Rolling. If you're at all like me, you probably have a core group of favourite artists who rarely ever change. These're, for whatever reason, your 'go-tos'. They serve a very important purpose and occupy a special place in your listening habits; and probably even your entire life. Because of the work they've done in the past, you probably never actually remove them from that lot COMPLETELY and adding to that group is probably just as rare of an occurence. Were I to ask what, exactly, you love about their music, I would be almost certainly inviting a fairly long and detailed response and, if you have any, they form the group of musicians who your children will say that they grew up listening to when they become adults. For me, this group is Sizzla Kalonji. It's Vaughn Benjamin. It's Beenie Man. It's Lutan Fyah. It's Destra Garcia. It's Queen Omega. It's Bunji Garlin. It's Capleton and a few others (my most recent additions would probably be the likes of Skinny Fabulous and Sara Lugo). Another group would be certain individuals whom you greatly appreciate and have spent a conisderable amount of time churning out material of an extremely high quality, so you have a combination of both current form and historical achievements which would probably put them in prime position to be the answer to questions such as 'who're you listening to these days'. My answer to THAT question would be Chezidek. It's be Norris Man, Mark Wonder, General Degree, Pressure Busspipe and a VERY long list of their peers (Mark Wonder might even be in that first lot, actually). If you do this in your head (you'll see just how much fun this is for me), you'd ultmately probably arrive at people who have big current songs that you enjoy or a big album that you've stumbled upon lately (biggup Jah Garvey) but somewhere in between might be a random lot of artists who maybe you don't find yourself listening to quite often but whenever you do manage to tune in, you generally come away fairly impressed. Personally, in terms of reviewing and writing about, by and large, these people can provide DAMN interesting experiences and may lead to situations (like I'm doing right now) where you hear something that catches your ear and it leads you down a path of examining another portion of their catalogue with, perhaps, a newfound level of full appreciation for their work that you did not have previously. In my case, these are Rob Symeonn, Jah Marnyah... Daddy Rings... Ossie Dellimore (what!)... the late Peter Broggs would be in there as well, probably, so would the GREAT Yami Bolo. As I'm naming them, I'm noticing that maybe something they have in common is that they aren't terribly active but you put up a new album/collection/single from any of them and not only am I interested in it but listening to it, alone, will probably draw me in the direction of taking another listen to something that they've done in the past as well (and I can't say that for anyone else here to such confidence. Even if I hear some old tune from Kalonji that I missed or Midnite (and it does happen), I feel the sudden urge to immediately followup on that by looking for some more. I'm pretty happy for that moment).
CLEARLY, I need to think about adding a new name to that last bunch that I just mentioned because I am finding myself listening to tons and tons of old (and new) music by Daweh Congo these days and I'd be damned shocked if the end was anywhere in site. A few weeks ago, I wrote a review for his debut album, "Militancy" and I had so much fun with that set that I quickly set my intentions on tackling another one and I'll say something right now to stress just how strong my interest was: What I eventually settled on (which is the one you're reading now) was, FAR AND AWAY, the best from the time that I listened to. Not that any of them were bad, necessarily; but I really don't like "Guidance" (which is consistently less than stellar in my opinion and I'm being nice), "Jah Children" or "Health & Strength" (as interesting as it is with an album and then a dub album accompanying it). As unimpressed by any of them as I most certainly was as complete sets, I was still wanting to hear and talk about more. Thankfully, hidden amongst those rocks was a near total GEM.
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| 1997 |
Daweh Congo's debut, as I said, was "Militancy", which reached in 1997. In the year 2000, he would release a pair of albums; one being the aforementioned "Guidance" for Jet Star, the other being the much stronger "Human Rights & Justice" for Roots & Culture Records from out of France (they also did a bit of work with Eric Donaldson, Max Romeo and a few others) and was produced by a Gayland Bravo & RG Bed, both of whom unknown to me. Like "Militancy", I can vaguely recall "Human Rights & Justice" receiving a nice amount of publicity in its day for what it is. That bright yellow cover is ultra-familiar to my eyes and while I have definitely listened to bites and morsels of it throughout the years, I'd never had any idea to put a reviewer's ear to it until now and, unsurprisingly, I am glad that I did. "Human Rights & Justice" is even better than "Militancy" at its best; and while it does fall below that level once (more on that in just a moment) the rest of its eleven tracks register AT LEAST in the range of above average. If you are unfamiliar with Daweh Congo's music he is most often compared to the legendary Burning Spear and, to no surprise, he does the best of his work when gifted with heavy modern and old school Roots music (which you'll find in abundance here). Another idea that I'm thinking about now, having heard more and more of his early work (and in just listening to him more regularly these days that I ever have) is that Daweh Congo has a very unique PRESENCE to his music. That is due to his unusual voice and patterns but he tends to.... he has a way of saying things that may or may not be relatively innocuous with almost GRAND IMPORTANCE. I'm not saying that he's overstating anything (he is not) but You, as a listener, are given a level of resonance with SO many of his words. It does take a minute to get used to (and I may very well be the only person on the planet of this opinion but who cares) but it is more than worth the effort in adjusting because what results is a BEAUTIFUL presentation of music such as a what is to be found on "Human Rights & Justice". Don't have anything going on at the moment? No. You don't. Let's get into it.
Let's get the mess out of the way quickly: There's a song on this album called 'Come On Over'... AT ABSOLUTE BEST, it is awkward but it is not awkward. It is HORRIBLE. It's a love/romantic song and it has a constant sound effect of a woman moaning. I have heard worse (biggup Chronixx) but it's written pretty badly as well and it just has not a single redeemable or enduring quality in my eyes and ears AT ALL. Now, with that covered, Daweh Congo begins shining on his big second-ish album, "Human Rights & Justice" with its outstanding opener and title track.
"Give me human rights and justice
I want it"
The punchline of this song is very simple and brutal but you listen to how Congo says it. It's downright HALTING (if you should have some human rights and justice like laying around somewhere, when he says it, you want to go and look for it and give it to him) and he goes on to weave a message around it which caught me particularly in one aspect. Daweh Congo, specifically, wants what he's due ["Give me human rights and justice. I want it. I coulda never do without. I must have it. OUR CHILDREN NEED TO BENEFIT, WE WORKED FOR IT"]. He does not want to go to the head of the line until his turn has come, so long as when it is his turn, you put on his plate ALL of his food. Next in is the arguably even stronger 'Jah Is My Shepherd'.
"Now the Holy Abuna is standing at the altar
Gibraltar
Offering out the sacrifices of thanks giving
My heart is willing
In the house of My Father, to be a doorkeeper
King of Fire
Ital greens is what I eat!
JAH IS MY SHEPHERD, I AM THE SHEEP"
'Jah Is My Shepherd' is what I'd call an interactive praising tune. It does what it's 'supposed' to do and gives honours to His Imperial Majesty but it's an ACTIVITY that Daweh Congo is happily engaging in and WORKING on. He's doing this work atop this gorgeous old riddim (which turns into this delightful *squeak* during the verses) which really adds to the vibes and makes such a nice impact on the listener. The somewhat jovial (but not REALLY) 'Another Day' is, legitimately, a little awkward but it does end up working to some degree by its end. 'Another Day' is messy and there sounds like there is some real disconnect between vocals and riddim (and that riddim isn't a favourite of mine at all) but its strength comes in what is SAID by Daweh Congo. Lyrically (as hard as it may be to appreciate and I will definitely agree that it is difficult to sift through everything) (including the even-for-him odd vocal patterns), 'Another Day' is nearly mighty as the songer (the what???) delivers a message that a brighter and BETTER day is on its way. It does work for me but if it does not for you, I completely understand. Check the entirely less polarizing 'Wilderness', another praiser but one anchored in seeking a more natural refuge in order to give thanks. He also, wonderfully, incorporates more tangible elements into things as he talks about using nature as a source of refreshment which a nice and OPENING aspect to the song. 'Wilderness' is kinda excellent and though I'll hesitate to place it with the finest songs on "Human Rights & Justice", the fact that it is SO good but NOT amongst the class of the album definitely speaks to the album's quality. 'Drums', on the other hand, which sends out the first half of the album, most certainly does rank amongst its definitive highlights. This is a song, simply, about pride but there is nothing simple about the route Daweh Congo takes in order to get us there. Coyly, 'Drums' is a very INTELLIGENT song and it's also a little complex. Here, the "drum" appears to serve multiple purposes, the largest of which is as an integral part of a chant and a certain level of awareness; so he'll say "I hear drums. Sistren hear drums", and he's saying 'I FEEL IT!'. I'm proud to be an African and so is SHE and so are they... It is a GORGEOUS offering and as someone who shares the lineage, I HEAR DRUMS TOO! BOOM!
The obligatory ganja tune on "Human Rights & Justice", 'Herb Tree', begins its second half on a very strong note. Utilizing a cut of the Mad Mad Riddim, Congo finds himself in all sorts of trouble during this record. He's in court and standing trial... over a plant. He also has "no money fi pay lawyer fee" and his safety is at risk as well; so he's in tough times. Fortunately, he had the time to scribble out a song marking the occasion and it is a big winner. There's something so EASY about this tune. There're backing singers but they aren't really singing, they're just sort of talking but IT WORKS and works well. You have your herb song and, of course, you have to have one for mama and on "Human Rights & Justice", that is the delightful 'Mother Arose'.
"Born from a woman, I'm so lucky
Look at what the youths have turned out to be
Dear to my heart, I love her truly!
Way I feel towards her is affectionately
Oh there she goes, Ms. Rose
Mama is a rose
Oh seh she bless her role
Only Jah Jah knows
A river side winds ah blow
So she wash my clothes
I'm gonna comfort her soul, when she grows old
Soft as a flower, mind made up like steel
MOTHERLY LOVE: I KNOW IT CAN HEAL
If you forget, you couldn't be real
Brothers and sisters, careful how you make her feel"
The song title is probably spelled wrong (it's more like 'Mama A Rose') but you can call it whatever you like; it's nice! Super simple though full of character and charm, hopefully Congo's mother got a chance to hear it and I'm sure she appreciated it (and biggup my own Mom. Seventy years young) (and biggup yours too!). Immediately preceding 'Mama Arose' is another big highlight from "Human Rights & Justice" and one I was actually familiar with prior to hearing it here, the HEAVY 'Earth Running'. 'Earth Running' isn't even a social commentary as much as it is a social OBSERVATION. Daweh Congo marks the largely negative state of the times but does so with an idea that the 'sun' is either rising or available... it isn't entirely bleak is my point ["The devil is on the loose. Mankind pray for the goose. Yes, I tell you the truth: THAT SAME ONE WILL HAVE TO COOK FOR TOMORROW'S SOUP"]. I mentioned earlier about the way Congo has this way of saying really basic stuff with a much larger impact and pretty much 'Earth Running', in its entirety, is an example of that. The ideas, as a whole, are definitely impacting but virtually every word out of his mouth, in and of themselves, make it as well. This is a very interesting song and I'm still enjoying the journey through it. For as unique as 'Earth Running' may be, 'One World' is actually somewhat similar. It's just Daweh Congo noting what he sees going on in the world around him. Songs like this make me think that they were VIBES, meaning that he just sort of came up with them after hearing the riddim and I don't really have a problem with that. 'One World' isn't quite the song that 'Earth Running' is but it does have its charm and does stand out for them. In terms of direction -- and only direction (its sound is completely in bounds with the rest of it), 'Big Bad Sound' is the definite changeup for "Human Rights & Justice". You know exactly what's going on with this one. It's a really fun time and I've also seen Congo singing this one as a dubplate as recently as last year so it's done well for him and clearly has shown some legs! Finally, the album ends on its absolute highest note as its closer, the FLOORING 'Jah Mercy Seat' is the single best selection on the album.
The earlier and similarly vibed 'Jah Is My Shepherd' stands well, by comparison (and by anything else, REALLY) but what sets 'Jah Mercy Seat' apart, at least for me, is what comes from Congo, himself. At times this doesn't even sound like he's making a song. It often comes across like he just woke up in a really good mood one morning, opened his window, started singing and 'Jah Mercy Seat' is what came out of it. It doesn't sound very planned out or directly focused. It just sounds like Daweh Congo doing exactly what he felt like doing in the studio, across what is a subtle but GORGEOUS backing track.
Overall, yep, I'm hooked! Daweh Congo's was never a name that I would have called under-known to me. I've well respected his music and abilities for a long time but, as of late, it's been illuminated... for some reason. His most recent release, 'Amharic Verse' on the African Movement Riddim, is probably my new song of the year so far and, again, I'm hearing things within his back catalogue that just never sounded like that to me, previously, for some reason. I do have experience which such things. I was late to the proverbial party in the cases of the aforementioned Vaughn Benjamin and it also took people such as Mark Wonder and Yami Bolo a bit to really grow on me (and now, at least in the case of Wonder, the man can literally do no musical wrong in my opinion) and now I'm able to appreciate their work, present and past, in a new light. Daweh Congo slots right in there and it's growing. "Human Rights & Justice" just might be his best complete body of work to date; from someone who is well along in the process of making a giant fan out of me. Well done.
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