Familiarity. In Dancehall music, there is what I like to call the 'Three G's of Dancehall'. You have Guns, Girls (or Guys) and Ganja. You will find Dancehall tunes about other things besides those three things -- you'll find some very specific ones and very general ones as well -- but if you deal with those three, you're likely to have covered the core themes of the VAST MAJORITY of Dancehall music. That was true in its prime and is still true in its... entirely ridiculous current form. Soca is even simpler. If you tell people to jump and wave (and misbehave), you're good! Soca will actually venture towards one of Dancehall's 'Three G's' (and I won't insult your intelligence by saying which one) but, again if you seek songs which encourage whining and just generally unacceptably low standards of common sense, you will go through much of the entire genre. For me, as a giant nerd, the brilliance and finest moments (with very few exceptions) comes when someone can either go around the expected and offer a different viewpoint (check 'Anxiety' by Patrice Roberts where she talks about how the RIDICULOUS joy that Soca provides greatly helps her mental health) or even feed into what is the norm and still manages to thrive within it and separate their work from the endless pack. Of course, that isn't to say that there is something wrong with the "norm"; to the contrary, in many cases it is such because it is tried and trusted, but it is so nice when people add a bit to the vibes. When you get to the matter of Roots music things get very straight and very narrow. Revolving around the centralizing theme of His Imperial Majesty are various others such as oppression, justice, freedom, LOVE and more which go to comprise the foundation of the genre. It has always been that way and, though things and trends change very often in music, I would be shocked if, one day (even several hundreds of years from now), that is not the case for Roots Reggae music. For me, when you put things is such a relatively small 'bundle' of possibilities like this, it makes it even more impressive when someone, ESPECIALLY LYRICALLY, are able to differentiate themselves from their peers (how many clever ways can someone come up with to say "Hail Jah", after all). That's why I always attempt to make more of an effort to celebrate those who give us all a fresh perspective to look at of such grounded ideology.
And then there's the matter of SOUND. When you think of Roots, you think of that one-drop riddim, you thinking of chanting, you think of another small group of identifiable characteristics, emblematic of the genre. Thankfully, however, these can be stretched in a variety of deliciously different ways and we have a number of artists (and producers) who're capable of making an eclectic blend of what is typically a very straight-forward sound. Someone who immediately comes to mind here is Jah Cure, obviously. It doesn't particularly matter what the Cure says when it comes out sounding the way it does; and I would also point to someone (perhaps surprisingly) like a Luciano. Luciano's music, lyrically (or in any other way), will not challenge the boundaries of Roots music and despite his very long career, he's rarely done anything in the way of being controversial. However, Luciano has moments where his vibes display this... AURA (I don't like it but I'm using it here) that pushes it to such a different place with selections such as 'No Night In Zion' & 'Jah Canopy' demonstrating that.
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| 2017 |
Today we're going to look at someone who probably has one of THE most dynamic sounds in all of modern Roots Reggae music that I've ever seen. Guinea born and France based Lyricson has been someone who we've been looking at for a surprisingly long time now. From probably just ahead of what would become his debut set, "Born 2 Go High", I had been familiar with the work of Lyricson, which dates back to more than TWENTY years now. What I heard and got me hooked was a very dynamic brand of Roots. Lyricson was equally adept at chanting and deejaying and he also had this GORGEOUS singing voice which, when he chose to push it, was one of the more surprising skills that you would have heard on anyone at the time (they all sang (or most of them, anyway), but Lyricson's voice was VERY GOOD). Now, when you take such a talent and combine it with some of the greatest producers and players of instrument that the genre had to offer, you were dealing with something really serious and I'm sure I speak for a more 'seasoned' brand of listener (WE OLD!) when I say that new Lyricson music in the 2000s and into the early 2010s came as a very welcomed stop along my listening habits. The pinnacle might've been the "Messages" album which carried one of the single greatest songs I have ever heard in my entire life, its SHATTERING opener 'From The Beginning'. Lyricson was a decent lyricist as well; although I wouldn't rank him, in retrospect, as one of the greatest of that era (or this one) (more on that in a minute), he could definitely hold his own. He would go on to do some more controversial type of material (I think, one year, I actually 'awarded' him 'The Worst Album of The Year', without wanting to name him), but the last time I heard from him on an album, 2017's "Revolution Time Again" (great name), he had returned to form. That album was very strong and featured guest roles from the aforementioned Luciano, Vaughn Benjamin and others as well as the GIANT tune, 'Jah Never Failed I Yet', one of the artist's best ever, in my opinion. Seven years on and Lyricson is back, courtesy of "African Dream" via Royal Music. I did not have much in the way of a 'lead-in' to this one, as it popped up maybe just two or three weeks ahead of its release date but I was damn interested in hearing new music from Lyricson and, RIGHT THERE, I decided that, no matter what it turned out to be, I was going to write a review for the new album.... just because.
^SIMPLY ONE OF THE GREATEST SONGS I HAVE EVER HEARD IN MY ENTIRE LIFE^
So what happened??? Well, thankfully, that answer is complicated (because I like to explain things, if you haven't noticed). "African Dream", the new album from Lyricson, is missing something. It has that characteristic, signature Lyricson sound and dynamicity but... it isn't the strongest lyrically and maybe that's what my ears stuck on. I really wanted to love this album but I couldn't and what we ended up with was a set which will likely satisfy the majority of listeners but one which misses out on a fantastic opportunity to take things a few steps further. That being said, the opener here, 'Black Man Liberation', is far and away one of the best efforts on the album it heads. This song has nary an equal on the album and it, nearly perfectly, exemplifies what is Lyricson's style when he's at or near his best. It is FULL and RICH and though perhaps not as vibrant as most of his winners, I am not complaining at all. 'Black Man Liberation' is absolute GOLD! In a nice touch, the album actually concludes with a SWEET dubbed out version of the opener. To me, that shows that Lyricson and company had a great deal of confidence in that particular tune in every way and.... they were right to have such pride in their work there. Charged with buidling on that vibe is 'Strickly Love' and it was right here where I think, unfortunately, I began to focus so much on the lyrics and, from that aspect, 'Strickly Love' is lacking and the sound, while nice, isn't enough to overcome it. What happens is a song that, while I wouldn't be surprised to see it make an impact, PERSONALLY, it's a little on the thin side for me and it doesn't bring much of a punch. By comparison is 'Africa Rise Up' (that may not be an actual, full sentence, but I'm going with it). Here is another selection which is not great lyrically but the sound, again, is much more typical Lyricson and it's strong enough to kinda/sorta make you not care that it isn't very substantial (there's an odd portion of the song which almost sounds like old video game music.... I even kind of liked that. It was a very nice change of pace). Sonically, 'Africa Rise Up' is gorgeous (it has one of the finest choruses on the whole of "African Dream"), it is DAMN pleasing to listen to on the surface. It most certainly isn't the finest written tune you'll run into but the message is high, it's very positive (and that is something I'm going to want to say about virtually every song on this album, for the most part). "African Dream" features five combinations in total and, arguably, the biggest name to join Lyricson is also the first as the great Jah Mason makes his presence known on 'Peace And Meditation'. If I had to play out what a potential Mason/Lyricson might turn out to be, I'm confident that what I would come up with would be quite similar to 'Peace And Meditation'... but I was kind of hoping for a JOLT. I wanted something a bit more. Again, it's just fine and it is what you are thinking it is but, on paper, such a combination is all kinds of fascinating and 'Peace And Meditation', in my opinion, could have been something more.
Also accompanying Lyricson on "African Dream" are Jah Bouks and Duane Stephenson, as well as Sister Rudo and Sekouba Kandia Kouyaté. The first two are likely to be well familiar to more seasoned fans of the genre and, at least on the surface, the two will definitely be amongst the most immediate attention-getters. Jah Bouks gets in on the action during 'Lions Roar'. Something about the pacing of this one seems somewhat odd (thinking, specifically, about how the verses blend into the choruses), 'Lions Roar' is just fine. It has a rich and distinct old-school type of an appeal and the vocal pairing between the two built atop a vibes speaking on instilling pride in the masses (particularly the youths) make for a well memorable track. For his part, Duane Stephenson easily has one of the nicest voices in all of Reggae music and has for years. The problem I have with his song, 'What a World', however, is this:
"What a world this would be if we all can, as one-
Put our differences aside
Stop the fussing and fighting
As far as I can see, we are one and the same
So why don't we all unite?
Why fight against your brother?
Time is so short, my friend
We should come together
And live the best we can
Don't you know we were all created equal
We are all the sons of Adam & Eve
No matter your race, colour or creed- we all are one people
Same blood running in your vein and mine"
'What a World' is poor, lyrically, and you get to a point where its sonic appeal is not enough to lift it over that hump in this case. I heard this song and I got so disappointed because it really doesn't do anything. It's a lost opportunity in my opinion, built on..... just random, tried ideas that you've heard on thousands of other songs. Sister Rudo's was a name that I remember running into once or twice over the years but it had been quite some time since the most recent time I crossed her path. I was happy to see the mature singer aboard "African Dream" and although we find her on a tune that I find somewhat lukewarm -- the lover's piece 'No One Can' -- I would tell you that, be you the slightest bit interested, you should definitely seek out more of her material. Finally (besides the other five or six songs I still have to talk about) 'Farafina' is a song (LITERALLY. This is EXACTLY what it is) of African Pride and fellow Guinean singer Sekouba Kandia Kouyaté, with an absolutely GORGEOUS chant, makes a giant impact. My brief research says that Kouyaté is one of Guinea's most decorated of musicians and with a contribution like this... I AIN'T SURPRISED.
The single biggest moment, however, that I would find here would feature Lyricson all alone (I actually find myself saying that relatively often when an album has a number of guest artists) on the downright DOMINANT 'Mystically'. 'Mystically' isn't 'From The Beginning' in terms of its quality, but it is well on that same road! I hear Peter Tosh. I hear Bushman. I hear a variety of different vibes poured into this dazzlingly colourful mix and it is quintessential Lyricson. You won't find many (if any at all) who can make such a dynamic Roots track and, when at the height of his powers, he can turn out STUNNERS like 'Mystically'. Similarly, 'Jah Glory' is also excellent and I'll use it to make a point. This song isn't amazingly deep or masterfully written, but it is FRESH, lyrically in several ways.
"Oh Lord, I thank for everything
YOU BLESS I & I FROM THE BEGINNING
Thank you for the joy and the strength within
Your mercy and Your grace everlasting"
That ^ right there, is nothing you haven't heard thousands of times before, but it given in unique way (during a unique portion of the song where lyrics run on in a way that suggests that Lyricson was just pouring out his emotions on the tune) which definitely caught my ear and I wish that there were several more such spans on this album.'Betta Way' also has a pretty nice vibes about it, though far more on the serene side, but it doesn't cover much ground. I don't have an issue with this one and I don't think many others will given that largely sweet sound. 'African Queen' is exactly what you think it is to the finest detail, while 'One Step Away' is about as straight-forward as it could possibly be in terms of sound and direction. It doesn't do much for me at all but, on its surface, it's harmless and does have a pleasant sound to it and that is the only attraction in this case.
Overall... while I don't want to be too hard on "African Dream", I also don't want to largely change the things that I look when I'm listening to an album (especially one that I'm reviewing). I like originality. I like fresh ideas and fresh presentations and, when applied to Roots music, that may come in a much more subtle way (again, the themes have not changed in the history of the music and they will not change) but it DOES come. Lyricson's approach here is a VERY dynamic one (and it generally is) and what we end up with a very appealing sound but one which isn't necessarily the deepest. That being said, if you do have someone in your life who is maybe newer to the sound, "African Dream" would be a FINE entry point for such an individual; but for a grizzly old evergreen like myself.... I think I was just hoping for a little more.
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