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.
What exactly is the proper process that one would need to do after coming up with a big tune to avoid becoming a much maligned ‘one hit wonder’? The question so very much so has haunted artists, producers and perhaps mostly music executives alike since the commercialization of the music industry. You can have an artist have a MASSIVE hit in one year and spend the next two years or so touring for that tune (and subsequent album) but be virtually forgotten three or four years later when it is revealed that the next thing they come up with doesn’t have the same drawing or simply isn’t as good as what they previously displayed. In Reggae and all Caribbean music for that matter, things are pretty much the same, but it is somewhat different because, as a regional art form, there may ALWAYS be a place in the world where a particular talent is useful. Therefore, while acts like Terror Fabulous (Action), Kevin Lyttle (Turn Me On) and maybe even Mad Cobra (Flex) may in fact be regarded internationally as one hit wonders, local fans have a different take on them for the most part as they have all but disappeared from the international scene but managed to remain active locally speaking (not Terror Fabulous, but he still had more local hits than just Action). There are actual one hit wonders however and, at least in my opinion, I think that is because of improper development by whoever is handling the artist. Most recently, in my opinion, was the case of Ms. Thing who skyrocketed locally and internationally with the BIG hit Dude alongside Beenie Man. The young Ms. Thing then took quite a bit of time away from the game (to have a child if I recall correctly) and has since returned (largely away from the light she was previously given at Madhouse with Dave Kelly, who has seemingly ‘replaced’ her with wicked DJ Lady Spice as of late). Ms. Thing just wasn’t developed as an artist (which has been a critique people often have of Kelly, pointing to the way he robotically tends to treat Baby Cham, who, in my opinion at least, is unquestionably WICKED, even on his own) and what you hear today is very average material to her, now left to fend for herself. There have also been the likes of VC who struck out with the MASSIVE By His Deeds but didn’t really have the drive to stay in the music it seems; similar to Ms. Thing was an artist from a few years back, Silva Kid who EPITOMIZED the concept of one hit wonder, coming with the BIG Biggest Fire alongside Capleton before VANISHING into thin air and who can forget Bajja Jedd (everyone!)? It does happen, sometimes things just go wrong.
And sometimes they go right. Very very right. Which would be the case of “MR.” Marlon Asher from out of Trinidad who dropped what has to be regarded as one of the most ridiculous Ganjaman anthems in the history of Reggae music (which is THICK with such tunes, to say the least) a few years back with Ganja Planter/Farmer. The tune simply skyrocketed the Chaguanas native to the bigtime in Reggae music and it was quite unusual that the tune was probably out full on a year before anyone outside of Trinidad had actually known the man’s name (I cannot tell you how many times I have seen his name written in OFFICIAL capacities as ‘Marlon Asha’) and probably another year after that before we saw the man’s face (STILL I don’t believe that there was ever an official video for that song, which is just WEIRD). Ganja Farmer put Asher on the map and since the tune exploded he has traveled the world, appearing on some of the biggest Reggae stages in the world and has opened quite a few industry doors for him as well (the tune actually appeared on one of Greensleeves compilations which I think is a first for any Trini artist outside of Bunji Garlin (and only once in his case)). While he hasn’t yet been able to reach the levels of Ganja Farmer in subsequent releases, his vibes have remained strong and show SOLID artist development as well as he has since come into his own as a vocal artist adding dimension after dimension to his game. His successes, arguably, have also, led to similar releases from some of his Trinidadian peers. Whose to say that anyone would have REALLY given acts like Prophet Benjamin, Jahbami, (his good friend) Royal Dainties or, most notably, Khari Kill and Isasha & Million Voice a chance had Ganja Farmer not proven to be so successful (thus ROBBING the world of MAMMOTH hits such as Picture Of Selassie Don’t You Know) I and as they DIDN’T do the same thing when Trini Reggae pioneer, the SUPREMELY talented Queen Omega struck out just a couple of years ahead of Asher. Marlon Asher’s works have also led to album releases from the chanter which have definitely gone on to further his image and appeal internationally speaking and given just a taste of his abilities further. By my count Asher has released three albums to date, with an EP for his very first release, the very well done Locked Out from 2006 for Caribbean Underground. In 2007 he released The Ganja Farmer album for Jah Freedom, which, although it contained quite a few surprises in its mix, basically went beneath the radar for most Reggae heads (although you can still get it on sites like Juno and even iTunes right now), but was still well solid. Now, just in the second half of 2008, Marlon Asher brings forth his third full studio release and perhaps his most anticipated and high profile album to date, Unconditional Love on Hott Music and his own Marlon Asher Music labels. Initially I had a problem with this album because it was downright teasing me as the title coincided with a tune Trini Soca star Machel Montano had released for the 2008 Carnival season (the thought of a potential combination between the two was nearly overwhelming) but thankfully it was an album and a song in its own right (but we DEFINITELY still welcome a pairing between the two). Having, arguably been overshadowed by Khari Kill, Prophet Benjamin and Zebulun most recently, Unconditional Love shows that at least amongst the males, Asher remains one of the top dogs in the yard.
To get a grip on Asher’s style the artist I usually compare him to, although a bit unusual is Jah Cure. He DEFINITELY doesn’t have that overpowering type of alienish voice, but he similarly has that raspy kind of quality to his chanting and, just like the Cure, he is very sharp and clever with his lyrics. Getting things going on Marlon Asher’s Junior effort, Unconditional Love is a very nice tone setter, the easy vibed Mystical Morning. This tune sounds something like you’d hear on a Tuff Lion or general Virgin Islands record and it has been billed as a tribute to Bob Marley. It definitely does have that ‘Natural Mystic’ aura to it and Asher even conjures the spirit of Nesta on the track which proves to be one of the finest done on Unconditional Love altogether at the end of the day. GLORIOUS opening there. Vibes remain high and get ultra familiar with the next two tracks, the first of which is Blessings a former hit from Asher on a riddim from one of his peers, the increasingly popular Dainjamentalz (who also has an album coming soon, apparently). I’ve always loved the tune which speaks on the virtue and the ‘ability’ to accept the Blessings of His Majesty even when they may not be so obvious and, more importantly, giving thanks when we receive them. Love Of Jah is one of my favourite Marlon Asher tunes that he’s ever recorded and I find it quite interesting that it is amongst the two or three songs which have appeared on all three of his releases to date (which in an artist that is building is something I won’t criticize because should you come to pick up either of the three there are certain tunes you’ll just REALLY WANT to hear as primarily a casual fan) which means he loves it and the people do as well. Love Of Jah is a bonafide hit and REALLY goes to show off not only Asher’s voice but his lyrical ability as well as he wonderfully gives thanks and praises to His Majesty. Opening = solid.
Is it even worth mentioning that the best tune overall on Unconditional Love is Ganja Farmer? I don’t think so. Instead I’ll mention what I think is the second best tune on the album, the WICKED My Country alongside Ugandan chanter Henry Tigan who joins Asher for the second time on the album with the BEAUTIFUL tune. I have not the foggiest of ideas what is being said on the record from Tigan’s portion, but the vibes it pulls are just so powerful that you have to identify the wonderful messages. When Asher jumps in to represent for Trinidad, the vibes stay high and the two just paint such a wonderful picture! MASSIVE track. If My Country isn’t the second best offering here then that distinction definitely belongs to another combination, Situations on Lustre Kings’ New Day riddim alongside Princess Menen. I’ll make the case that Menen outshines her more famous friend in the tune and really produces MAGIC in her pieces on the tune. It was definitely one of my favourites on that riddim and it remains one of my favourites on this album as well. There are two other pretty nice combinations on Unconditional Love as well. The first being a kind of up-tempo piece alongside longtime Shaggy par Rayvon. These two make a very fine duo and I’m sitting here thinking about what it may be like if Asher ever gets the opportunity to voice alongside more straight forward Reggae singers in the future (large up Rayvon definitely). The other combination is one of the biggest tunes on the album and one which received quite a bit of promotion (including a video), World of Sandals alongside Tigan again and songbird Empress Rita. I believe the tune was about certain issues occurring in Kenya which was being brought to attention on a large scale using the song. If I believe correctly, mission accomplished! In any case, consider World Of Scandals a big record! Another tune which caught my ears and the attentions of quite a few people I know is Big Bad & Tan-So which is a story-telling type of tune striking out against violence and corruption in all cases. It really serves as a compliment to Asher that I say that this tune sounds like something that you might here penned by Dancehall poet Tanya Stephens! Probably the best written tune on the album altogether. Fit & Strong is another tune I remember from the Red Razor riddim (I THINK that was it) a few years back and was one of the main attractions on that piece. And I have to mention the tune Shorty which was a previous single (sounds like Ganja Farmer actually) but is a nice ‘lets get to know each other; type of song. Asher also has a nice bit of fun throughout Unconditional Love as well, to take the edge away from things a bit and with his unusual voice, he definitely makes the right decision in doing so. Check the somewhat ‘Socafied’ Puscung-Pang which is a straight dance floor filler. The song is somewhat funny as it shows even the most SANCTIFIED of Rastaman can reach the Dancehall. Indeed! The title tune itself is kind of a quirky and almost off-tempo sounding vibes which ultimately proves to be a fairly straight forward sounding roots tune. This one is another of the real highlights on the album and was a pretty sizable hit for Asher (thus the title track status) which speaks on all the negative aspects of society, especially war and such atrocities and the POSSIBILITY that maybe we could replace such things with LOVE. Powerful message on that one. And down the stretch, both Rudewoi Hustle and Marry Juana come in as herbalist tunes, neither of the level of Ganja Farmer (duh). Rudebwoi Hustle has an old school Dancehall type of vibes to it and is kind of a plea against the system to stop fighting the marijuana. While Marry Juana is another heavy and VERY CLEVER piece which ultimately grew on me and I have no complaints sending out Unconditional Love on that vibes.
Overall, what I have to say about Unconditional Love is that it is similar to the Ganja Farmer album, yet, as I said, that album pretty much came and went very quickly which means you’re far more likely to find this one on hand (they’re both available digitally however). However, as they do share a few piece between them, some of the big attractions here such as Mystical Morning (especially that one), Big Bad & Tan-So, Dream and Situations aren’t on Ganja Farmer (although Situations is on the very hard to find full release of Locked Out). Just judging this one as it stands, however, Unconditional Love is a might powerful album from an artist who I feel, although he’s been around quite awhile now, is just on the cusp of his overall levels in terms of popularity. Already well known in most Reggae circles (and I’d say he’s still on the come up in terms of Jamaica) Marlon Asher is an artist who, although still most closely associated with a single tune, with pieces like Unconditional Love, is proving himself quite more than just a rocket launcher packing farmer.
