey, who guests on the tune on "Unstoppable". It's very very catchy and never being the biggest Hip-Hop head, I have to admit that I'm well impressed by Lowkey here. 'As Long As U There' is a song I'm pretty sure that I know, but I couldn't tell you where you from exactly. This one is somewhat strange because it's an R&B song. Pretty straight forward and cut and it isn't bad. I'm still working on the final call, but again, it isn't awful. And I definitely recognized 'Nobody Betta', one of the album's real highlights and just an EXCITING and uplifting tune. Big lyrics and I know it's old, but otherwise, I could certainly see a future single tune here and a hit as well! Still, after all of that, I have to say that the song here which, upon second listen, got infinitely better to my ears is the obligatory ganja track, 'Sweet Greens' on the Brainfood Riddim. MAD! Besides that downright NUMBING track, Cali P doesn't hold back AT ALL on the delivery.

“Cali P is a ganja man
When mi bun it, yow a higher meditation
Yes, ah it mek mi look pon creation
Mek mi sing some song fi di nation
Fyah bun a paygan
Member a collie dis
Right now mi come an sing fi di cannabis
And mi biggup di man dem ah plant it and tek care ah it
Farmer no lazy, dem haffi fit
Wi bun it and give it di brand new hit
Hey hey ah!”

As far as the tunes completely new (at least to me) on the album, surely I was most interested in hearing the title track and that was especially true after seeing that the project had been run better than I assumed. On the song 'Unstoppable', Cali P, while incorporating the 'elements' of the song, discusses living a righteous existence and an upful existence with His Majesty and, thus, becoming UNSTOPPABLE. As this song goes on and starts to pulse more and more, I started loving it more and more and really seeing how all of this work because for one of my main premises in discussing this album - that this artist can transcend a genre in terms of sound, while keeping true to himself - This is the most vibrant display! HUGE TUNE! The album wraps up with another striking, albeit somewhat somber ostensibly, tune which is new to me 'Don’t Give Up'. This is a tune (obviously by the title) aiming to lend inspiration to pick it up and keep moving oneself and one’s loved ones in a positive direction as best as possible. With the sound of it, it's likely to be 'lost in the shuffle' and that's going to happen on any album, but hopefully people pay attention to the not so hype song on the end of the album because it's full of information (such as one of the mightiest lines you'll find on the album - "They all wanna rule, like dem nuh know seh there's a Ruler!").

'As One' w/Stress

And then there’s 'No Way'. In the most FORWARD display of lyrical skill, Cali P basically freestyles a WINNING track around a chorus over a KNOCKING riddim.

“Some people believe in all kinda abracadabra
Some people still give all their money to the pastor
Some people so bad minded that when you prosper-
Dem call pon evil forces and think dem ahgo conquer
Dem waan tek you offa di road weh you gon fa
Put you inna trouble, like it’s dat, you ah call fa
Cut off your sight like Ray Charles and Stevie Wonder
Life short!
And now dem waan mek it shorter
Couldn’t I dem ah play wid, man a real firestarter
I & I a Lionheart, real tuff warrior!
Buss, mi come fi buss up dem barrier
Mi, mi come fi mek it cuz ah dem, mi no sorry fah!”

All the while keeping his focus on what needs to be said. I don’t know if it was a total freestyle, but it definitely has that sound and that approach on one of the most unforgettable moments to be found here.

The Deluxe Edition of "Unstoppable" features two additional tracks, 'Strong As I Can Be' and 'Love & Understanding'. The former is a Diwali-esque cleverly intoxicating song while the latter is one of the missing ingredients - the album’s acoustic set. Both are kind of changeups even for an album as varied as this one and pretty clear choices for *bonus* material in my opinion.

Cali P

Overall, what we have here is a very complex and diverse album, but one which, because its 'nature', opens lends itself to a just as diverse audience. On one hand there're the completely new fans of the genre or the casual heads who'll just appreciate that it sounds really infectious and it certainly does. But if you scratch below that level, there's a Roots Reggae album wrapped up inside a Dancehall album. The journey to that album inside is a VERY interesting one and one which is sure to appeal to the more hardcore fans and both of those are reflected in the early buzz and good business done by this album. On top of that is the very fact that Cali P has done what he has done, so . . . What else is in there? While I wish there was a one-drop mixed in there somewhere, you almost have to acknowledge that he's very effective in this style as well. Taking him in full - While I once looked to him as a future star in Roots music, perhaps his talent is one which can push him into a more accessible direction. "Unstoppable" is definitely a very lofty title to have to live up to in any respect, but should Cali P prove capable of continuing to show such a multifaceted and applicable MODERN skill, it will not be an unreachable one. Well done and much better than I expected.

Rated: 4.25/5
Hemp Higher Productions/Inspired Music Group
2010
CD + Digital
Cali P

Review #325

Check It Vol. 30: Compilations

In Stores Now

"Maximum Sound 2011" [Maximum Sound]

First up this week is a truly BIG release coming from out of the UK courtesy of Frenchie and company at the mighty Maximum Sound, "Maximum Sound 2011", which is a catch-up to the vibes from the label of this year. MS well has a good reputation when it comes to compilations as, at least to my opinion, in both editions of "Bobo Revolution", they've pushed two of the better comps from the turn of the century and here, the label seems poised to revisit that line of quality. In its eighteen tracks. "Maximum Sound 2011" features a mountain of big names - Sizzla Kalonji, Tarrus Riley (big tune - 'Rebel'), Luciano, Bounty Killer, Assassin, Busy Signal (another mad song, 'Uniform Bad Bwoy'), Ce'Cile, Mr. Vegas, Konshens, I-Octane, Million Stylez, Yami Bolo and others offer LARGE tunes over this primarily old-school Dancehall and Roots release with a very modern spin. We haven't stuck our teeth into this one fully just yet, but you might be looking at one of the best compilations of 2011 right here.

Digital

Maximum Sound Riddims [Maximum Sound]


'Africa We're From' by Natty King [Ashanti Warrior Riddim]

Besides releasing the big and aforementioned compilation, Maximum Sound has, essentially - like so many labels are doing lately, emptied its catalog through the digital medium and, suddenly, digital Reggae shelves have gotten just a bit 'happier' because of it. MS is the type of label that have definitely done great things, but you may not be aware of exactly what. So! Surely you should pay attention to the riddim releases in particular. They have been massive and even though I'm an overthinker, even I won't writer out all they've done, however, my personal favourites do include the Jah Powers Riddim, the Praise Jahoviah, the Rebellion 2010 and my absolute favourite composition from Maximum Sound has likely been the Ashanti Warrior. All of these and probably a dozen more (including the Desert Storm which features a WICKED old tune from Sean Paul, 'Back Off') are waiting for you to exercise some common sense and have a closer look and listen. Favourites of the label such as Anthony B, Jah Mason, Luciano, Lukie D and others headline the pack.

Digital

The Broken Hearts Riddim [Don Corleon Records]


Riddim Mix

This riddim may very well have been released back in the 1980's, but I always meant to mention it and we never got around to doing it. The Broken Hearts Riddim may just be one of the best compositions ace producer, Don Corleon has EVER done. It was absolutely BEAUTIFUL in every way and while I don't think that it would, ultimately, generate the type of response that it deserved, but everyone who really tuned it in knew exactly how powerful it was. Shining here were the DCR regulars apart from Ce'Cile, Pressure Busspipe, Tarrus Riley, Kartel, Ikaya and Da Professor, and also Richie Spice and I-Octane.

Digital

"Dis Ah Dancehall" [Digital Link International Inc./Zojak Worldwide]


'Talk How Mi Feel' by Agent Sasco

With real Dancehall pretty much a dinosaur these days, the Dancehall compilation which isn't a riddim set is even more a victim of time, but credit goes where it goes. Digital Link International Inc. deserves some shine now for having dropped this decent effort, "Dis Ah Dancehall". This album is full of some of the more Dancehall specific popular tunes - What I mean is that if you follow the genre, nothing here will probably be so amazingly unattainable to you, but it isn't necessary "Reggae Gold" either. It does, however, become very useful for more casual fans of the genre who probably aren't (reading this right now) (or right now) paying as consistent of an attention. The usual faces of Mavado, Kartel, Agent Sasco and I-Octane headline, with more than formidable (and downright legendary in some cases) twists of Shabba, Buju Banton, Lady Saw (those cases), Kiprich and others rounding out the album.

Digital

CMF Riddim [Segnale Digitale/WarSound]

We head back to the ultra-active Reggae scene of Italy for probably one of the best Dancehall sets that I've heard in 2011, the CMF Riddim from Segnale Digitale & WarSound (who?). MAD! This one sat in the email for a few days before Bredz sent a message saying "You might want to hear this one". In the 'right' hands, this one is magical and most of the names here with which I'm familiar are very correct with the CMF. Along with more than a few names COMPLETELY foreign to my eyes and brain, check tunes from the likes of Perfect, Turbulence, a surprising Mikey General and Errol Dunkley (okay, so maybe Dunkley's tune isn't amazing), Malijah and a combination between Warrior King & Biggaton, 'Always'. And speaking of combinations, they're all around with the Italian link, Ras Tewelde & Lion D, Skarramucci & MC Navigator as well as Deadly Hunter alongside Solo Banton whose SCATHING 'Can't Dead' might just be the single best track on the whole of the CMF Riddim.

Digital

{Segnale Digitale}

The Tun Up Louder Riddim [Young Veterans/Zojak Worldwide]


Riddim Mix

Next we have the 'sequel' to a very fun release from Young Veterans, the Tun Up Louder Riddim. Earlier they sprouted the Tun Up Loud and here it is again. As far as I can tell (which means that I'm almost certainly wrong), original and sequel are the same composition, but here we have another batch (biggup Batch) of artists. With Capleton, Perfect, Macka Diamond, Fantan Mojah and Munga, the first definitely had MORE big names, but Lady Saw (who shines on this old(er) school riddim) and D'Angel lead a nice few names on the Tun Louder which includes Ninja Kid, Bitta Blood and (I'm not making that joke!) (even though I do want to) Major Mackerel.

Digital

The African Robot Riddim [Unknown People Records/Zojak Worldwide]

And lastly in stores this week is the full set of a high powered piece which reached just a few months back, the interestingly title African Robot Riddim from Unknown People Records. I'm not very high on this one, as a riddim, and I don't think I ever was, but I count it, essentially, as an overachiever of sorts because it does serve as the backdrop for a better group of tunes than I assumed it would. The best of them all remains 'So High' from the angriest man in the world, [Ein]Stein. The Bloods also impress greatly with 'Tek It To Dem', as do several others.

Digital

Coming Soon

The Stringz Riddim [Rumble Rock Recordz]


Riddim Mix

Though it seems like several billions of years ago when we dealt with our formal introduction to Hawaiian label, Rumble Rock Recordz, it was just back in April when they dropped the Step By Step Riddim. Well, just about six months later and they're back with the next 'step, the Stringz Riddim. LOVELY! This colourful R&B tinged piece picks up right where its predecessor left off in terms of its direction. Once again, RRR have linked together a mighty and VARIED roster of vocalists and they've really done well for themselves! Capleton's is the biggest name on a list which also features Chezidek, Achis Reggae favourites Messenjah Selah and even Buggy Nhakente from out of Barbados, Sophia Squire, The Lambsbread, Zacheous Jackson and others. If we stick around long enough (like all of next week), I may even slap a review on this one, but even if I don't be sure to grab it up when it reaches.

Releases on October 18
Digital

"Greensleeves Dubstep: Chapter 1" [Greensleeves Records]

I don't know exactly what Dubstep is, but I have seen it discussed at great length and detail and apparently so have the people at VP/Greensleeves and they've found something else to do with their catalog - Dubstepping it out. That's the basis of "Greensleeves Dubstep: Chapter 1" which features well recognizable and often legendary tunes from Reggae/Dancehall remixed in Dubstep. I've actually heard this entire thing now and . . . Yeah, I don't exactly know what to make of it, but I think that with rising popularity of this style, I'll probably be in the great minority there. And feel free to edit this Bredz, if you like.

Releases on October 25

CD + Digital

The Earth Strong Riddim [Pure Music Productions]

Quietly, to some degree, veteran Dancehall DJ, Delly Ranx and his Pure Music Productions have been flaming as of late and the heat continues with their latest set, the Earth Strong Riddim. Just taking this one as it is, it is a LOVELY authentic Dancehall riddim and it's the type which is just so fun, at least to my ears, that you can really do anything with it. The tune on it doesn't have to be THAT impressive to make it fun and there're nineteen tracks here, certainly I don't like all of them (I probably don't even like MOST of them, to be blunt), but it's just a fun time and with Delly, Shaggy, Erup, Macka Diamond, Da Professor, it surely isn't completely devoid of functioning skill.

Releases on October 14

Digital

{Note: Delly and PMP almost ALWAYS release big tunes on their riddims as singles, so if you're looking for something in particular on this riddim, it may just come later on its own}

The Champagne Campaign Riddim [Streets Amplified]

Quickly - Here we have the uptempo Champagne Campaign Riddim which comes from Streets Amplified & THE Robbo Ranx (biggup Youstice) out of the UK. This is a fun riddim as well and it births pretty nice tunes from bros. Ranx, Gappy & Delly (solos) (the former dominates the riddim to my opinion), the impressive G Starr, Cali-P and a very classy Wayne Wonder (this got a lot better when I saw his name involved). Still, you'll also want to keep an eye on (literally, she is a CUTIE!) the up and coming Lea-Anna (she almost looks like a younger version of Saffire).

Releases on October 14

Digital

"More Shit" [Penitentiary Records]

And finally this week - Just when you thought it was safe and just when you thought they were gone, the madness continues with forthcoming issues from the roach-like determined Penitentiary Records. They're releasing BRAND NEW and CLASSIC albums from the likes of Sizzla, Capleton, Luciano, Junior Kelly and more . . . Probably! World class compilations featuring some of the biggest stars of Reggae today and from years gone by! And more stuff . . . that I can't write about without feeling nauseous. This shit will be floated on digital services around the world and people will buy it and they'll be happy because it is good music. But (!) this most fucked up of returns guarantees that they'll be back and they'll probably be back before the end of the year with more "NEW" shit which you should avoid because if you REALLY care about it, you already own it. More shit pieced together from someone else's album - In stores soon!

This medium is difficult to convey sarcasm in, so if you are a newer fan who stumbled upon this in the year 2014 or something. Don't buy this rubbish. EVER!

Releases Unfortunately

Ass

{Note: Biggup my Father! Happy Earthday today!}
{Note 2: . . . I forgot! Oh, we'll be doing a single/EP edition of "Check It" soon}

Completely Random Thoughts 40: Do You Hear What I Hear?

Okay, I thought that I'd respond to a question that I used to get a lot and just got three more of them yesterday in response to the review (or whenever that was) of I Wayne's latest album, "Life Teachings". The question is - "How do you listen to music?". Alone, it's pretty odd which is why I just never got into it and, of course, there're variations of the question which are generally something like "as long as your reviews are, how do you listen to THAT MUCH music?" - Or something like that. My answer to that question, of course, is that I love it. I listen to that much the same way I breath "that much" oxygen. It's just what I have to do.

But as far as how I generally listen to music. I try to literally take in everything there is to a tune, even if I don't like it too much. My memory, when it comes to music at least (I'm very bad with dates for some reason), is pretty good, so when I listen to something as deep as I possibly can, it goes to memory and I can then use it for reference (which is . . . GOLD for me and would explain why anytime I hear someone is looking for work and is saddened by a lack of success, I start singing Jah Mason songs) ("keep your joy, keep your joy, even if you're unemployed"). So, what I do is to give something a very superficial listen, initially. If it has ANYTHING interesting at that point (and that means that even if what I heard was horrible, but it comes from someone who I am somewhat of a fan of), I'll try to listen to it again at some point. If/When I do come back, I'm listening for everything. I can listen to a tune strictly for the lyrics and if I don't like the riddim, but I do like what is being said, again, the words go into memory and are there whenever the situation calls upon them. Such as:

"Black woman nuh mek no time fi go sit down and gossip

Nah su su su at all, she nuh mek dat no habit

Her sacred life, she just ah keep dat a secret

Cuz stritcly love and righteousness a what she ah deal wid

Stick on pon one man, just like a full force magnet

Black Woman so virtuous she mek di jezebelles panic

She bun a hotta fyah di makeup and lipstick

And all dem false hair, she simply seh she nah wear it

Black Woman a you alone, you got yuh body so well fit

Ital a wah yuh eat, yuh nah nyam no greasy meat

Anyting weh you deserve the Ras shall surely give it

Black Woman yah soil so rich, mi just nah stop from till it"

Biggup the Ambassador. And if you read my stuff to any degree, you know how much I do pay attention to lyrics. In that case, specifically, I look for so many things. I'm probably the only person who'd make a large connection from Sara Lugo to Natural Black in how they actually write lyrics. I'm listening for recycled lyrics, I'm listening for influences and other things. If I can hear a song 'you' do and that you wrote and I can draw some type of comparison to someone else or another song from your own catalog, that's a powerful train of thought for me and it's even more powerful when, sometimes later, I hear you, yourself, incidentally refer to something along the same line of thinking (biggup Bunji Garlin). And it's no great coincidence that some of my absolute favourite artists are people who write these type of songs which are either just so FULL in terms of information or are so open-ended in terms of interpretation and some of my favourite songs fall into those categories as well. People like Sizzla, Lutan Fyah, Capleton, even Bunji Garlin - I consider them to be teachers. They're charged, in a most informal sense, with educating the world and even if you disagree with the 'lesson', it presents itself in a way, so publicly, which provokes thought and provokes discussion. And that's how I listen to the same song one hundred times or more and STILL find myself able to take something new from it. I love it! It's fuel for an overactive and serotonin deficient brain.

And as far as how that might transfer or show itself in a review, I try to make those connections when I write as well. I don't read too many reviews (at all) and particularly not before I write a something because I don't want to follow a popular opinion if there does exist one (which is rarely a problem with many of the things we write about) (unfortunately). So I'm someone who may help to establish some type of prevailing opinion (as ridiculous as it almost always is) about some of the more obscure selections we cover (and some of the not-so obscure ones, apparently the review for Takana Zion's last album, "Rasta Government" (in stores now), had legs).

I want to have these things in my mind and I want everyone to. So I don't mind people going crazy that I liked or didn't like a particular album, because I appreciate the passion and that passion, for me, is made even greater when you can throw in some type of rationality. If you can tell me exactly WHY you think I'm a damn fool for calling something great that was horrible or for saying that I 'don't get', at all, why people like someone that you love (biggup Alborosie), then I appreciate it, because it shows that, in your own way, you went through the same process that I did. And even if you don't - Just get in your head! The music is so nice and it's made for so many people to enjoy and we do. So love it up and that's how I listen to music.

{Pictured: One of the coolest gifts I've ever received, House of Marley Headphones 'Stir It Up'}

{HouseofMarley.com}

'Advanced Studies': A Review of "Life Teachings" by I-Wayne

Welcome back? Typically when we deal with the situation of a "comeback" in music, it's somewhat different than it is in this particular case. In Reggae, where things don't always make perfect sense, the term can be and generally is applied in a variety of dissimilar ways. On the smaller scale you'll hear it, ridiculously, used in regards to artists or producers who really never established anything to lose or to put on hold in the first place, who have returned from doing . . . Something else with their time, thus making the four or five fans they had won over extremely happy. Ahead of that is a circumstance which is unique to Reggae/Dancehall and its seemingly constant need for new and current material. A good example of that is the entire career of Baby Cham. Whenever Cham pushes a next tune (it'll be wicked), at whatever time that may be, someone somewhere will call it a comeback. To date, he's made hundreds of returns based almost completely on the fact that his recording schedule is one which is much more consistent with a 'mainstream' artist than one plying his/her trade in Dancehall music (if you went the next six months without hearing a new song from Alicia Keys, when she "returned" would you call it a comeback?). And you also have, in the rare cases, someone like a Jah Cure who, legitimately, are making returns of some sort to the music and can thus, at least semi-responsibly and sanely be labeled a "comeback". And then there's the comeback of I Wayne which, like pretty much everything else the very unusual singer from out of Portmore has done in regards to his career is pretty odd (or is it?). I Wayne, like Warrior King who we also talked about recently, has experienced so much in a career which just reached its top flight in 2005 and a much less than a decade later, with the artist just in his early thirties, we can speak of him having had the timeframe of someone making music for as long as he’s been alive (the difference in those two would be that I Wayne never REALLY seem to completely vanish from the scene as WK did). All of this is made most unusual because of the singer's most fascinating level of outward indifference. I almost completely certain that he doesn't care about any of this AT ALL.

A few years ago I Wayne was one of the apparent leaders of a powerful up and coming generation of Jamaican artists which included the likes of the aforementioned Warrior King, Fantan Mojah, Chezidek and others. Back then he was credited (and justly so) as being someone whose presence was marking a large-scale COMEBACK of Roots music of sorts. Given the clear ease he had at the time for making hits and, as we would later come to learn, his very interesting idiosyncrasies, he quickly became not only a household name in Reggae, but many (including me) saw him as the obvious heir apparent to a very prominent space in Reggae occupied by the likes of Luciano and Garnet Silk - It's dominant Roots singer.

"Lava Ground" [2005] & "Book of Life" [2007]

He never really showed an interest in doing that, however, and his career has been marked by stretches of inactivity and, at the very least, immobility in terms of making hits which is extremely difficult to do, but as I said, was pretty easy for him. I've been disappointed, personally. At his absolute best I Wayne is one of my favourites. His debut set, "Lava Ground", was one of the best albums I've EVER heard and its followup, "Book of Life" is an album which (perhaps foreshadowing his next step) has gone up and down in my tastes through the years, but is currently on a SLIGHT upswing. When motivated, I think he's every bit as talented as artists such as Tarrus Riley and Etana and others who now have that spotlight and if he does comeback in the sense of being someone capable of seemingly making big tunes whenever the mood strikes him, Reggae, as a whole, gets better. So! What better way to spur on that development than releasing a brand new album. That's exactly what the born Cliffroy Taylor has done, for the third time and with VP Records, with "Life Teachings". What I was most interested in surrounding this album was just how much anticipation there was for it. We've had readers talk about it and just how much they were looking forward to it and it has seemed to get more than a 'general' push, which is a great thing. A few years ago, I would have assumed that ANY album likely to come from I Wayne would be a REALLY big deal in Reggae music and while that remains to be seen if this album does have that impact, I'm happy that people are still looking forward to it and doing so, at least ostensibly, in a big way. And then there's the music. While I admit that I didn't give it as great of a level of scrutiny that you're about to read here (I was on a break at the time and busy doing something else), I didn't really like "Life Teachings" the first few times I heard it. I never thought it a BAD album, but I did think it largely unexceptional. Having now had more than a month to deal with it, I'll definitely give credit where it is due and admit that I was wrong- It's much better than I initially called it (and told everyone it was, so just ignore all of that please) and, ultimately, I think it's a better album than its most immediate predecessor. It's pretty complex also which is probably why it's gone in such a manner and I don't know that it's going to find much of an audience (at least not a satisfied one) with newer fans much like the "Lava Ground" album did because its not as sonically pleasing of a set. What you will find in these 'lessons', however, is an I Wayne who, despite as royally indifferent as he may be/seem, definitely has a lot to say. Thankfully.

'Real & Clean'

Surely I cannot be the only one who, upon seeing the name of I Wayne's new album, immediately thought that it just seemed like an album title from the singer. Following songs (and an album) named 'Book of Life', 'More Life', 'Life Seeds' and 'Life Is Easy' (there's just a lot of life surrounding the man) this album's title just seemed like a natural step forth. The heading of the album isn't a great deviation from his style to date and neither is the music that you'll find on it, with just a few exceptions. Although, as I said, this may not necessarily be his most 'flashy' release to date (and going by some of the press I've read on it, that was by design), I Wayne is as 'PROGRESSIVELY MILITANT' as he's ever been. His topics are very clever (more on that in a bit) and his voice, of course is outstanding. Also still intact is Patrick Henry who helms the release, just as he always has for I Wayne. Getting us started on the brand new studio album from I Wayne, "Life Teachings", is the BIG vibed 'Burn Down Soddom'. On first listen I thought this an average tune with a nearly spectacular riddim. Further spins show it to be a really FULL tune. I enjoy just the general vibes around the song and, again, going by some of the press that I've read on this project, the tune kind of serves as a mission statement of sorts - outlining his intent here. Still, regardless of how much you do/don’t like the song, it does serve up one of the album's most stirring moments when the nearly five minute long tune dubs itself out in its final two minutes. BIG! Up next we have one of the earlier singles from the album, the pretty well received 'Real & Clean'. This song has been used to display the one 'wrinkle' in "Life Teachings" which is the presence of more direct love songs. It's not amongst my favourites here, but like I said, from everything I've seen thus far, it's gotten a pretty nice response, so definitely have a listen for yourself. Following is another similarly vibed set, 'Empress Divine' which, at least to me, is a much better song than the tune before it. What happens here is that, despite the fact that everyone will call it a "love song" (including yours truly), it's more of a matter of I Wayne describing his idea of a perfect Woman. So instead of 'oh baby baby I love you' (biggup Peter Tosh), there's a tune (which may be one of the best lyrical demonstrations on the album) espousing on the virtues of this lovely human being.

“She love the health and strength that I have yah

Plus current like Victoria Lake and the Niagara

I don’t need no brush, nor no stone, nor Viagra

The natural energy she can’t get tireda”

As I alluded to, a bit of discussion for "Life Teachings" has centered around the presence of more love songs than is the norm for I Wayne. That ripple is a very interesting one in my opinion and although I would've preferred a project full fourteen (or sixteen) big Roots sets, I definitely won't put up too much of a fuss for someone trying things just a bit different especially when the results are pretty nice. No song here is likely to get more attention, regardless of its subjectry than 'Life Joy' which features I Wayne alongside the aforementioned Roots Princess, Etana, in a duet styled track. Very nice song! Yes - I can well imagined if these two linked for a more straight forward Roots track, but this R&B tinged piece has grown on me a bit from the first listen. My favourite of the love songs is (probably 'Empress Divine', but of the remaining lot) the very BRIGHT 'Pure As The Nile'. The album, on a whole, may not SOUND as good as the two prior to it, but this one just has a very nice feel about it and it is a rather 'tidy' love song, devoid of any musical pyrotechnics. There’s also 'Life Service' (lot of LIFE everywhere - the title track, 'Life Joy' and this one run consecutively on the album) which is, essentially, an R&B tune. It isn't a bad song at all, but it isn't a great one either. What I most noticed here was that it was just TOO easy. I think they really could've done more with it. Finally of the six love songs on "Life Teachings" is 'I Care For You' which, despite the odd beginning, is a damn good song. This one has a band/Jazzy vibes to it and is just a cool track. It's also somewhat challenging and at least above average lyrically which gives it a much fuller STATURE than the tune preceding it here. As I said, I don't mind this element introduced more. Previously I Wayne sang a pair of WONDERFUL love songs in my opinion, 'Nah Draw Nil' and 'Touch Her Softly', both from his debut album, so it isn't as if this is completely breaking new [LAVA!] ground [ASH!].

I Wayne & Agent Sasco

Although I Wayne can definitely do big things on love songs, on "Life Teachings", just as it's always been, he reigns supreme with the more cultural/spiritual tracks. For me, this is the real attraction for the album and also, as I mentioned slightly before, it should well be said that he appears to be particularly sharp here. Perhaps I'm just smarter than I was the last time I dug into an I Wayne album for the first time (not too hard to be, 2007 was an especially DUMB year for me) (as were 2008, 2009, 2010 etc.) Definitely the song amongst them which will grab the most eyes and ears is previous single, 'Fire Song' which features I Wayne alongside the Dancehall's leading lyricist, Agent Sasco. It was the DJ's own label, Boardhouse, that did the song which added just the proper amount of petrol to mix between the two and make one HUGE tune. I'm completely partial to anything containing the word "Sasco" these days, but by the slightest of margins, it's the best thing I hear on this album and a most booming social commentary.

“You shoulda know seh fyah bun from I Wayne start the song!

An ah bun dung every barrier, every partition!”

BOOM!

'Herb Fi Legalize'

Still, there're a few other selections on the album which run on a similar level to my opinion. The first is the ganja tune on the album, the SCALDING 'Herb Fi Legalize'. This is one of just a handful of songs on the album which, even on first listen, really sent a message that it was a big song as the singer GRIPS into this tune which doesn't develop in the typical way such a piece might, but instead becomes this universal cry on behalf of the herb. It's very interesting and that's even before you get into it deeply - well pay attention to not only what is being said here, but also how it is being said as well. The same almost has to be said about the curiously designated 'Drum & Rum Vibes' which is probably the best written song on the whole of the album. One could also make the point that it is a tune which speaks to I Wayne's overall significance in the music as the once so lauded singer's initial presence was looked upon as a cleaning of the current scene and he's never been shy to say just how fucked up he though/thinks certain aspects of Reggae/Dancehall to be. On this BRILLIANT track he makes the link from the negative vibes in the music to the negative vibes in the streets in a very vivid way.

“Big machine with banana clip

Dat gun clown ah maggle pon cornah with

Which lunatic put matic pon gun drama hit?

It owna dark friends invade di place and cornah it

Put him trust inna old iron, now it alla stick

Him draw fi ice pick and all three star ratchet

He was, looking for a box or a kick

Him get bullet although him bawl out fi him Mudda and him Fadda quick”

The tune is a just a very powerful one and I love the riddim around it as well. I Wayne has probably always been underrated as a writer but, at least for the more keen listeners, hopefully "Life Teachings" can go a ways in changing that. 'Wise & Fearless', one of the most dynamic selections on the album and one which may pop up as a single one day. This one took a bit of growing for me to REALLY take a healthy listen of it for some reason. I wouldn't necessarily call one of the absolute finest moments on the album, but I think that I'll be in the very small minority not doing so. The title track, on the other hand, is definitely near taking top honours on the album named after it. I was very interested in hearing exactly which direction this song did actually go in and after seeing that it was subsequent subtitled 'Ital Sipp'ns', it was all clear. The song is one which primarily speaks on health. I Wayne talks about maintaining a healthy diet and appearance and hygiene and while we've definitely heard tunes like this in the past (Turbulence, for one, is very fond of such a tune - "Run cow. Run pig. Run for yuh life. See di cannibal deh ah come wid di knife!"), but I don't know that it's ever been THIS complex. This is a tune which requires the full attention of the listener to take in fully and, upon giving it such a listen, it quickly shows its class. Also well check the very colourful 'Change Them Ways' and the album's official closer, 'Do The Good'. The latter? I'm still working on developing what I think of it, but I think that I'm SLOOOOOWLY coming to appreciate the song. It has a very strange and electrically crawling sound to it and when you get into the lyrics, it isn't the best amongst the tunes, but it's pretty good, so spend some extra time on that one. As for the 'Change Them Ways', it has no such struggles. You'll love this one IMMEDIATELY and on my first listen through I recognized the excellent social commentary as a highlight here. Here's a song which would have been right in place and at home on the "Lava Ground" album and, again, it is a fine example of what I mean when I say that I Wayne is well focused on some of these tracks and in such instances, it is a GORGEOUS display such as what you'll hear on this powerfully captivating vibe.

I Wayne

Now! Should you get the digital version, it comes with two extra bonus tracks which has become VP's norm as of late. One of the tunes is 'So High' which is another herbalist tune and another combination, this one featuring Californian Reggae band, Rebelution. The song, apparently, originated with the band and they've since added I Wayne's vocals. I'm not in love with it, but it's decent and later on it does get very interesting when it goes Dubbish in ways. And speaking of DUB, the other song 'Bleachers of Dub' is a Dub (not really) of one of the singer's biggest hits to date, 'Bleachers', from his first album. The song is the exact same thing with added . . . Stuff from a movie (which is actually "Vampire Bat") (biggup Bredz). This song, just as it is, might be the best song on this album. It’s been awhile since last I've heard it and it sounds now as good as ever. It was damn fascinating that, given the current state of the music, I Wayne never really did a second like tune and apparently VP felt exactly the same and, most unsurprisingly, chose to include it (I'm generally not a fan of 'bonus' tracks on different versions these days, because when I get an album I want everything available (biggup Yeahman'C), but this is a perfect usage of the feature in my opinion).

“ Dem seh anything weh black neva neat

So dem start seh a brown skin a dweet

Now a pharmacy I sight dem alla reach

[LIGHTENING!]

Dem burn up demself wid di bleach

Dem same one ah seh dem nah tek no speech

Some ah tell I bout dem rollin deep

And when dem sight di sun dem PLAY HIDE AND SEEK!

Flesh get devoured by the worm and leech”

Overall, I'm left with so many different feelings for this album. On one hand, it's a good release from one of the genre's biggest names who is back from a very unusual journey and while it may not necessarily be groundbreaking or any such large descriptor as such, it is a big deal! On the other, however . . . I want rockets and shit! I want everyone talking about how good the album is and I want I Wayne everywhere promoting it to the point that everyone is TIRED of seeing him. But I'm almost sure that whether it sells one copy or one billion, he doesn’t care at all. That's a rubbish critique, I know, but (if you wanted crazy insight, you wouldn't be reading this!) I want a lot to be made of this album and I'm not sure that it is. Still, the music is the focus here and what you'll find on "Ital Teachings" are some of the most complex and carefully arranged lessons to be found in Reggae in 2011. I just want the classes to be as full as they were from before. Still - It's very nice and well recommended for more experienced fans of Reggae music.

Rated: 4/5

VP Records

2011

CD + Digital

I Wayne @ Facebook

Review #324