While We Were Sleeping!

Okay so, while we're still working to catch up on so much of the fine STUFF we missed out on while on hiatus, I have come to the conclusion that I cannot possibly get to them all... and I have also come to the conclusion that I don't.... really want to. So, I thought that we'd bundle some of them together and slap some quick thoughts on some things that we would have surely looked at around their release date, but I don't have plans to do a full review for today for one reason or another... laziness or.... something like that, you get the picture. While We Were Sleeping

 

{Note: Wouldn't be surprised if I did a second volume of this list at some point

"Ten Of Hearts" by Alaine [Juke Boxx Productions - 2015]

I very hesitatingly start this list with a release which I am most likely to get around reviewing someday but I'm only including it here because I had forgotten (and was, subsequently embarrassed by the fact that-) that I had never gotten around to writing it up already. "Ten Of Hearts" was Alaine's third album (I THINK) and it was her first which wasn't exclusive to the east (both "Sacrifice" and "Luv A Dub" were Japanese albums). It was also the first which found her outside of the helm of legendary producer, Don Corleon. The angellic singer would move 'from strength to strength', however, and find herself with a brand new album courtesy of Shane Brown and his well esteemed Juke Boxx imprint (with Zojak Worldwide on distribution). Check.... well this would be the point where I would recommend my favourite songs on the album, but you can listen to almost anything on "Ten Of Hearts" and run into a winner (like, for example, 'Suzanna'). Guesting were the likes of Tarrus Riley, J Boog, Dre Island and other.... yeah, I'll probably review this one, never mind. 

CD [not too hard to find] + Digital

"Eyes Ah Look" by Natural Black [Vizion Sounds Records - 2018]

Natural Black is someone who released multiple projects during our time away and I am planning to get around to at least one of them (maybe even this one, actually), and because it's been quite awhile since we did anything on him (and he's become even more interesting since then), I thought it a good idea to put something from him in here. This set, "Eyes Ah Look" from Achis Reggae favourite Vizion Sounds Records -- from out of Guyana, just like Natural Black -- is close to an earlier release from the chanter, "My Life" in its quality (though I do tend to lean to "My Life" and I'll probably end up reviewing that one). Both were typical, melodically pleasing Roots-ish material (minus one GIANT element, of course) and you couldn't go wrong with either. Standouts for various reasons included 'Flat Theory', 'Praises'...., 'Too Much Back Stabbing' and 'Foreigna'. 

Digital

"Amsterdam Revival" by Miriam Revival [Dredda Records - 2020]

I can recall really looking forward to the debut album from Surinamese/Dutch singer, Miriam Simone and, back in 2015, she would deliver it and do so fantastically in "Mount Zion" and, at some point this year, I'm planning on telling you about that one in detail. Five years later, she would come back with her sophomore effort, "Amsterdam Revival" and do so, on paper, with FLAMES. Sizzla Kalonji, Capleton, Queen Omega and Dammie (who is Miriam Simone's son, I believe) all would feature in its ranks and the album was pretty solid (though the single best song was still a solo effort in 'Freedom'). That being said, however, I still favoured (and still do to this day), "Mount Zion" and, as I said, someday soon I hope to tell you why. 

Digital

"Rebirth" by Marlon Asher [VAS Productions LLC - 2019]

Trini Reggae star, Marlon Asher, also gave us a pair of albums and I am planning to get around to the first of them, 2015's "Illusion", but by all means you should also check out what remains his most recent set to date, "Rebirth", from a few years back. For me, I look back at this one as being a very subtly COLOURFUL Roots album. I hear so many different styles wrapped up in this one and music which you don't regularly associate with the genre. Of course that isn't a bad thing and certain areas of "Rebirth" shined! Take a listen to the likes of 'Healing', 'King Of Kings', 'Reggae Music' with Anthony B and the MAMMOTH 'Through My Window'. Also appearing besides Anthony B (twice) were Pressure Buspipe, Meleku, Slightly Stoopid (twice), King David and Fluid Foundation.

Digital

"Mozaïka" by Admiral T [Elite Base - 2019]

Gwada supernova, Admiral T, was wonderfully ultra-active during our time away, releasing more projects than I... feel like counting right now. I'll surely get around to doing up an entire review for at least one of them this year, but arguably the most interesting of the lot was this GOLDEN eight-tracked EP from 2019, "Mozaïka". Featuring more traditionally vibed music to the FWI, the set would show yet another side to the remarkably talented Admiral T with tunes such as the title track (try listening to that song and NOT moving, I dare you!), the resounding 'Sèt Ritm' and 'Chat ka Tété Rat' alongside the immortal Jacob Desvarieux highlighting. Probably one of the better EP's of recent years. 

Digital

Most Wanted 2014

With big names such as Sizzla Kalonji, Etana, Luciano, Machel Montano, Mr. Vegas and many other showing up with albums for 2013, we begin to take a look at just who might be in the offering for the year ahead. Be it even more big names, amazingly gifted up and comers or someone who figures to return from long absences, this list, as it annually does, pulls together ten whom we would REALLY like to hear from, in album form, in 2014. Here are ten artists who could really do excellent work in the new year and we hope they do: Most Wanted 2014

{See last year's list}

{Note: Artist's appearing on last year's list were intentionally excluded}

#10. Prince Theo

Free again. Along with many other wonderful things, one of the most interesting occurrences which 2013 brought for me was definitely the full return of one of Reggae's most remarkably underrated and overlooked vocalists, Prince Theo. The veteran singer will almost certainly never receive the amount of attention that his tremendous abilities would seemingly warrant and I cannot even begin to think of something which would change that. What might help, however, would be a followup to his first and what, unfortunately, remains his only album to date, the wonderful "Set The Captives Free" which will soon be a decade old. Though you'll not find his name on any other list like this from anyone else, the Prince makes my list because I'm beginning to see a foundation built for a new set. He's done almost all of his recent material for Jah Mikes and Reggae Vibes Productions who recently did a new release for another veteran, Courtney Melody. I do not know what is in their plans, but if you're doing albums, why not mix in a brand new one which will have been a loooooooong time coming from someone who is guaranteed to make the most of it. 

#9. Kénédy

Pretty pictures. It took far too long, in the consistent sense, but I have begun to get back into the wonderful world of Zouk music and really pay a steady amount of attention to it as well. But hopefully 2014 will bring something which will make it even easier and I have two things in mind. One of which would be a possible all Zouk album from Achis Reggae favourite, the delightful Jalena, whose next album may be just that (and the only reason that you won't find her name on this list is because she has had THREE albums from the last time this artist had one) (which was only her second) and the other would be the album return of still my favourite Zouk singer, the amazing Kénédy. Last out way back in 2009 with "Entre Toi Et Moi", the Gwada songstress has managed to stay in the light with big tunes (most recently teaming up with Lylah for 'Femmes Fatales 3') and she's also managed to keep things interesting outside of the studio. Between her first album and the second, Kénédy already very attractive… got… attractive… er. She came back and was STUNNING and if you look at her these days, you immediately notice her growing addiction to tattoos. Will that translate into a more edgy sound for her next album? Maybe or maybe not, but I'd love to find out in 2014 with a brand new album from one of Zouk's finest.  

#8. Jahdan Blakkamoore

Release the Kings. Just as I'm waiting here to see what ten artists, in particular, have in store for fans in 2014, I'm also curious as to what some producers may be up to and one of those who have my interests very high are the Zion I Kings. We do know that they'll work the already scheduled "Beauty For Ashes" set from Midnite and we're also quite sure that they'll link up for an album for #5 on this list (or #7 if I changed it), besides that, however, it remains to be seen. Something I'd DEFINITELY like to see are the ZIK come back for is a brand new album for one of Reggae music's most adroit wordsmiths, Jahdan Blakkamoore. Though it has now been three full years from his last set, the very well-received "Babylon Nightmare", Jahdan did have a big year this year on the strength of appearing on one of the most talked about releases of 2013, Snoop Lion's "Reincarnated". A return to album in 2014 would be a welcomed one and, at least presumably, he may officially bring the "Kings" of the ZIK back with him as a return of another kind from Lustre Kings Productions (who didn't do an album this year, I believe). But I'd be happy with just about anyone, but a 2014 album from Jahdan Blakkamoore and the Zion I Kings would be a really, really nice thing to do and a certain master class of a record.  

#7. NiyoRah

A different era. In retrospect, out of all of the people who we've gotten to watch develop as artists in recent years, one of the most captivating and, ultimately, one of the most gifted has easily been NiyoRah. I can still pull his debut album, "A Different Age" and really hear a foundation of talent for someone who, in the then not too distant future, would grow to become a GIANT of a talent. These days, as evidenced by his last two albums, "Purification Session" (one of the best albums I've ever heard) and "Feel Your Presence", Niyo is amongst the very few artists today who is truly capable of ANYTHING. Whatever he does and whoever he does it for, I expect greatness and hopefully I can expect it in 2014. It's been nearly four years from the "Feel Your Presence" set and now would be a wonderful time for Niyo's fourth album which would be another set released at the height of his monstrous powers. 

#6. Alaine

… Alaine. One of a couple of females that you'll find on this list (it would have been a trio, but I thought it too soon to start asking for a new Reemah album), Alaine has quietly turned in a sterling year of music for 2013, which will have to be considered amongst her very best and, hopefully, she'll culminate her winning ways with a winning album next year. Alaine's situation when it comes to albums is very interesting because, like most of her musical things, it changed from a few years ago when she split with ace producer Don Corleon who had not only helmed many of Alaine's biggest hits, but was also behind all of her two or three albums (I think it's officially three, but one of them was released twice). But that is ancient history as far as music goes (though the two would produce bonafide classics together which will never die) and it is full time that album shelves get a lot more class and romance by virtue of a new album full of songs by one of Reggae's greatest conductors of both in 2014.

#5. Pressure

Coming back. It has SHOCKINGLY been more than four years now from the last time we received an album from VI Reggae superstar, Pressure Busspipe and, obviously, that is just entirely too damn long. Fortunately, not only is Pressure one of a couple of names appearing on this list that is relatively secure to have a new set in 2014, he's also going to have it for the aforementioned Zion I Kings. Pressure would have made this list regardless of his circumstances going into the new year because, much like his fellow Star Lion Family alum, NiyoRah, the chanter is at a point in his development at which only greatness is appropriate material coming from him and for such a person, going half a decade without is just wrong (biggup #3). He's been there previously with one of the finest debuts of the modern era, "The Pressure Is On", and on two subsequent albums he maintained those levels. Since then Pressure has remained one of the genre's most dependably impressive stars and he's also branched out - recording with some of the most revered maestros Reggae music has to offer. On his next album, he'll bring things back to center for I Grade Records and the Zion I Kings, which is a link that could not come at a better time.

 #4. Mad Cobra

The baddest. It would be so unfortunate if one of the genre's biggest stars ever was to go through such an upward turn in their career and do so without ever having a full release to mark the occasion. However, when the genre in question is the album-anemic Dancehall music, then that will probably be the precise situation heading into 2015. Dancehall albums from the biggest names, these days, occur at a rate of only two or three annually. But if one of them in 2014 could somehow, someway manage to be from the re-enthused Mad Cobra, the world will be a much better place. Over the past year, Cobra has given Dancehall a much need bloody nose by serving up some of the craziest and most vicious tunes heard in what has been a fantastic career brimming with such pieces. And, though he didn't take such a long hiatus away, it just seems as if this version of the DJ has found him in the same devastating form that was heard on his two most recent albums "Helta Skelta" and "Snypa Way" and maybe even a little better actually. I think it to highly unlikely that 2014 will bring us a new album from Mad Cobra, but if it does, I'll guarantee you RIGHT NOW one of the best Dancehall albums in a very long time.

#3. Queen Omega

Most royal. As each and every of the past five (soon to be six) years pass, Reggae album shelves are significantly lacking in one very major area. QUEEN OMEGA! THE MOST TALENTED WOMAN MAKING REGGAE MUSIC TODAY (and probably over the last decade) has not had an album since 2008's "Servant Of Jah Army" and it would have been even before then -- nearing a decade -- from the last time that she would release a set which was widely celebrated - 2005's "Destiny". Both of those are just terrible considering the fact that she hasn't left the scene. She hasn't gone anywhere! Instead, she has continued to cultivate her supreme skills and today remains the Roots Reggae fireball that she always was. 2014, like every year before it and every year after it, would be a fine return and I do see a bit of hope for a new Queen Omega album. This year, a burgeoning label by the name of JahLight Records, like the singer from out of Trinidad, made its album debut in the form of Matthew Greenidge's solid "Jah Rules Over All", an album which carried the work of Queen Omega (as both a featured guest and a backing singer, if I recall correctly). Presumably at some point they will want to make another album -- probably at some point in the next twelve months -- it would seem a possibility that JahLight may take this next step with her as the star. Such a thing would have massive results and she'd also likely have similar success with almost anyone (including 149 Records who did a video with the Queen this year) and I'll definitely be watching because I'm tired of being able to put her name on lists like this.  

#2. Bunji Garlin

We ready. Though he just had a full album in 2012 (the wonderful "iSpaniard", in stores now) Soca lyrics leader, Bunji Garlin, has just had a supremely powerful 2013 which, literally, dictates that he return with a new album, which will be his tenth in 2014. To facilitate this, the four time Soca Monarch recently [re]signed up with VP Records which will likely deliver the project. All of this, of course, comes through on the heels of the MASSIVE creation that was 'Differentology', but it was not alone and it won't be alone on the album (that would be really weird if it were). The likely result here is that VP allows the 2014 carnival season to play out, during which Garlin will likely have another hit or two and I would expect the album (to be called "Differentology") to be full of songs from his '13 and '14 seasons. Also I would like to hope that they would appreciate the moment. Though Garlin previously did two albums for the label [2001's "Revelation" and "Global" six years later], they both seemed to be at least somewhat packaged in a way to make his music more accessible to the typical fans of VP Records' releases. And there's nothing wrong with that (and it probably worked) but as someone who is always so upstanding about pushing Soca music, I really do hope that everyone involved on this set realizes that they may have something which has the possibility/likelihood of becoming one of the genre's biggest albums EVER. If they do, we'll have something special and even if they don't - I'll still be picking it up. And nothing can break it up. And nothing can break it up. And nothing can break it up. And nothing can break it up…

#1. Chronixx

Fit to lead. The biggest album jewel that 2014, seemingly, would have to offer Reggae fans would be the debut set from the leader of the latest rise of Roots Reggae stars, Chronixx. Though it is conceivable such a release could be pushed to 2015, I'm fully convinced that with the material that he has already done, Chronixx could probably put together a potential classic album right now, but if someone were to actually make an album for the sake of an album, it would be GOLDEN. The artist has shown himself to in possession of a very curious talent which is founded in a heavy streak of common sense and the application of common sense and humility. The blend has led to someone who has not only produced one of the most dominant streaks in recent memory, but someone who has also immediately gained the mass attention of fans. His situation has been similar to that of some of his more immediate predecessors, such as I-Octane and Tarrus Riley, but in Chronixx' case, it has seemed to be even more magnified. Furthermore, he has not faltered and in 2013, the youth turned Reggae music into his own personal flawless performance. He figures to do the same into the new year and an album would be a perfect bow to place on an amazing rise to prominence. 

Changing Faces: A Review of Luv A Dub by Alaine

Surely it’s arguable, but I think that, for the most part, the days of the image mostly associated with the word ’Reggae’ being that of the tall and thin dreadlocked Rastaman playing his guitar and singing his tune on a beach somewhere, are largely a thing of the past. Like most things, as this image is no longer very appreciable by the younger crowds and, by himself, he’s pretty boring, so he’s been effectively replaced for all intent and purposes. Who/What is the new ‘mainstream’ image of Reggae? Well, on one hand it’s a rather diminutive, ‘I wonder if he’s really Jamaican, because he looks Hispanic’, Sean Paul; for some fans that standard beach bound Rastaman has been replaced by his brilliant and fiery descendant, Damian Marley; and for others, most assuredly it is STILL the person upon which the previously mentioned archetype was exaggeratedly and WRONGLY based, Bob Marley. And if that figure does still exist to some, I wonder what such an individual might think of someone like Alaine? If you plopped a copy of her most recent album in front of the type of person who upon hearing the word ‘Reggae’ would immediately, almost reflexively, respond by saying “yeah mon”, or some shit like such and tell them that this is Reggae music, I REALLY wonder what their reaction might be to this one in particular. The artist whose face and persona is certainly more akin to someone who you would find in an R&B or Pop arena is (wonderfully) slowly but surely stretching what it means to be a Reggae artist, in terms of the look and persona. Unlike some of her peers even, who have the typical characteristics of a female Dancehall artist (‘Dancehall Queenism’ is what I call it, where seeing them appear with a completely white wig or something like that isn’t completely out of the question), reinforcing something exhibited by the great Tanya Stephens, Alaine SERIOUSLY is, at least in my opinion, already RIPE for ‘mainstream’ success. Also, not that it’s something unique to her and her alone (biggup Ce‘cile and D‘Angel), but you LOOK at that cover and be honest with yourself: It certainly doesn’t hurt her chances that she’s sexy! Of course, were her visual appeal the only attraction then I probably wouldn’t (be reviewing this album) hold the prospect of Alaine’s international successes in such a high esteem, but fortunately, that’s not even half of it. Musically speaking, there’s just something about her also and although I’m not saying hers will become THE face of Reggae and THE image of Reggae music worldwide, Alaine is a FAR FAR CRY from the Dread in the hammock on the beach singing “everything gwan be alright”.

And Alaine has definitely seen more than her share of Sundays and, in my opinion, she’s now grown beyond the point of realistically calling her a ‘new artist’ or an ‘up and comer’ (I THINK she‘s like in her early 30‘s now also), so it’s now time to see (and hear) what she REALLY can do. Having had a very successful run of singles for years now (three or four I believe), working with the mastermind Don Corleon (more on that later), Alaine’s name has definitely been established as a proven hitmaker. And, although she doesn’t bring music in the typical sense of Dancehall music (instead she has this wonderful and PLEASANT blend of modern lover’s rock with equally modernistic (and sometimes futuristic) Dancehall), she has also QUIETLY become one of Reggae’s most popular names on the local front. In pushing even further, back in 2007, Alaine released her much anticipated debut album, Sacrifice, for Don Corleon. Initially the album hit first in the Japanese market, as so many do, with SHOCKINGLY some of the more popular well known Reggae labels seemingly (being drunk) and not signing her up (or maybe the Japanese offer was just one they couldn’t refuse) before coming westward with a slightly changed version. That album was, more or less, an update to that point. Taking some of Alaine’s biggest singles to date and, in fairly stereotypical Dancehall fashion, was actually more of a compilation than an album (a GOOD compilation, mind you). Well, having had a bit of time to generate more hype (and regenerate in some cases), Alaine and Don Corleon now return with the second verse, Luv A Dub. This album comes through the same Japanese channels (presumably a western version is forthcoming, although we’re still waiting for Corleone to deliver a western version of Munga Honourable’s Bad From Mi Born album, the producer’s most recent creation in terms of artists’ albums), but for the daring fans who’re willing to spend x-amount, a finger or their next child (or if you’re like me and happen to have a recently mutilated brother-in-law) to import it, you can pick it right now. And what will you be getting? Alaine’s sound, in my opinion, has perceptibly matured a few degrees, which is difficult to see because it’s not like she was Red Rat or someone like that before. Her development, in my opinion, is ‘visible’ because she’s started to break out of the mold many people had criticized her of. The ONLY criticism of Alaine as an artist is that quite a few people felt/still feel that her music sounds a lot like itself and that there isn’t much variation. I definitely can see that, Corleon, for the most part, has provided her with these LUSH and kind of all-inclusive type of riddims and Alaine, inevitably, writes songs for them which have something to do with LOVE and upliftment, but, like I said, I think she’s begun to take more perceptibly EXPANSIVE chances, here and there, and that comes through a bit on Luv A Dub, to my ears. She’s certainly, by no means, Lady Saw or Spice, some of her more risqué peers, but she’s also added a MATURE sexual approach to her vibes as well (I still don’t think that a remake of ‘Stab Out The Meat’ is in Alaine’s future anytime soon). Luv A Dub essentially picks up where Sacrifice left off. It also has the markings of a COMPILATION more than an ALBUM, however, again, a GOOD one. Alaine is simply making the most BEAUTIFUL form of Reggae music, in any form, these days and Luv A Dub stands as yet another sparkling example of that.

The drawback in making an album like this is that, for fans who consistently follow you, it kind of alienates them (us) in a sense, because we’re not only likely to know most of the tunes, but they’re (we’re) also the ones likely to buy it. That is also counterbalanced by the fact that you’re building an album largely with PROVEN HITS, therefore truly putting your best foot forward (and I haven’t heard ALL of these songs). The first foot stepping forward on Alaine’s sophomore effort, Luv A Dub, is also clearly one of the best, ‘Without You’. The tune is built across Don Corleon’s DIVINE Changes Riddim where it was one of the stars attractions on a riddim FULL of such pieces (Jah Cure, Tarrus Riley, Richie Spice and even Gentleman) (biggup I Octane). Without You is LOVELY, it’s also kind of infectious with the hook being what it is, two qualities which definitely are present with Alaine at her absolute best. Wonderful opener (and she also, ironically, adds Corleon to the list of things she “coulda neva mek it without”, well lets hope that’s not true). Up next is a newer piece and one which is, again, definitely one of Luv A Dub’s finest, the AWESOME ‘Colour Blind’. This tune kind of has a chanting vibes to it and is one which IMMEDIATELY seems to grab the attention (and affection) of the listener, as her music generally does, but it also makes a bit of a subtle (okay maybe not so subtle) social point as well. It’s not like listening to Lutan Fyah or someone like that, but in my opinion it’s the greatest and most ostensible exhibit of Alaine’s mature acuity on Luv A Dub and, again, it is a HUGE tune. The first of two very high profile combinations, ‘Forever More’, is up next. This one is my favourite of the two (although the other is STEADILY growing on me) actually and it features Alaine alongside big man of the moment (and probably of the future also), Tarrus Riley. They make a WONDERFUL combination and , when i first heard the tune when it first began to play, I was hooked and (it’s my wife’s favourite tune on the album) it was and remains the type of song you can just vibe to for HOURS at a time. Big start!

I, myself, am a pretty big fan of Alaine’s and, as is generally the case with my favourites, my favourite tune on Luv A Dub is definitely one which at least when compared to some of the others, kind of floated beneath the radar in terms of the attention it received. ‘Spin Me’, from Don Corleon’s funky sounding Stimulant Riddim, is one crazy, sexy and cool vibed tune as Alaine goes TLC style (did you catch that one???) on the tune with just RIDICULOUS results. I should reiterate the fact that it didn’t do the type of damage that I thought it would, so YOU might not find it so wonderful, but to my ears, Spin Me is the biggest thing on Luv A Dub and it’s one of the biggest things Alaine has ever done. Period (“I wanna fell your needle baby“, she says). Another tune sticking out amongst the pack is ‘Never Done’ which, I believe, is the official first single from Luv A Dub. It’s pretty stereotypical Alaine at this point, but that’s something that has pretty much always worked for me. The same could be said of former hit ‘Sincerely’. Were this album COMPLETELY brand-spanking-new, Sincerely would probably my favourite tune altogether. It is absolutely SPECTACULAR (it was actually on the western version of Sacrifice, but not the Japanese edition)! Love Of A Lifetime, Alaine’s cut of Don Corleon’s SUBLIME Secrets riddim, is also present. It was clearly a standout on that riddim and remains such on Luv A Dub. And then there’s the title track. This tune came up back in April I believe and, for some reason or another, I never REALLY gave it an opportunity, but the more and more I dig into it, it’s a very strong tune and the type which should consistently build towards getting even mightier. The tune is a lover’s combination with an old school vibes (I SWEAR I hear a Marley ‘Natural Mystic’ riff in there somewhere). Also you should take note of the almost FUNNY vibed ‘Over You’, which features our heroine on a neo-doo-woppish type of vibes. It’s very strange sounding, but, again, it becomes more and more wonderful and less and less vibes-egregious as you spin it more. The kind of Euro-techno tinged ‘Follow U’, which is new to me, isn’t AT ALL the type of tune I would normally like and the fact that I do is kind of making me think that I’m just REALLY easy to please when it comes to Alaine’s music (thankfully, I still find ‘Flashback’ to be atrocious, so perhaps I shouldn’t worry too much). No such worries on ‘Shame On Both Of Us’ which has a very interesting subject matter of being in a relationship with not one, but two offending parties. Definitely get into that one a few times over. Alaine’s tune ’Mama’ is also here and it’s been pretty popular (especially on the internet) and justly so as Alaine joins literally thousands of her male contemporaries and gives a respect to the most person on the planet (it’s usually more of a male concept to say thank you to your Mother, especially in Reggae music) (biggup my Mother same way). And speaking of popular, sending us on our merry way on Luv A Dub is the very successful tune ’Speak Love’ from last year’s Far Away riddim from (you guessed it) Don Corleon. This tune is another one which is SPECTACULAR in almost every way and I loved it last year and I still do and I was just glad it was included here and not kind of thrown away.

I would also like to mention the rather surprising remix of what was probably Alaine’s first significant hit, ‘No Ordinary Love’. I just KNEW that tune would be some over-hyped and over-electrified piece of rubbish, but it isn’t. The tune is VERY nice. Although I certainly still prefer the original (which I haven’t heard in a minute, have to take care of that right now), the remix gorgeous and if you loved the original, and you did, you’ll certainly connect well with the redone version, which is nice and slow and romantic.

Overall, I’d probably be wrong if I weren’t to mention the fact that Alaine and Don Corleon recently parted ways and ended their relationship (musically speaking, of course, don’t particularly care about their personal business) and the next step is seeing and hearing, from Alaine (of course, Don will presumably go back and continue his absolute mastery of Reggae and beyond) as to what comes next. Again, the only musical critique she’s ever received is that people sometimes her tunes are too similar to one another and that certainly should be no issue now. They definitely gave fans like myself a very nice chunk of tunes to remember well one of, quietly, the most successful ventures in recent Reggae history. And if Luv A Dub in all of it’s creativity and ‘neoness’ is to stand as the final tangible ‘pillar’ of their time together then, job well done. Now let’s just hope that Alaine doesn’t grow locks and head to the beach with her guitar in hand. (Oh, and Alaine: You sexy).

Rated 4.25/5

Don Corleon/Koyashi Haikyu

2009

Alaine @ Myspace

Alaine @ Twitter