'Rebel Time' by Sean Paul & Beres Hammond [Dutty Rock Productions]
"Rub-a-dub, it never feel like that"
First up this week is DEFINITELY a pair of legends linking up for one sweet piece of tune as Dancehall burner, Sean Paul, and the coolest man on the planet, Beres Hammond come together for 'Rebel Time'. Call this one unexpected but welcomed as these two deliver precisely what you'd expect from such a big union. 'Rebel Time' is just a vibe! There isn't a lot going on in terms of direction (although it does exist should you care about such a thing here (and you probably shouldn't)), but it is such a NICE piece and you knew it would be.
"In The Mood" by Shaggy [VP Records - 2023]
Speaking of legends, I'm also taking quite a few happy spins through "In The Mood", the latest EP set from international star, Shaggy and VP Records. Apparently (like everyone else with functioning ears), Shaggy caught the Soca bug in 2023 and he's done a project in observation of the moment. I have to say that the very first time I saw "In The Mood", just the fact that it existed made me smile. THIS IS A GOOD IDEA! It also helps that, in putting things together, Shaggy also taps reigning Soca royalty as the likes of Kes, Bunji Garlin, Patrice Roberts and even Skinny Fabulous (grrr!) all make appearances alongside the 'It Wasn't Me' singer. Still, a case could be made that the single finest moment on 'In The Mood" comes with Shaggy all alone as he mines GOLD with the syrupy sweet Groovy effort, 'I Love Her'. What a lovely song that is! If you too have personally charted a bit more Soca music this year (shit, even if you haven't), you may want to check out "In The Mood".
'High Grade' by Sizzla Kalonji [Pandemic Records & Entertainment - 2023]
Okay so, not too long ago we told you about some music from the great Sizzla Kalonji that was.... something other than stellar (new album, "Run Tingz", out now) (You don't want to hear that), so of course I've been attempting to rinse it from my mind and I've settled on this recent big tune from the artist and Pandemic Records, 'High Grade'. This one isn't rigid at all, it's very flowing and dynamic and just a very nice vibes and it shows that, although I may typically favour a version of Kalonji which is more 'traditional', that the man can touch in almost any style and make an impact with me. 'High Grade' is a boom!
"Bring it Anu" by Tamera [Ron Benjamin Music]
Something which has probably been on my radar for.... the better part of a couple of months or so that I'm just now telling you about (been busy, sorry!) is this wonderful EP courtesy of one Tamera (who used to go by Hempress Divine) and the great Ronnie Benjamin from Midnite fame, "Bring It Anu". Let me tell you something: THERE IS SOME GORGEOUS MUSIC ON THIS RELEASE. Tunes like the title track, personal favourite 'Free Your Mind Soul Body', the thumping 'Rememba' and 'Atm' absolutely soar on a set which you'll do yourself a mighty disservice if you choose to ignore it. This one I can definitely recommend to fans who have grown accustomed to.... that beautiful HEALTHY VI Reggae sound which is present throughout (and I hardly ever mention it in that way, but it stands out here so vividly).
The Jah Rise Riddim [Machete Records - 2023]
Also on deck these days is a big new riddim courtesy of Machete Records (every time I see the word 'machete' in any relation to Reggae music I immediately think about the WICKED Steve Machete), the GORGEOUS Jah Rise Riddim. With the first half of the year nearing about six weeks from its end, I have to say that the Jah Rise ranks fairly high in terms of the best compositions that I've come across in 2023 thus far. For such a beautiful creation, the vocal talent is top notch as well with several big names taking their turns on Machete's gem. Yaadcore is the least known of the lot, but he turns in a stellar set with 'Concrete Jungle' and is joined by the likes of Sizzla Kalonji, Ginjah, Lutan Fyah, Richie Spice and the reclusive Warrior King who probably provides the Jah Rise with its single finest moment, 'I-Niversal Light', which is damn near STUNNING! BOOM! Not that there are a lot, there aren't; but literally every tune on this riddim is at least very, very good, without exception.
"Standing Ground" by Akae Beka [Fifth Son Records - 2008]
Lastly (not really because I have to go back and write up Tamera's piece), I've also been listening to quite a bit of Akae Beka (as usual) and these days I'm well focused on the GEM that was the double disced set, "Standing Ground" from Fifth Son Records back in 2008 (I've also been on quite a bit of "Momentum" as well ["DON'T ACT LIKE THE DIAMETER IF YOU'S THE RADIUS"]. The double attraction to this release has always been the same and, all of these years later it remains the same though even further buttressed with HUGE tunes such as the intoxicating title track, 'Chant Out', 'King of Kings', 'King Ting', 'Medi', 'Spruce' ["He's the holder of the principle to do right"], 'Adon-I', 'Splendence' and so many others. What got your (or at least mine) attention initially, however, was certainly the fact that "Standing Ground" was a double set (and I think it remains alone in that fact at least as far a studio album from the Akae Beka/Midnite catalogue) and packed with so much wonderful work (over an hour and half of it) and there was also the little matter of it carrying.... simply one of the greatst songs I have ever heard from anyone, the INCOMPARABLE 'Ever Was So'. Like much of the output of the legendary Vaughn Benjamin, "Standing Ground" has recently seen a re-release, this time reflecting and respecting Benjamin's shift to "Akae Beka". Absolutely not to be missed.
Golden days. As a music fan and as a fan of virtually anything, the longer we occupy ourselves with that particular thing, the greater the opportunity is there for us to begin to acquire favourites. If you're fortunate and you pay a great amount of attention, you might have several favourite artists and producers and riddims and performances (both that you have personally attended and that you have seen recorded) and a variety of other things which have stuck with you and will remain with you for the rest of your life, hopefully. Favourites have a variety of different classes as well and, as you very well know, they can be very significant and emotional things for people, making it all the more crucial when we come across them. So with that being said (and returning to writing this review after about a month or so. I know. I'm sorry. Technically you've been waiting for this review for over twenty years), today I thought I'd go back and celebrate one of my personal favourites which TRULY has no equal in what it was in its day, for me. There was an, unfortunately, now either wholly lost or extremely underpublicized set of circumstances in Reggae where we had these groups of artists under one umbrella-ing label. The vast majority of these, whether they do or do not exist in any way today, are relics of yesteryear which're left for us to think back to in forms like this as 'da good ol' days. I'm thinking about stations like Beenie Man, Tanto Metro & Devonte and Lil' Kirk at Shocking Vibes for Patrick Roberts. There was the Main Street crew and Danny Browne who, with a wholly infectious and very digestible style of the music, brought Dancehall fans years and years of hits courtesy of the likes of General Degree, Red Rat, Mr. Vegas, Mr. G/Goofy and others. Main Street, in retrospect, has aged quite well in terms of the music it made (having produced, for example, both the wildly popular 'Granny' and 'Pianist', respectively, for Degree) and the impact some of its direct and indirect stars went on to make. On the Roots side there were people such as Richard 'Bello' Bell and Star Trail family (biggup the Star Lion Family) who is probably best known these days for having brought the legendary Anthony B to prominence, but the label was also very instrumental in building up names such as Everton Blender, Norris Man, Capleton and even Beres Hammond who they worked extensively with in their day. Continuing on that same line of thought, I can distinctly recall Star Trail being like half of what would turn out to be a sizable explosion of modern Roots Reggae music (in retrospect, probably the most significant it has ever had) in the mid to late 1990's or so. The other half of that equation would be the reason that we're here today -- about to talk about a random, twenty-two year old release -- and simply my favourite Reggae label (label of any kind, really) of all time.
Of course I'm referring to the immortal Philip "Fattis" Burrell and his Xterminator Records imprint. The easy way to explain it is to say that Fattis and Xterminator developed and brought to prominence some of (and THE in my opinion) greatest artists in Roots Reggae music in its day; they also produced some of the greatest songs and full albums as well and that is a solid legacy in and of itself in my opinion. However, when you begin to look at it as far as what resulted from the work that they did and who influenced whom and what became of that following generation, the label has left a lasting legacy that continues to reverberate to this day and will NEVER stop (have I mentioned that I'm reviewing a twenty-two year old album??? I have? Okay just ignore that part there then). How many artists today grew up listening to that same generation of Xterminator alums and how many MILLIONS of fans did the same and, in turn, passed it on their children? We've gotten to that point already where, looking back to the not too distant past, has grown to this wonderfully nostalgic degree that we find ourselves looking at a random, twen.... oh yeah, nevermind.
2002
Along with doing releases for artists, occasionally labels would put out compilations, while these were far more prevalent back in da day, you still see them today, generally as riddim albums, but sometimes something a bit more. These release stand/stood as kind of updates as to what the label had been up to at a given time or even as greatest hits type of releases for the label or for a certain artist. Xterminator was no different as, along with albums for their artists (some of them were outstanding) (a handful of them were legendary), they also did greatest hits sets and general compilations from the label. Perhaps one of the best known of the latter was 2002's "Rough Inna Town", a drop featuring hits from both the then-current and past and future stars of Xterminator; and there were others such as an installment of Charm's (I know.... it's Charm (I don't if anyone really knows what was going on with Charm back in the day, if there is someone he/she is not me) but it was solid) "In The Producer's Hot Seat" series (that album contained two of the finest songs I have ever heard, so I had to mention it) and others still, like a Dub album for Jet Star. Within this group and just ahead of most of them was a lovely collection through VP Records at the turn of the century by the name of "The World Shall See". If you are familiar with the actual tune for which the album is named then you probably already know why I dug this one wayyyyyy up for a vault review (if there're perfect songs, it is one of them). I've had this actual disc for maybe five or so years and I always wanted to talk about it because of just how thorough it was for its time. There're three names on "The World Shall See" that do not leap out at even more faithful followers of the genre and the label and one of them, in particular (technically two, actually) I could not name you ANYTHING else they did in their career without research. That, alone, isn't very good (isn't bad either), but what that was attached to just happened to be precisely what you would expect from a general release from Xterminator in the year 2000. It was LOADED with absolute giants of the genres, up and comers and just solid contributors to the Xtm legend. Though there was one unfortunate omission -- Mr. Mikey General -- but every other base at the time would have been covered as far as that era via this one set. On top of that, the material that was present on "The World Shall See" was powerful for the most part. As I said, with a certain tune being at the head of it, this a fine, tiny representation of the label around the time and what something that I really have enjoyed about it is what you find in the 'ancillary' artists (and I mean that in the most respectful way possible, of course, I just really wanted to use that word). There're certain people who have come to link with Xterminator -- about to tell you about a few of them -- but there are certain other BONA FIDE LEGENDS who you may not realize have also done extensive work and recording with Fattis and company. Vocalists of all types end up shining on "The World Shall See" making it, though underknown, a powerful example of one of the greatest outfits Reggae music has ever seen.
Even if you were to take out the set of circumstances and the label involved on this project (and bias towards it) what most immediately stands out just running down the tracklist of "The World Shall See", at least for me, is the extremely impressive line of vocal talents present here. Regardless of what brings them together, even a casual fan of the genre is likely to be impressed by the run of exactly who is present here. If you need an example of that, you need not go any further than the opening selection on "The World Shall See", a personal classic for me and many others I'm sure, 'Stand Tall' by Capleton. I forget this tune was actually produced by Xterminator and it probably (surely) is better known for appearing on the Prophet's opus, "More Fire", also for VP in 2000. 'Stand Tall' was complete and utter genius.
"I see di wicked man will have to fall!
And all the righteous man will haffi stand tall!
A DI WRONG MAN NAME DEM GUH CALL!
And now dem back against di wall, dem fall
Longtime mi ah warn dem and dem neva waan listen
Tell dem no diss di man weh get di blessing
Listen to di birds when you hear dem ah sing
Listen di leaves all on di tree limb
Watch all di fishes in di sea when dem swim
EVERY LIVING THING HAFFI COME HAIL DI KING
And all di water from di spring!"
Despite its nature (it was downright SWEET at times), if you really tuned in 'Stand Tall' it could be overwhelming at times. Capleton kind of built it in a way where, though it didn't change in intensity much, it became a matter of just LOADING the listener with knowledge and ideas that, especially in its latter stages, 'Stand Tall' was.... probably one of the finest praising songs we've ever heard. Speaking of songs which may've been unintentionally candy-like, another superstar and one well known for his work with Xterminator, Luciano (oddly credited by his actual name here, J. McClymont, comes in next with 'Free Up The Herbalist'. The year prior, Luciano would release one of the most popular sets of his own on VP Records, "Sweep Over My Soul" (so named after another Xterminator steered shot) and while this tune did not appear on that album, it would have been, EASILY, one of the finest works there (though, I did not love "Sweep Over My Soul"). 'Free Up The Herbalist' was fantastic and it does have its running theme, it's a ganja tune, it's also a very detailed social commentary and a spiritual song. It succeeds on all those fronts as well and I hesitate to call it one of Luciano's best, period, only because I know the weight such a statement carries, but it is EXCELLENT! Label staple, Prince Malachi, would also have an album on VP in 1999, "Love Jah" and "The World Shall See" plucked from it its GOLDEN title track. It's either been far too long since I've heard this one or I've just spent the last twenty years or so really underrating it because I don't quite recall it sounding this good at any time. Malachi's work with Xterminator, in general, may be overlooked these days by many and if you're one of the people for whom nothing he did during that period immediately stands out, I would DEFINITELY direct your attention to 'Love Jah'. Such a stunningly beautiful piece of praise and, after I'm done here, I'm going to dig up some old Prince Malachi (pretty sure I have both "Love Jah" and "Watch Over Me" on disc).
In 2000, it was well within the timeframe when the great Sizzla Kalonji (you knew He was coming) would release at three albums a year for the three biggest Reggae labels of the day, VP, Greensleeves Records and Jet Star. His VP album from that year was the very interesting Xterminator produced "Words Of Truth", best known for being a double disc, with both a studio and a live album in the packaging. His set for Greensleeves also came via Xterminator, "Bobo Ashanti". To my opinion, "Bobo Ashanti" was one of the.... best ten or so albums Kalonji has ever done and it was crowned by one the greatest tunes he (or anyone else) has ever done in my opinion, 'The World Shall See' (it was just called 'The World' on that album). TEARS! ABSOLUTE FUCKING TEARS! I've said in the past that Sizzla's music changed my life, it changed my way of thinking and it was songs like this ["Then, dem neva know: Seh A KING SELASSIE RULE THE HEART AND THE SOUL"] that did much of that work and opened my eyes to something I had been surrounded by for all of my life. This is the best song on this album (they knew it was, that's why it is named after it) and it's probably never appeared on any album where that wasn't the case and it almost surely never will. BOOM! In 2000 Fattis would fully bring his next charge, Turbulence, to the masses with his debut self-titled release on Xterminator. The following year he would deliver his second album for VP, "Rising", deemed a modern classic on these pages and still the greatest album of his career in my opinion. There's a pretty good chance that the very first time Turbulence would have appeared on any VP project was on "The World Shall See" as he contributed the sublime 'Think Of Peace'. This song wasn't on either of the first two albums and I don't know why, it was pretty good. It wasn't the strongest lyrically (he was still very, very young at the time. It's dated 1999, he was probably eighteen when he wrote it), but it did have a nice vibes to it and, good luck finding it anywhere else. And speaking of the youths, rounding out our first third of selections on "The World Shall See" were the young Morgans, L.M.S., with 'Follow Jah'. LMS is another one [three] whose time with Xterminator has probably gone forgotten, but it says a great deal that two of their four albums were produced on the label, so there was some clear chemistry in the work and it shows on this tune. 'Follow Jah' isn't amazing, but it's very solid and the more you hear it, the more it grows on you. It has a delightful vibe to it which wasn't rare to find in L.M.S.' music, even if I wasn't the biggest of fans.
'Bubble In The Struggle' featured the elder Morgans, Morgan Heritage. Though not as extensively as their younger siblings, MH also did quite a bit of songs with Xterminator as well and this is one of their best in my opinion. Coming in with a nice old school sound, the Morgans used the vibes to check in with a message about people not only surviving and maintaining in troubling situations, but THRIVING within them as well. The immortal Beres Hammond is another one still whom you may not know for appearing on the label but even he made several songs with Fattis and co. One of them, the outstanding 'Hold On', is carried on "The World Shall See". Hammond is someone who, with his delivery and his general CLASS, can get something out of just about anything he does (you have to TRULY be rubbish as a producer to push out a bad song by Beres Hammond) and 'Hold On' was of his typically high level and with a powerful idea of showing just a bit more patience, perseverance and not being afraid to stand up for yourself and show some backbone when necessary. This tune was actually a pretty nice sized hit for Hammond and, in 2003 when VP released his greatest hits anthology, "Can't Stop A Man", it appeared there along with several other Xterminator songs; the most popular probably being 'Full Attention' (it was also the title track of an Xtm produced Hammond album in 1993). You'll also find in this grouping 'The Story Of My Life' by US singer, Anthony Mills. Mills is one of the three that I alluded to whose name surely will not be very familiar to Reggae heads if you don't remember what he would do with Xterminator (and even if you do recall it, there wasn't a tremendous amount of it). His effort here is fine. It's kind of a Gospel themed tune, but what stands out for me, is the music. There is an infectious electric quality to this riddim which seems ULTRA simple at times but really is not when you tune it in. The singer would do more work with Xterminator and is obviously still active these days so feel free to look him up if you like this song, there is a TON more from him. Malachi returns with his second and final effort on "The World Shall See" with 'Life Cycle', taking on the same track behind the title track. Just as was the case on his first piece, 'Life Cycle' is also EXCELLENT. This song I'll call a spiritual celebration of NATURE. Malachi deals with Mother Nature in the greatest sense but also in the most terrestrial and, 'stemming out', how important it is that we maintain the world because we are TRULY lost without it ["Combined together with Jah forces, She's our home and She is our hostess. Oh Mother Earth, oh Empress. Yes I know. We continually need Your service and no many coulda neva deny this"].
Sizzla returns with his own second (of three) selections on "The World Shall See", the well underrated humility anthem 'Why Boast'.
"Why boast when it get you nowhere?
And your riches will soon disappear
Trying to be like those and prove you so unfair
Come to protect the poor
I love them ever-dear
Why boast when it get you nowhere?
And dem riches will soon disappear
Trying to be like those and prove you so unfair
Come to protect the poor and Jah is ever there
Dem neva want us reach nowhere
Yet I know - I & I are everywhere
From Holy Mount Zion to the Earth's plane
The Conquering Lion bringeth no shame
NO RESPECT FOR THE POOR AND YET THE TABLE PREPARE
Continue to ignore, they insult our care
WE COOK THE FOOD THEY EAT AND MAKE THE CLOTHES THEY WEAR
What a tribulation poor people deh bear
Inna every situation, still wi neva fair
They make it all so dem start move queer
And a dem thief out di poor man share"
This isn't quite what I would call vintage Kalonji from that era, but it is damn close. At his zenith during the early 2000's, Sizzla would weave these nearly perfect lyrical GEMS which could reach a listener on pretty much every level. 'Why Boast' was maybe half a step lower, but even such quality rises it near the best on a more than solid release like this one. The other vocalist who appears here more than twice, Capleton, returns with first of subsequently a pair of combinations, 'Jah Kingdom', alongside Luciano. BOOM! These two have linked up several times throughout the years -- with probably the biggest being 'Hail King Selassie' for Black Scorpio -- but I have to tell, as far as any combination between the two, 'Jah Kingdom' is AT LEAST as good as anything they've ever done. I'd have to do some more research to see if I'm forgetting something, but if it was THE best Capleton/Luciano song ever, I would not be shocked at all.
"Jah kingdom come down upon earth
Rastafari voice must be heard
Jah kingdom come down upon earth
King Selassie I a wi shepherd
Jah kingdom come down upon earth
Rastafari voice must be heard
Jah kingdom come down upon earth
Revolutionary soldier is at work
Babylon haffi go stay mute, dem haffi accept di truth
Cah man a revolutionary, every soldier, longtime recruit
Dem haffi stay mute, dem haffi accept-
Well dem caan stop mi from dig out mi truth
Babylon, yah gun dem soon nah have no use
No more ghetto youth dem you caan come shoot
Di youth dem seet and dem find di truth
Dem caan sow wi like no seed nor pick wi like no fruit
I AM DI BRANCH, I AM DI LIMB, DI STEM AND DI ROOT
Luciano! Kick dem wid di gideon boot!
Behold The Lion Of Judah has conquered again and again
Set all the captives free again"
It's direction was precisely what you expected it to be (the same as 'Hail King Selassie') and its quality is as well with these two PILLARS of artists coming together in honour of His Imperial Majesty and to slap down corruption any and everywhere it exists.
The final lot of tunes on "The World Shall See" gets downright colourful in regards to the artists, making for some genuinely memorable moments in the process, including one or two that you might not have remembered/known were products of Xterminator. The legendary Leroy Sibbles also blessed Xtm with some fine work in his day and a great example of that would be his tune here 'Fight' (if you need another taste, look up a song of his by the name of 'Oh Jah') (even if you don't NEEEEEED it, you may want to look it up anyway). This one was a call to action and a call that maybe it's time to begin taking some personal responsibility for yourself and your well being ["If you're a man, you've got to stand on your own two feet. That's the only way you're gonna eat"]. It was just very well-written and I'm sure there're many fans of the music, even some diehards, who may not even know that it exists. The same surely can't be said of Cocoa Tea's 'Mr. Neck Tie Man', as it was pretty well known and Cocoa Tea is someone who voiced extensively with Xterminator, having delivered several albums for the label in the 1990's and 2000's (five by my count). 'Mr. Neck Tie Man', which used the same riddim as Luciano's classic 'Sweep Over My Soul' was featured on 1998's "One Way" for VP (big tune on that album called 'No Faith') and probably a few other greatest hits styled compilations as well. It deserved the run that it received, in my opinion as Cocoa Tea, as is his signature, gave us the wonderful SIMPLE message about those seemingly living two different lives at the same time ["Sometimes you hold the Bible in your hand. The other times you hold the alcohol pan. Wanna know - what is your true religion? Are you praising Jah Jah or it is Satan???"]. You'll also find a pair of combinations near the end "The World Shall See" which grab attention for a couple of different reasons. The first of them is 'The Vibes', linking together the only two artists here appearing thrice, Sizzla Kalonji & Capleton. Though I've never loved this song (it almost seemed like they knew it would be a good idea to make a song together and just.... vibed it together and 'The Vibes' is what they came up with), it's probably a little better than I've given it credit for being, though nowhere near as strong as one might imagine such a combination being. The other combination here on the other hand, 'One Gun', is better than you're thinking. Placing Turbulence alongside rapper Fucious. This tune appeared on Turbulence's aforementioned debut album. I do not hate this anti-violence tune and it does have its moments ["War a nuh nice thing, remember that. A nuh mosquito bite when you get gunshot"] (Turbulence's entire first verse is pretty impressive), but I've never been the biggest fan of Hip Hop and Fucious... yeah, I'll just leave it there. He clearly does his best. The unfortunately all too interesting Jah Cure also popped up on "The World Shall See" with one of his greatest earlier tracks, 'Trod In The Valley'.
Here's another selection many may've forgotten was produced by Burrell. When this one truly came to prominence, the Cure would have still been incarcerated (.....the more things change, the more they stay the same) but 'enjoying' a situation where he was becoming this kind of underground artist that had an ever-swelling fanbase. Many of those were coming to figure out what exactly was going on with him and who he was, but they would stick around for genuine classics such as 'Trod In The Valley'. Lastly was a very, but not really, underknown Mr. Biggs who does a respectable remake of an R&B song by US artist, Tyrese, 'Lately'. The story here, besides the song (and maybe even more so, twenty years later) is that, as far as I know, Mr. Biggs is actually Donald Dennis, one of the most esteemed players of instrument of the modern era and ever, really. He plays bass on every single song on this album and he also does some keyboards and guitar as well and, like all talented active musicians - you've probably heard his work dozens of times without realizing it, particularly on Xterminator material.
Overall, while I didn't want to paint the picture that "The World Shall See" was this all time great classic of a compilation and that it had been woefully forgotten by the masses (although that second part there is true). What I did want to show, however, is just how completely SOLID of a set it was and what a fine job it did in encapsulating a high point in the history of my favourite label/producer ever. Mikey General is missing, as I said, and so is Chezidek (though, in his case, this album arrived before he rose to notoriety. His own debut, "Harvest Time", would come for VP Records two years on from this one), so it could never be called 'DEFINITIVE' even in regards to the work done in a decade's span, but just judging it for what was here, "The World Shall See" was not only very good, but it does retain a very nice sense of nostalgia and, from time to time, is a JOY to go back to listen to. You'll find some of the material here on classic albums which you're likely to draw for far more consistently than it, but if you, like me, just occasionally want to drift back, pretend that you're not an old ass man or woman and enjoy some of the strongest work from the immortal Philip "Fattis" Burrell and Xterminator Records, you can do no wrong in digging up "The World Shall See".
"Love Has No Boundaries" by Beres Hammond [VP Records - 2004]
Certainly not every great album that you've ever heard comes from an unlikely source. They're not all very difficult to find and they didn't all arrive in some ultra remote and obscure package which is now lost for all eternity. Sometimes they're expected and predicted because the album before it was great and the album before that one was great and the one/s after it have been as well to some degree. Such is the ever revolving case of the legendary coolest man in the entire world, Beres Hammond. Undoubtedly one of the finest vocalists Reggae music has ever produced, Hammond has spent the latest stage of his career, from ever since the turn of the century or so, putting on an absolute master class in making and producing albums of Reggae music.
Over that time, he has produced four new studio albums, the first two of which, including 2001's MAMMOTH "Music Is Life", were classic sets, while the most recent pair, "A Moment In Time" from 2008 and "One Love, One Life" from just last year, were borderline classics and I would not be at all surprised to see either or both get better with a substantial amount of time behind them. However, with that being said and even in acknowledging class amongst classics, as a complete project, he may have had more SPECTACULAR moments, but I think that the best unit, amongst them all was the album which probably didn't get as much attention as the others did, but was definitely very well respected in its time and remains so to this day. Beres Hammond's specialty is making some of the finest love songs ever heard in any arena of music and one can very readily say that the well celebrated crooner has at least partially been responsible for the births of potentially hundreds of thousands of people (with a career dating back more than forty years now) who, most likely would also grow up to be fans themselves… Beres Hammond might be accountable for aiding in the production of several generations of families throughout the world. To my opinion, when it comes to recent works, they all lead in one direction, one of the greatest love albums ever done in history and an album which we now, FINALLY, put in terms of greatness. "Love Has No Boundaries".
The Music
#1. 'Interlude'
Despite being very, very basic and just a bit bigger than ninety seconds long, the album's interlude and first song is definitely one of it's most spectacular features. Here, although specified and tuned in, Beres Hammond essentially lays out much of the inspiration for the album and what you can expect on the following nineteen songs. When you hear this for the first time, you hope that the rest of the album is just as good… It is.
Lyrics: "I'm that voice that's blowing in the wind. And I'm that heart that's always hurting deep within. I'm that soul that's longing to be found. I'M THAT SONG THAT WILL ALWAYS BE AROUND"
#2. 'Solid Love'
'Solid Love', in retrospect, is a very interesting selection from "Love Has No Boundaries" and probably one of its most so for a few different reason. Of most note is the nature of this song. This thing, EASILY, should have been a more respected and popular song than it was and although it did do well if I recall correctly, it had and retains some sort of special quality about it which I do not think has ever really been widely appreciated. To my ears, the piece was one which was very basic and just dealt with people showing a bit more RESPECT to your fellow man and woman. To arrive here, Hammond uses a variety of different lyrical tools, but the predominant one, of course, is love. He nears the point where he virtually equates "love" and "respect" at times and others he also goes in the course of adding PEACE to that equation as well. On top of that, the song was amazing in its sound. A very easy and a 'missed' hit in my opinion which still sounds so good.
Lyrics: "Solid love - solid nation. Then we won't know desolation. Rock stable foundation"
#3. 'Good Old Dancehall Vibes' featuring Big Youth
BOOM! A song which definitely did receive its fair share of respect, the SWEET 'Good Old Dancehall Vibes' has become one of the signature moments from the album and has not lost an ounce of steam throughout the years. The song found Hammond tapping the venerable Big Youth to join on a delightful old school composition which was fully his specialty. The results were a dazzling ode to music which will, clearly, take a lot longer than nine years to forget.
Lyrics: "Ain't nothing like good old Dancehall vibes. Where the music is just as sweet as the wine. And folks would sing to every line. ALWAYS THAT ONE SONG THAT STAYS ON YOUR MIND"
#4. 'Songs Of Happiness'
Wicked production duo, Mafia & Fluxy, would lay the vibe for the more than fitting followup to 'Good Old Dancehall Vibes', the just as delightful 'Songs Of Happiness'. These days I actually rate this song higher than the very popular one immediately preceding it on the album and it was another very underrated and overlooked selection in my opinion. You'll find better songs on this album, but for what it is and what it said, I don't know that there is one which captures the MOOD of the entire record better than this one. A COMFORTABLE thrill of a song which you cannot listen to without smiling.
Lyrics: "Now once there was a time when we were young and didn't know. So we fooled around, played around cause nothing really mattered. But time has passed us by and I'm surprised you don't even realize - You're and angel and its your responsibility to - SING SONGS. Sweet songs of happiness. BRING JOY. Your love and nothing less"
#5. 'All For Me'
TEARS! SHIT! It had been a little while from the last time I had heard 'All For Me' and I… I just wasn't ready for it. This song, this WONDERFUL song is simple. It's about falling in love and being in love, existing as a pair and really just putting someone else ahead of yourself in all situations. For me, the major notion of note here is that Hammond is saying that when you do reach that stage when you are willing to do everything for someone else, then that is when you KNOW that you are truly in love and have reached a point where this song speaks directly to you. For me, personally, I was fortunate to reach that point years ago and this song hits nerves in my mind which get a regular workout. BOOM!
Lyrics: "And as I hope for lovely things. Happiness and the sweetest dreams, I think of you endlessly. And if for any reason I should travel far away. Would you wait for me? Hey, now would you babe? Think about it good. It's a big decision for long time. Anything you say right now could never be a wrong time. Would you turn your back on temptation that this world would wanna bring? And stand firm without hesitation, yeah. All for me"
#6. 'Thanks Fe Mi Pride & Joy' featuring Buju Banton
Anytime you could get Beres Hammond and Buju Banton [pictured] on the same track, you were potentially dealing with something special and the Donovan Germain and Penthouse Records produced 'Thanks Fe Mi Pride & Joy' was one of their finest links in my opinion. This song so nicely compliments the song before it because it, literally, expands on this notion of living life for someone else. Here, we've gotten to the point where you take pride and REVEL in it. It has a bigger vibes to it, but also contains some of the same sweetness found in 'All For Me', with a bit of spice courtesy of Mr. Myrie.
Lyrics: Buju - "I really love you gal, world without end. TWO FULL CUPS OF YOUR LOVE IS WHAT THE DOCTOR RECOMMEND!"
#7. 'Love Mood'
'Love Mood' was no frills and quintessential delectable vibes from Beres Hammond. Here is a song which adds considerably to the presentation of this album. It may not leap out at you as being so great (it may do that to YOU, it does for me, however), but what it does, like 'Songs Of Happiness' is to add to the overall vibes you get from this album. The song itself is an easy one, it is about the experience of being in love and somewhat the kind of 'helpless' (and I mean that in a good way) and vulnerable feelings which accompany it.
Lyrics: "I tried to tell myself, 'I'm a man. I'm strong. I can wait. Still I find myself standing guard at my gate. Looking up, looking down. Looking just about everywhere. Hoping that, at any minute, you will appear. And capture this magical moment. Love don't come across in years. And another page in history and only you can compliment a dis ya love mood"
#8. 'There For You'
Because it was once 'All For Me', I can certainly be 'There For You' when you need me to (that was AWFUL writing, but you know you liked it) (you're easily pleased and have low standards in life) (I digress). Although not necessarily and exact 'response' to his own song. The tune is the other side of 'All For Me' and really, again, just speaks to the sacrifices people make to be in relationships and ENJOY making to be in them. What I most like here is this very interesting coolness about the song (and I know, saying "cool" in a Beres Hammond song is absolutely ridiculous, because they're all like that), but what I mean is that Hammond is saying that his dependability to his special person is almost like an instinct. Like he has no choice but to do it so although he'll "come running" "as long as the sun shines", you already know that. You also already knew that the GORGEOUS riddim behind it was via the Taxi Gang.
Lyrics: "You taught me how to love again. You even talked to me when I need a friend. True love is such a wonderful thing. Not everybody knows exactly what it means"
#9. 'No More'
And sometime (oftentimes) we make mistakes. 'No More' is the examination of a very large and, seemingly, very easy mistake that people make when it comes to love: Taking someone for granted. I'm damn happy to say that out of all the STUPID things that I've ever done for/in love, that hasn't been one of them (but I'll probably get around to it one day, given my history), but it is a common problem and here we find someone dealing with it and trying to make amends and get a second-chance. 'No More' is a fantastic song with an old track from Treasure Isle behind it and, really, one of the best pieces on this album.
Lyrics: "No need to accuse me. I'm guilty - nothing to say. If it was me, I know I'd wanna go my way. But you're not me so can I have another chance with you? It won't be like before. I know just what I'd do"
#10. 'If This Isn't Love'
Robbie Lyn and Star Trail's Richard 'Bello' Bell helmed another sweet tune from "Love Has No Boundaries" and the first full piece from its first half, 'If This Isn't Love'. Again, this was another offering which was fairly straight-forward, but with an impeccable sound to it. It is also another composition which is an examination of some state of being in/falling in love (more on that later). This time around Hammond takes a look at that questioning stage when you're not completely sure what it is that you're feeling, but you do know that, at the very least, you are in love with that feeling and it is good enough.
Lyrics: "And whatever you do, may the Father's richest blessing do with you. Bring you back safely to me at the end of the day"
#11. 'Love Has No Boundaries'
TEARS! NO! NO! NO! I NEED A NEW SHIRT! DAMN! The single finest song on the whole of "Love Has No Boundaries" was also its title tune. Looking back and looking at the credits, perhaps the background of the song should have forecasted what was to come as an abundance of talent was responsible for it. Featured here is the work of, alongside Beres Hammond, Willie Lindo (who produces much of the album actually), Sly from Sly & Robbie and even Christopher Birch ["some of these girls need to go back to church"] [WHAT!] [BOOM!]. As you would expect, in any situation, such an overdone amount of expertise on a single tune, just shy of four minutes (or four days long, either one) made for one MAGICAL moment and, in my opinion, not only the greatest song on this album, but one of the best of Hammond's storied career as well.
Lyrics: "I GIVE YOU ALL THE STRENGTH YOU NEED! THE AIR I BREATHE - I'LL SHARE! AND I'LL FEEL YOUR PAIN, OVER AGAIN. I SWEAR!"
#12. 'Feel Love'
Lindo returns on the song charged with keeping the vibes intact following the MAMMOTH title track, the somewhat pounding 'Feel Love'. You can make an edge on an album like this, but when it matches perfectly, it won't be that kind of aggressive or angry sound. Instead, it'll be just a little more spicy than much of the rest of the work and, oddly enough that was precisely and wonderfully what a tune called ["late night ghetto"] 'Feel Love' was on an album called "Love Has No Boundaries".
Lyrics: "I'm guilty as hell! Never want to admit. Couldn't hold it no longer, yes a mi di cap fit. So right - if you hear that I'm jealous, when I see you smiling with them other fellas"
#13. 'Let The Good Times Roll' featuring Natural Black
"This is what the world has been waiting for", says Natural Black [pictured] who joins Beres Hammond on the album's third and final official combination, the HUGE and very popular 'Let The Good Times Roll'. Again, if you look at who worked on this one, along with Natural Black, then what it turned out to be should be no real surprise. This time Willie Lindo produces a track which is played on by Sly & Robbie and DEAN FRASER amongst others and what results is a spectacular song. Hammond is someone who played a very critical role in the early development of Natural Black and the chanter well shows his gratitude (biggup Jah9) by putting forth an unforgettable display of his talents on an equally memorable entire selection aimed at telling people to enjoy the finest things in life, wherever you find them.
Lyrics: Natural Black - "Only di one life, so mek wi enjoy. Ism and schism, dat fi destroy. Hear mi now Sandra, listen now Fitzroy - settle fi di girl and boy. From it fi gwan, just let it happen. Jah Livication time, so come yah mi friend. Full joy yaself until The Father say when. Pure niceness from start to end"
#14. 'Weary Soldier'
Another Mafia & Fluxy vibed piece, 'Weary Soldier' was, essentially, a social commentary from Hammond which made it a definite changeup on an album like this one. This one is so compelling because, in typical Beres Hammond fashion, his attitude towards the widespread violence is one which almost comes off as being somewhat cavalier and effortless. His idea isn't that the world needs this or that, he's saying. 'Stop the fighting so we can have fun again'. I make it simpler, of course, but that's part of the idea on a truly remarkable composition.
Lyrics: "Weary soldier, it's time to lay it down. The war is over, full time we have some fun"
#15. 'Be That Person'
'Be That Person' and its very large sound (courtesy of Lindo) is a song which I definitely have a newfound respect for. It was never a favourite of mine, but as I came more into the mind of writing up this album, I gave it a deep listen and it well began to loosen up just a little to my ears. The sound is almost overwhelming and, on an album like this, it is nearly alone in that regard and it so much stands out. As for the ideas behind the song it is another love-focused piece which kind of seems to come through the channel of being on the precipice of falling in love but wondering if the person you're with is willing to take that next step and 'be that person' you need them to be. The longest song on the album and one also featuring a dominant performance by Dean Fraser, again.
Lyrics: "You'll fit just in my humble home. No restriction, you'll be free to do. I'M GIVING ME TO YOU"
#16. 'If I Should Wait'
Beres Hammond wonders openly if it is all worth staying around for and being patient on 'If I Should Wait'. Seemingly having everything in place and all in order, the one thing in question is the intent of his woman. Again, this tune is another speaking on a very common and relatable stage of a relationship. And it is one which really goes to help the EVOLUTION of the record as well.
Lyrics: "I know you said you needed some time but, no indication how long. Signs that you care and you do need my love, or am I reading you wrong? Now that it stands, I'd like to make plans, I'm crazy for you baby every time. I'm certain that I can live up to the vows I made. Now it's up to you"
#17. 'Not Over Until It's Done'
The unexpected 'Not Over Until It's Done' isn't really a love song at all, which makes it rare on this album, but just like 'Weary Soldier', it very much solidifies its place on it and does it almost exclusively based on its quality. Though it may not follow the running theme of the album directly, it is an EXCELLENT song which deserves to be on an EXCELLENT album and that was what "Love Has No Boundaries" was. The actual piece is a very cleverly written one which really deals with being an inspiration to the masses and saying that no matter how fucked up things can become, there is always a chance for a turnaround at some point. I also really enjoy how it is arranged as 'Not Over Until It's Done' is really a student, Beres Hammond, telling other potential students or younger students what he's learned and how he is, still, very much in the developmental process on this just like the rest of us.
Lyrics: "Last night I learned my lessons well, so I have to tell you. SOMETIMES THE THINGS WE CHERISH MOST HAVE NO REAL VALUE"
#18. 'Let It Flow'
'Let It Flow' sublimely follows the song ahead of it as it is another dealing with inspirational themes and here we even get into a bit of the Gospel with the singing chanting behind him (which includes Hammond, himself, as well as the great Marcia Griffiths) on the presentation of the tune. That PRESENTATION is simply one of the best on the whole of "Love Has No Boundaries". This one literally DRIPS with some special type of quality which is apparent throughout.
Lyrics: "Don't let the sun catch you crawling. Don't let the fight in you disappear. Hold on to that feeling and don't let go"
#19. 'Fly Like An Angel'
And finally - TEARS! 'Fly Like An Angel', another deviation from the general premise of the album, albeit a very slight one, has always been a favourite of mine here. This song is really about someone just reaching their full potential in life and doing what makes them happy. It also deals, wonderfully, with the thought of leaving others behind. Be it in one way or another, for good or for sadness, sometimes you have to leave nice people behind and Beres Hammond, appropriately, knows that because his album is now done, you may go and listen to another. But if you listened to this one and you heard what I heard, you'll be back.
Lyrics: "Could you grant me request? Be careful where you make your nest. Cause there are eagles that search the sky. SO REMEMBER WHEN YOU FLY!"
Synopsis
I think that the intent behind and the purpose of "Love Has No Boundaries" is and always was rather obvious. This is an album which deals with, on every level, LOVE. Even on some of the songs, such as 'Not Over Until It's Over' and 'Let It Flow', which step outside of the 'boundaries' of what is the norm here, those songs can be ultimately linked back to love as well. Sometimes in love you can have war and you can have down times during which you need to be picked up in some type of way and I actually think that was the direct intent in those cases as well. Because of this, "Love Has No Boundaries" is basically a concept album. You can counter that by saying that Beres Hammond has had a 'concept career', which has revolved around singing songs about people falling in love, but that was amplified in an even greater way here where love was grounded down in to a fine, powdery (biggup Sir Lancealot) substance. But Hammond always does that, so what made this one so special?
A quality which I think is a lost one in terms of giving credit is the PRESENTATION of music. Typically when you tink of such a thing, you go immediately towards the live performance, but you can have a great deal of presentation and management in a studio somewhere as well and it is a quality which Beres Hammond has exuded for his entire musical life. There are so many great songs on this album and they are great to their respective cores, but I don't know if I'm as impressed by some (or all maybe) of them if you give them to someone else to do. Even someone like Jah Cure who could definitely make the listening to the singing of a textbook interesting, because he's amazing - I don't think could have presented these pieces as strongly as Hammond does. And music also very much comes with a sense of theatre and dramatics and "Love Has No Boundaries" is a very compelling set. It isn't compelling in the same way that a… Tommy Lee song might be (can you imagine how such a combination might sound? Beres Hammond & Tommy Lee) (WHAT!), but for the type of music that we have here, "Love Has No Boundaries" is a dramatic piece. It is a movie of an album which is thrilling, but in a unique way, from beginning to end. I am certainly not the biggest fan of the subgenre's, but to my opinion the album may actually stand as one finest pieces of Lover's Rock music from the modern era easily as the undisputed champion of the style put on a display which was absolutely brilliant. The album, in the near decade since its release, may not have picked up much in terms of popularity, but it has, at least for me, remained the leader when it comes to Hammond's music in recent years. The aforementioned "Music Is Life", "A Moment In Time" and definitely "One Love, One Life", enjoyed a popularity and lifespan which "Love Has No Boundaries" did not, but I think it was better than all of them in retrospect and, upon closer look, I'm even more sure now.
What else do I know? Not very much at all, but I do know that it was a Bonafide Modern Classic!
Natural. Like people in your everyday life, the artists that you listen to are often able to serve some direct purpose for you. Depending on what you're doing and how you're feeling at the time, you may find yourself trying to contact a certain someone and the same could be said for whose tune you might play or whose album you might pick up at a specific moment. Generally speaking, I can be a pretty moody person, so over the years, without trying at all, I've developed some type of listening 'routine' which depends almost exclusively on how I feel at the time. As I said not too long, if procrastination is ruling my world, and it often is, then I've been able to discover no greater musical motivation than Bounty Killer's music. Without saying my name and even when speaking to/about someone else, the Killer helps to get things going when obviously I'm not as able to do it on my own. Similarly, when I'm feeling a bit sad and want just a lift up, I'm likely to be listening to something from Luciano, or Ras Attitude or, most recently, of course Sara Lugo as they all provide, at least for me, very nice mental steps up which may not conclude there, but are set on a proper course via their work. When I want to propelled to some heavy thinking, it’s definitely the music of Sizzla, Vaughn Benjamin, Lutan Fyah, Capleton, Pressure Busspipe and the likes who always write songs which make you have to stop and think and consider what they've said at nearly every turn. And if I just want to lose my mind, or at least feel like it, then it is Bunji Garlin, Destra, Skinny Fabulous, Fay-Ann Lyons and the wonders of the world of Soca who provide my most preferred escape from… everything! Of course I have favourites who I did not name and wouldn't even had I continued on in each case, but the main point is just how fantastic it is to have all of this music which can either aide you or influence you or help you in your daily life - at least in my case. Someone else who has quietly served a purpose of a slightly different kind has been the LEGENDARY Beres Hammond, the world's reigning coolest man for twenty years consecutively. Now I'm probably guilty of using that term in all of its forms - LEGEND/ARY - but here it is most applicable as the vocalist has had a career which has seen him distinguish himself from almost everyone else who has ever sung the music at any time and in any variation of the style.
And he's still doing it today. Where a vintage level of Sizzla Kalonji or Vaughn Benjamin almost forces the listener to make sure his/her background knowledge is where it needs to be in order to get the most out of the music that you possibly can, Beres Hammond does the exact same thing, but with emotion. If you feel GOOD, listening to his music will make you feel GOODER (what!) (why is that not a word???) (biggup Bredz). If you've done something really bad to someone, especially a woman (and unfortunately I'm speaking from experience here), and are a walking bag of sorrow because of it, that right (or wrong) Beres Hammond song can introduce you to an even lower level of sadness. Fortunately, however, if you keep listening to the album, whichever one it is, the very next song will almost surely make you feel better. His music is just full of emotion and that's interesting because I can listen to some of my favourite songs from some of my favourite artists and not have that. I come away from those tunes incredibly impressed, but there's not this sense of a towering emotion which comes from Hammond's music and I think that, in a career which now goes back FORTY years, that's one of the, if not THE major appeal of his sound: No matter what it is, Beres Hammonds music makes you feel something all of the time.
The recent works of Beres Hammond
And today we get to feel it again. It seems like a much longer time back than the four years since Beres Hammond last released an album which was 2008's very strong "A Moment In Time", but it has been that long. Though never the most active of artists, he hasn't been quiet over that time and, most notably, just last year VP Records and Penthouse Records, pushed what amounted to a tribute album, "Our Favourite Beres Hammond Songs", which featured a whole heap of artists from the current era singing great songs of the singer. Well, a year and a half later and he's giving them an album+ full of songs to sing for a sequel in the future as Beres Hammond now gives us his brand new album, also from VP Records (who always does his business), "One Love, One Life". As its title might, shrewdly, suggest, this album is a two disc release, which contains twenty tracks in full, ten on each disc, which are then split up according with one being about love and the other being about… life, actually. This kind of came as a surprise to me (and probably only me, I'm just not a very smart person and didn't make the connection), but after I figured it out, along with being a very big deal because it's an album from Beres Hammond, which is certainly enough of an attraction on its own, I was even more excited to hear it because the mix, an intended one obviously, is damn fascinating. On top of that, as I mentioned "A Moment In Time" was a very good album and prior to that was the excellent "Love Has No Boundaries" from 2004 and "Music Is Life" three years before that. Those last two are arguably modern classics (and if you wanted to put "AMIT" on that level, while I'd disagree with you, I probably wouldn't do it by too much. In case you haven't figured it out, Beres Hammond makes albums of an exceptional quality and, as he isn't going to appear on each and every riddim, his career often points to and pinnacle at the moment(s) of an album which, just in case you needed more of a reason to be interested, makes this even more of a big deal. But you didn't! It's a Beres Hammond album and you want it. Do you know why? I just told you, but here're the specifics.
“One Love”
As is always the case on his albums, this latest release come with the singer's own Harmony House imprint taking on executive production duties. While he has, and continues to, work for a variety of producers throughout his illustrious career, when it comes to albums, only one person is in charge of what you're going to hear, ultimately and thankfully because the results, as I mentioned, are always so nice. The exception to that does not begin with Beres Hammond's brand new album, "One Love, One Life" which begins with Disc One, the Love version. Hammond's love songs, even with some of the amazing artists in his peer group, stand alone. They are amazing and here are ten more for the most esteemed batch in all of Lover's Rock music. We get going with the somewhat bouncy/Ska-ish 'Can't Waste No Time', which was a little more energetic than I was expecting (for some reason - and that is a trait which persists throughout the first half of this disc), but it eventually does prove to be a lovely song. Hammond has not a piece of a second to wait and here, he tells about how urgent it is for him to get home to his special someone and all that he goes through to get there on time, including eluding an officer at one point. I may not have chose it as an opener, but anywhere you drop this and on any album, you're going to have a real winner. Speaking of winners, the Grand Champion of the Love album rolls in next, the downright STUNNING 'No Candle Light' for the aforementioned Penthouse, which I think may be the first single from "One Love, One Life". This thing is a piece of magic and absolutely gorgeous all-around. THIS song is the type of piece I speak about when I say that Hammond is so wonderful at provoking emotion and eliciting an expressive reaction to his music. Even if you do not like this song (and you do), it's likely to do something for you besides just saying "big tune". It makes you smile. It makes you think. It makes you move and it should. It's a fantastic song from a bonafide master. Next in things just get cool with the familiar 'In My Arms', which is a song which kind of takes a minute to grow on you because, on the surface (and just a slight bit underneath it as well), it's just a stereotypical love/slow dance type of song… actually that's pretty much what it is completely. But it's exceptional and one of the best songs here in my opinion. 'Crazy Dreams' and 'Lonely Fellow' wrap up the first half of the first disc of this album and the latter of those two is a really big song.
"Now can you save some of that for a lonely little fellow?
Lonely fellow, lonely fellow
Save some of that for a lonely little fellow
Will you come dance with me?
Will you dance with me?
I won't sweat cause I know the night is still young
And I know you wanna have your fun -
With them old, familiar faces
But darling, just remember where you left me standing
Cause I'll be in your way the next time you're passing
Until you give in - I'll be asking over again:
Can you save some of that for a lonely little fellow?"
After ALLLLLL of these years, Hammond is still trying to get you to realize what one dance can do and here, he mines gold on this big, big tune.
The second half of the Love disc is a bit slower and laid back and that's a very nice shift (and I kind of think it may've been a conscious one) from the first and the highlights continue to roll in. First here is the sublime 'My Life', which is a nice song and one which is even more interesting because of its direction. We find the vocalist here trying to piece himself together and move on after a broken relationship - saying that he can't waste his days chasing after someone who apparently doesn't want his attention. It's a very relatable song to a lot of people, I'm sure, and I'm one of them (I've been there a few times, at this point I'm probably two or three of them). 'Keep Me Warm' is… probably going to get a lot of people pregnant. Moving on. The next selection, 'More Time', has a certain 'star-quality' about it from the first note you hear and although you could probably call it a melancholy or gloomy song in many respects, it's one which just made me smile and, as it develops, it takes the listener through an assortment of passions. Because of that, it's easily one of my favourites here and I'm sure I won't be the only one saying that. The somewhat Jazzy 'Shouldn't Be' is another very relatable piece (at least for me), because it kind of speaks on this amazing moment in a relationship where you comprehend and then appreciate the other person fully ["it's like this world is made of just two people - you and me alone - nobody else"]. It's not something which exists outside of daily thought, basically, but Hammond puts it in specifics and makes it sound so nice in the process. And finally wrapping up the Love is the plainly titled, but not plainly vibed at all, 'The Song'. This tune is a very detailed one which kind of outlines a love story from a very young age and subsequently finds it meaning as a song about persistence and determination which are very important things in maintaining a relationship.
Disc One, on the whole, is basically what you'd expect. Like I said, it is a bit more flaring than I would have thought initially, but eventually it settles down and you get a piece with an excellent contrast and a, most importantly, ten more love songs from Beres Hammond, which range somewhere between 'good' and 'outstanding'.
“One Life”
As for "One Life", to my opinion it is even stronger, by its end, than the first disc here. As it goes on, it offers at least three FLOORING tracks and is really consistent throughout and ten more sizable tracks from Beres Hammond. First up, Hammond goes all Luciano on us with the speech which begins the first tune on the Life disc, the mighty 'Still Searching'. This one took me awhile to get through (apparently I was 'still searching' for its ultimate meaning) and what eventually got to was it being a song about appreciating the WORLD - an ecological commentary/celebration. The main point of contention, for me, was how Hammond puts people into the situation with a grand amount of detail, but we are a part of the world and nature as well, which is a point he pushes quite a bit ["creatures of this earth coexisting"] and how, because we are a part of it, it is our responsibility to help maintain it and, by extension, to enjoy it and love it. I would imagine (and hope) that this is a song which would get a great amount of different views, but the one prevailing should be that is a great song. While 'Don't You Feel Like Dancing' is a song whose title seemingly doesn't leave much to the imagination, but it does go wonderfully deeper than you might be expecting. Here we find the artist really setting up 'dancing' and the music itself as an escape from the hardships of everyday life ("when the music hits, you feel no pain"). There's definitely a social commentary in here somewhere and it's a beautiful and very clever one as well. And speaking of clever, later on we get another song which well makes you think quite a bit, 'Family'. I don't know that I'd call this selection a 'social commentary' as much as it is just a reminder for people to really start living up to higher standards and making much more of a better situation out of their lives and themselves and Hammond basically calls on everyone to do it, fittingly.
Two of the final three pieces on the first half of the second disc and the first of its second are really personal highlights for me from the entire project. The first of them is the title track which, on an album of this importance and enormity, really carries a large amount of 'musical responsibility' to tie everything together between these two records. It succeeds. This BEAUTIFUL song which is sure to find itself as a favourite amongst just about everyone fortunate enough to hear it is somewhat autobiographical, as it speaks on everything Hammond has been through in his life and how he wants to be thought of and does it, refreshingly, plainly.
"If you think I don't deserve all that I've earned, show up yah faces
And if you think you're squeaky clean, caste the first stone -
Declare your races
Cause you talk and you talk and you don't know nothing - all because you wanna talk
And you biggup yourself cause you wanna be seen -
But you, can't walk the walk"
"The journey's been rough
Sometimes choices are not there
Then comes the day when I'm down to 'I don't care'
The heavens declared and all my fears just disappeared
And I'm singing again!"
BOOM! The second piece here which reached me on this level is 'You Stand Alone' which is just so damn invigourating and fresh thinking. As someone who has spent a significant portion of his woefully long thirty-one years on this planet making mistake after mistake after mistake (and continues to do it), this song, which basically says that you have to know when you've made a mistake and then LEARN how to deal with it and continue along your journey, is just so nice to hear. It pretty much says that every mistake you make is a learning experience and a discussable moment and not the end of the entire world (though still very much your responsibility). WELL SAID! That tune is only topped by my choice as the single best tune on the whole of "One Love, One Life", 'Not Made Of Steel', which really carries on where the tune before it leaves off and expands and builds upon it.
"Lend me your ear, just for a moment
Can we sit down and reason like family?
Won't you lend me your heart, just for this minute
And lets see if there's love left within it
How come we don't talk to each other like we used to?
Disrespect just as thick as a winter flu
You walk by me like 'who are you?' and it's true
How come what we have is effecting the family?
Cause they're not invited to the party
I feel so bad cause they're so used to it and you and I know -
NO, WE'RE NOT MADE OF STEEL!
NO WE'RE NOT PERFECT!
WE MAKE MISTAKES AND SEEK FORGIVENESS!
Oh yeah we laugh!
Sometimes we cry
Still so unwilling to let our differences go bye!"
TEARS! DAMN!
Well! Wrapping up the second disc: Check 'Can't Make Blood Out Of Stone', a song which somewhat, fits into the line of thinking with the previous two I just mentioned as it says to learn how to distance yourself from something obviously gone wrong and that's so broad that you can apply it to so many different situations (and he does that) (love the riddim on that song too). 'Truth Will Live On'is a social commentary speaking of generations of people having to go through terrible conditions unless we are willing to stand up for ourselves. This really is a crucial song and, again, I full expect it find a large audience. 'Prime Time' is just kind of a fun song, but there is a meaning in there about exactly what type of people are attracted to the spotlight. And lastly wrapping up "One Life" and the entire album is another winner, 'I Humble Myself', which is the only combination on this album, featuring an all grown up and BIG voiced Samantha Strachen. Not completely unexpected, this track is Gospel-ish and Strachen is the star of the moment. You keep a big eye and an ear on her, she's amazing. And this song is a highlight and an excellent way to end things.
The second disc is not only very strong, but it provides such a full contrast to the first disc, making for one COMPLETE experience.
Beres Hammond
Overall, the phrase 'new Beres Hammond album' should really speak enough for the quality of this album, but just in case it didn't (and neither did the 3237 words you just read) fully make the case - "One Love, One Life" is a great album. You can rank it by comparing it to, largely, its three most immediate elder 'siblings' all of which, as I said, were also fantastic - it fits in there somewhere - of that same lofty level in my opinion. Of course, being a double album, is a big deal and it's nice to see that Hammond chose to go a bit further for his first new album in four years. It was a great idea and one which highlights one of the more underrated facets of his enormous talents - his versatility. Call it another log, or two, on an already BLAZING fire, "One Love, One Life" from Beres Hammond is more mastery from one of the greatest gems in the history of Reggae music who continues to give us music which is best heard and felt. GOLDEN.
