Okay so, it is that magical, wonderful time of the year when we all begin to take a look back at the year that was and we do this by... taking a look ahead at what is to come in the form of The Grammy Awards, early next year, given to [what they believe] the year's finest Reggae album [...or what they deem to be an "album"]. Today we take a look at the nominees and end up making a sure-to-be-inaccurate prediction. We do it every years so.... let's get to it.
{Note: No. CLEARLY I did not feel like writing an intro for this one. So I apologize for its poor quality. The rest of this post is goo... is as bad as it normally is}
"Take It Easy" by Collie Buddz [Harper Digital]
TECHNICALLY, last year Bermy star, Collie Buddz, was also nominated via his lovely riddim, the Cali Roots and his name is back on the bill this year in a more direct form via his own album, "Take It Easy" (...which also released in 2023 but, apparently, it had passed the deadline). "Take It Easy" fully deserves to be her. It is a GOOD album and, given the fact that the people who vote for these things should be well familiar with Collie Buddz' name you'd expect an album of his in 2024 (or 2023) to snatch a nomination. Previous nominee (and winner) Bounty Killer ups the star power present, giving "Take It Easy" a more LOGICAL look at a Grammy.
"Never Gets Late Here" by Shenseea [Rich Immigrants + Interscope Records]
Given her popularity and her prolificacy (and the fact that she just hit twenty-eight years old), you'd have to think that a Grammy at some point is in the future of superstar, Shenseea so don't be surprised if 2025 is her year with "Never Gets Late Here". Though I've yet to enjoy much of her work when compiled together (pretty sure I'm not her target audience), the ridiculously high level of talent is un-ignorable. Lyrically, Shenseea can do some SERIOUS damage and do it effortlessly. The greatest example of that, here, was a tune called 'Tap Out' but she's shown it in glaring spots throughout the years. "Never Gets Late Here" was quite well received amongst her fans as far as I could tell and heavily promoted as well and, like I said, perhaps this is her time.
"Bob Marley: One Love" Music Inspired by the Film Deluxe [Island Records]
Probably the on-paper favourite this year would be the soundtrack to, easily, one of the biggest moments in Reggae music in 2024, the film "Bob Marley: On Love". The original version of the album features music exclusively from the Gong, himself, while the nominated deluxe set features work of the legendary singer placed into the hands of several different vocalists. Most notable (to my audience) would be the likes of Skip Marley, Mystic Marley and the aforementioned Shenseea. That being said, I don't particularly like this album, AT ALL, but you're not shocked at all if, given its origins, that it goes home with the prize.
"Evolution" by The Wailers [Crescent Moon Records + Marshall Sound]
From Marley's movie to his band. The immortal Wailers checked in for 2024 with the new project, "Evolution" which, although it didn't seem to generate a ton of buzz, was a fine production and one of the finest of the entire year from the genre, in my opinion. I don't find myself keeping up as much as I should with the wailers these days but I did take "Evolution" for a listen when it released (a couple of weeks or so after my birthday) and I was WELL impressed with songs such as 'You Belong To Me', 'Holding On' with Gramps Morgan, 'Generation' with Michael Rose, the all kinds of catchy 'Give It Up' featuring the timeless Marcia Griffiths as well as the closer 'Sins' and the title track. By my count, this is the fourth time the Wailers have been nominated for this award (in one form or another) and you'd think they'd win it one of these years, eventually; 2025 may just be it with, arguably, the single best album on this list.
"Party With Me" by Vybz Kartel [Adidjahiem Records]
To the surprise of absolutely no one, also getting a Grammy nod this year is the recently freed, Vybz Kartel, who, as expected, wasted NO TIME AT ALL, in putting together a piece of work and setting it out to the masses. Said work, "Party With Me", was EONS from his best work to my opinion and he'll likely never hit those heights again (when Kartel was at his zenith, there was NOTHING like him), but his nomination here goes to show that not even thirteen years directly out of the spotlight (.....but not REALLY) have diminished his popularity.
and the winner izzzzzzzzzzzzzzzz.......
"Take It Easy" by Collie Buddz
Just being nominated a year ago, you would think, would have provided Collie Buddz with a familiar advantage because MOST LIKELY many of the same people who voted in 2023 are voting again in 2024. On top of that, the artist has a name which goes back quite awhile ('Come Around' is nearing two decades old at this point) and, as I said, "Take It Easy" is just good. I am rarely correct on these predictions and just assume that I'll be wrong but I am actually EXPECTING Collie Buddz to win it this time. Am I right. Probably not, but who cares. See who takes home the Grammy for Best Reggae album (as well as the rest of them) on the 2nd of February, 2025.
Okay so, we did have a big release for today, the 24th of May as superstar (I don't think that's a stretch), Shenseea, has released her brand new album, "Never Gets Late Here". I'm not going to review the album. I am most certainly not its intended audience but I have listened to quite a bit of it today because I am able to appreciate the undeniable talent that Shenseea has. As I've said in the past, it is relatively easy to get distracted by other aspects of the artist, but when you get down to it: Shenseea is IMMENSELY gifted. You will find flashes of that throughout "Never Gets Late Here" (you'll actually find more than "flashes", but the largest blip of them all, in my opinion, is far and away 'Tap Out'.
Yep! It's a dirty track which might lead it to blend in with countless others that she's done over the years, but you listen to (and just read in that video) how well Shenseea puts it all together. It is a DOMINANT lyrical performance and entirely Dancehall. Checking in it at ridiculously malnourished minute and fifty seconds, 'Tap Out' almost comes off as more of a demo than an actual tune, but it is one WICKED demo, be that the case. Also, oddly enough, if you listen closely at the head of 'Tap Out' you'll hear that the tune is produced by Banx & Ranx who were also behind my favourite Soca song (and, maybe, favourite from any genre), the MAMMOTH shot that was 'Carnival Contract' by Bunji Garlin who have surely now made a fan out of me.
You can find 'Tap Out', along with thirteen other offerings on Shenseea's brand new album, "Never Gets Late Here" which is available now on Rich Immigrants/Interscope Records.
Divergence. Time waits for no one and were I ever of the thought that I was in any way special and an exception, each and every day it becomes more and more apparent - my anciency. Sure, it takes a bit longer to get out of bed in the morning (the internal conversation I have with myself is hilarious at times as I attempt to convince myself to do something as simple as STANDING UP) but you expected that to happen; what does come as a larger surprise, however, is that your taste on certain things 'change'. Well, they don't actually change it's more like everything else changes around them and they kind of stay the same so, at least in some cases, what you remember as being 'right' or 'standard' (whatever the hell that means), becomes dated or "old school" (....which is simply a more genteel way of saying... dated). Obviously one of the most consistent ways in which you are forced to encounter this old drift that you go through is in various forms of entertainment such as.... oh I don't know.... let's just say music for today! I've been writing about music for a very long time and I've been around long enough to have experienced more than one generational shift. There were and still are sounds that I pick up on and when I hear them I will give them a certain designation so that my reader will know that what they should expect to hear is an echo from an older generation of making music. It's always been like that and if I'm still writing in another twenty years, It will STILL be like that. HOWEVER, in my unawareness and naivete I don't know that I ever envisioned what was coming for me as particular PRIME sounds that I once just cavalierly wrote about and perhaps took for granted have gone missing to a large degree. Like wha... DANCEHALL! My beloved infectious BOUNCE (Roots Reggae has that charming one-drop. Dancehall has (HAD) that two-drop and you know exactly what I'm talking about) that was and remains CANDY to my damn ears has seemingly been banished to a land very, very far away and if anyone can find it, please let me know. I'd like to go and live there before the end of my days. I could give you certain examples (literally EVERYTHING) but I don't want to and it's more fun today to give you a very perplexing 'anti-example' because what we take a look at today is something from someone who has reached a level in [actual] Dancehall music which has been virtually untouched by all but a supremely gifted select few. Had you told me that the year would be 2023 and the great Sizzla Kalonji -- still my favourite artist of all time -- would be at his norm in steadily releasing albums still but they would be largely devoid of actual Reggae music, I wouldn't have cared because I wouldn't have believed you. Had you told me that the same year would see a release from the Dancehall's longtime reigning monarch which would be extraordinarily light on [actual] Dancehall music, I may've believed you and it probably wouldn't have bothered me that much because I would have expected its followup to be forthcoming soon.
Well folks, that ain't the case. It's been SEVEN years since the legendary Beenie Man dropped a full new studio album (2016's okay "Unstoppable") and I think it had been another seven years prior to that one. I don't feel like doing the math, but we're at a point where the artist has done just two or three albums or so across the better part of the last two decades. So the moments when he does, at least for me, are VERY big deals and I'll go into it more in just a second. Furthermore, of course Beenie's name will always be connected to that of one Bounty Killer and I don't even want to begin to get into the depressing history of Bounty's new album releases, so when either of these two PILLARING artists of the genre give us the opportunity to celebrate them, that is exactly what we should do and do so in full bloom..... but damn I wish they made it a bit more familiar.
Beenie Man now brings forth his own long announced and eagerly anticipated latest creation, "Simma". If you're like me, the very first time you heard just the album's name it got you very excited because it reminded you of an older era (it reminded you of 'Who Am I') and the thought popped in your head that it may be a set with a focal point looking 'back' to that time, musically. Any hopes of that were destroyed when I heard it mentioned that "Simma" would be coming with a more 'worldly' or 'international' vibe (or however they described it) but I was still sitting there thinking HOW THE HELL CAN YOU NAME AN ALBUM SIMMA AND HAVE IT NOT BE A DANCEHALL ALBUM! I know that's ridiculous and maybe it's just me, but that was my thought process. "Simma" comes through Beenie's own MD Music Group, a first but not an unexpected one. Previously, his non major work came courtesy (in some way) via VP Records. Even "Undisputed" was a project distributed through VPAL but, at least as far as I can tell, the label has had nothing to do with this one (although I'd actually be a little surprised if I'm NOT wrong about that one, eventually) and it's all been left to Moses Davis and company. If you recall, there was also a 357 Records, which did "Undisputed" which was also Beenie's but has, at least presumably, made way for MDMG. Of course, Beenie is afforded some of the finest maestros in the game and production on the new record comes from some of the genre's greatest creators including the likes of Tony Kelly, Suku, Walshie Fire and others, including even Jeremy Harding. Along with that, something we'll detail out in just a second is the TRULY RIDICULOUS number of featured vocalists "Simma" features. By my surely incorrect count, five of its tracks feature Beenie and only Beenie, alone; that leaves FIFTEEN which find some form of accompanying artist joining Beenie Man on the tune. It's not something that I love and it is a practice which, for some reason, I most closely associate with Hip-Hop but, as I said, apparently they didn't have me's in mind when putting "Simma" together. Also not unexpected and GREAT to see has been the anticipation for this one ahead of its release date. I don't know who started it and I don't care enough to look it up, but you're doing a disservice to "Simma" and Beenie Man's enduring popularity if you do not mention the 'Simma Challenge' which found people walking up to and calling others and simply saying "Sim simma" to see if they could finish the timeless lyric -- "who got di keys to my bimma" -- and, as far as I can tell, the success rate was extremely high with only, predictably, much younger people failing the challenge (nothing wrong with that). That was lovely to see and I also saw that news of the challenge had reached Beenie Man and he was very excited about it and hoped to see it continue and it has. It's been very nice to see this album receive this level of attention ahead of its due date because it also speaks to the level of lasting fame and the reputation of the critically acclaimed Davis. That reputation has been earned, however, and all of the work which has gone into building it is done - it speaks nothing to the quality of what comes after it and this is the portion of the review where I come up with some cool way to say I'm about to talk about the actual music and here is me spending the next ninety minutes or so talking about the twenty songs which comprise "Simma".
I intentionally kept alluding to something from very early on here next to something that I stated clearly. On one hand, as I said, the sound of "Simma" is extremely varied and 'worldly'. It's not what I was looking forward to and, for me, that's unfortunate. HOWEVER, with that being said, just listening through the record - Beenie Man is in a pretty good form. He has not lost a step at all lyrically or in his delivery despite recently hitting half a century in age. I should also mention that, at twenty tracks and seventy minutes in length, obviously "Simma" is entirely too damn long regardless of how good it is, but I can honestly say that "boring" is not something I associate with it despite the album's obesity. The first CHUNK of Beenie Man's brand new album, "Simma", is our title track which has to be one of the most disappointing from my point of view, although the actual song is pretty good and one of the finest on the record named for it. I thought, at the very least, 'Simma' would be this magical old school Dancehall and it wasn't, of course. What it is, instead is a very smooth, kind of R&Bish/Poppish type of vibe and it isn't a bad tune at all. I may even go in fact to say that it is one of the finest songs on the album altogether, but you know where my head was on this one. I may've had similar hopes on the second tune, 'King', briefly, but when I saw who was on board on that one, such feelings quickly disintegrated. The very first combination here features contributions from English trio, Ms. Banks (who I do know), Backroad Gee and Teeway (neither of whom I'm familiar with). This is a VERY heavy and aggressive Hip-Hop tune and, for the most part, I don't like it at all. HOWEVER, as I alluded to, what you will find throughout "Simma" are demonstrations of Beenie Man being at the height of his powers and the first blast of that comes roaring through on 'King'.
"I am the man with the plan
Hit song long time before Wu Tang Clan
Long before Red Man & Method Man
Inside di studio mi ah set di gameplan
Smoke weed like Cheech & Chong
Lyrics inna mi brain and book inna mi hand
Days pon toppa days mi ah write hit song
So di whole world give mi a brand dat
[I'M DI KING!]
Mi a di man
Longtime mi ready fi every woman
Gyal dem ah bawl for di wickedest slam
Dem waan di strong, no weaker man
Properly sexed and di money be done
Dem gal yah nah waan no Christian
CLOSE YOUR EYES AND CLASP YOUR HANDS
YAH GIRLFRIEND GONE WID BEENIE MAN"
It comes off with force (virtually everything in the tune does), but effortlessly at the same time. He could have done this well on his way to sleep or the first thing in the morning and it is gorgeous. The next track up had me far more interested in the accompanying voices as 'Sharpshooter' brings in Nigerian artist Patoranking, the talented Giggs and the always compelling Busy Signal (who is one of my favourite artists these days and has been for the better part of the past decade or so, despite the fact that we do not talk about his work very much). 'Sharpshooter' is fun and it fits somewhere more firmly in the spectrum of Dancehall than its two predecessors. It also features some solid wordplay as you would imagine with such a lineup of lyricists. Rounding out the first batch of songs from "Simma" is a pair of impressive pieces (for different reasons) which feature our star all alone (and only two such tunes can be found in the album's final fifteen offerings). The first, 'Chop Suey', was rather strange the first few times I heard it (and it stil is, yep) because it almost sounds like two different songs going at once because the chorus changes so much. I do enjoy the odd vibes of this one though and as it goes on, particularly during its latter stages, Beenie absolutely shines. The second of these, 'Up Deh', hits for another reason. The sound here isn't anything special (I'd probably call it another one as Hip-Hop; although being more on the lighter side than 'King', easily) and even lyrically it isn't ranking amongst the best of "Simma", but I've convinced myself that 'Up Deh' featured very little in the way of preparation on the part of Beenie Man and he just vibed his way through it and even if the man, himself, told me differently, that's what I'm sticking with! In that regards, 'Up Deh' (for what it is) is nearly special.
Of course you didn't think we'd get through this album (or seemingly any other one that I review) without an appearance from Stonebwoy and he joins the fun, along with a returning Backroad Gee for 'Zimm'. If I'm 'Sharpshooter' "fun" then I need to come up with a stronger adjective for 'Zimm' because I've had a lot of damn good times with this one and I'm sure I'm not the only one. 'Zimm' rests easily with the class of this project and it's probably one of the best tunes with Stonebwoy's work that I've heard to date (which is saying a lot considering how often we run into him) (incidentally, if you're interested, Stonebwoy set forth "5th Dimension", his own brand new album for 2023, back in April) (more on that in just a second). Longtime Beenie Man collaborator, American R&B songstress, Mya, makes her presence known on another tune with a title which got me excited when I first saw it, 'Docta'. The first time these two linked, several hundred years ago, was for a remix of Beenie's classic 'Girls Dem Sugar' which has gone onto be a classic in its own right. 'Docta' doesn't reach anywhere near those levels to my opinion but it was nice to hear these two vibe together again and I wouldn't be at all shocked if they ran it back at least one more time in the future. Dexta Daps (who, coincidentally, also appears on the aforementioned "5th Dimension" from Stonebwoy) lends a hand on the relatively dirty 'How Deep' (which is about exactly what you're thinking it might be about) ["When mi ask her 'how deep?' Bout nine inch long. She seh 'don't dweet'"] and.... what can I say? I don't hate this song. I like it a little largely on the strength of just how extremely BASIC it is. It isn't Dancehall at all in sound, but there's something very familiar about it that my ears grabbed on to; but I'm not going crazy with it. There are far better tunes on "Simma", but 'How Deep' has stuck with me, at least for the moment. One of the biggest guests, the oft-devastating Shenseea lights up 'Fitness Instructor', which also pulls back Ms. Banks. Pretty much everything I said about 'How Deep' applies to this one, although, from every registerable angle, 'Fitness Instructor' is considerably better. As I've said in the past, you may see and hear Shenseea and come away thinking one thing about her, but that woman is capable, at her best, of HUMILIATING the spoken word. She toys with it! It is to the degree that it comes through in almost everything i hear from her and, for her part, Ms. Banks also sits on a hill of talent which is more pronounced here than on 'King', in my opinion. When I ran through the tracklist of "Simma", my eyes gravitated toward 'Hel-eva Bumpa' moreso than in the direction of any other offering. Over the past few months my ABSOLUTE favourite two songs have been 'Hard Fete' and more recently 'Entering Greenzland' and what they share in common is that they are both works of the incomparable Bunji Garlin who once again links with Beenie Man on this song. Previously, this pack of prolific poets paired on a couple of tunes to my knowledge with the high-water mark being the remix of Bunji's 'Plenty Gyal' ["DANCE MUST HAAAAAAAAAAVE, PLENTY GYALLLLL. IT'S NOT A MALEBOX! NOT AT ALLLLLLLLLL!"]. 'Hel-eva Bumpa' isn't on that level, but it is all sorts of entertaining and it reaches a place which befits the two MONSTROUS talents starring on it atop Suku's GRRRRR riddim.
Hoodcelebrityy lends Beenie a hand as he attempts to 'Let Go' and does so in a really strong way. This one lays claim to being one of the most Dancehall (definitely of a NEO variety, but that KNOCK is infectious courtesy of a master in Tony Kelly) of any on "Simma" IN SPURTS a quality which, alone, got my attention. It is also impressive on the lyrical side and has a bit of actual substance - all of which help see 'Let Go' ranking very highly here. 'Put It On Me' grabs up Relevant and the very gifted Jahfrican but it's kind of average for me and a set whose absence would not have hurt "Simma" on any level. It's nice to listen to, but there're more pleasant spins and it doesn't really bring anything different for me. Beenie goes solo for the first time in quite awhile on another mediocre (and possibly slightly below) piece, the Seanizzle helmed 'New Money'. Another rather strange sounding track, I'm thinking in a few months I may not remember much about 'New Money' at all and, again, you knew just by looking at it that "Simma" was carrying too much weight and both 'Put It On Me' and 'New Money' are examples of that. They aren't bad and if they were just singles released on riddims no one would pay them much attention (and they may actually do better than likely getting lost on an album), but appearing here they both feel like FILLER. The proverbial ship is righted ever so slightly with a good look from co-captain Cee Gee during 'Heavy On The Grades'. The riddim on the record doesn't do anything for me and it gets lost during matters here, but the back-and-forth between Beenie Man & Cee Gee is, at times, exquisite, which highlights it, easily. You almost wish they tried to do more as 'Heavy On The Grades' is the album's shortest track... I could listen to this again. When I saw that Shaggy (who was also on "5th Dimension") was also on board "Simma" I got an idea of an easy type of vibe between two legends and.... the sun even shines on a dog's ass occasionally, because I got one right. That is precisely what 'Good Like Gold' is. You can't rightly call such a song "filler" due to the level of name value such a piece brings, but 'Good Like Gold' isn't very good and it isn't some super combination that you may have been hoping for either.
The final quintet of tracks from "Simma" features a few more very large names aiding 'the docta' and it also features my single favourite tune altogether here. That distinction does not go to the decent giving of thanks that is 'Blessings'. It's almost comical (and dirty) what Beenie takes a moment to give praises for but to each their own ["Wi come yah so fi mek some money and f**k some p***y and dweet pon our own time. You love Fadda God and bun badmind - sing di punchline"]. I grew to enjoy 'Blessings' but it took some time and I'm thinking it will actual succeed in finding an audience, but we'll see about that. Fittingly following 'Blessings' is 'Prayer' which gives us both Charly Black and Louie Culture (always love to see the Ganga Lee on a new tune) which I LOVED. This one DEFINITELY did hve some old-school vibes circling around it and Beenie Man & Louie Culture were perfect for the moment and Black shines as well. 'Prayer' is stellar and a fine way to end things (nice contribution from the great Dean Fraser as well). 'Fun In The Sun' most certainly is not 'old-school' at all and it finds Beenie Man coming through with those who have NEXT (or NOW) in Popcaan and Dre Island. If you follow the course (this is my way of saying that i should have written them in order and I'm almost done so I don't finish going back and changing it) with this one leading onto 'Blessings' and then 'Prayer' you have a changeup trio at the very tail of "Simma" with all three bringing in some very necessary substance. 'Fun In The Sun' may just be the strongest lyrically of all three as it says to take advantage of what we have and stop bring negativity of all varieties into otherwise potentially beautiful situations.
"But if wi all work together wi can help each other
A nuh dem, alone, wi fi tell 'BLACK LIVES MATTER'
Wi no racist, mi no believe inna colour
A di hard work you perform mi admire
Every rich ghetto youth fi yo ghetto you be a pillar
YESTERDAY YOU WAS A KILLER BUT TODAY YOU IS A PILLAR"
Sean Paul not only lends his vocals to 'Supa Star' but his Dutty Rock Productions also takes production credits for the tune that also calls upon the smooth voice of Anthony Red Rose. This one mines a classic riddim and respect goes to both Beenie and Red Rose but Sean Paul threatens to steal his own show completely here courtesy of his thrilling offering. When at his best, Sean Paul has this almost robotic type of delivery (which used to draw frequent comparisons to Super Cat back in da day) that never misses a beat and I've always enjoyed and still, obviously, do to this day. I got the feeling that there was much chemistry between these three as well and while I don't think they did (seems unlikely), I would hope that all three got a chance to spend a little time around one another in recording 'Supa Star' (how crazy is it that Sean Paul is actually a little older than Beenie Man??). And I've saved the best for last to give myself time to change my mind because I thought that I might. I've never been the biggest fan of Morgan Heritage for some reason I either can't or just don't feel like explaining but at least for the three minutes and twenty-eight seconds of 'Dem Want More' they've made a fan out of me as has Tony Kelly (he didn't have to work very hard though. He never does) (Man's a genius). I'm tired of writing so what I will say is this: You listen to this song.
I've spent this review whining and complaining about the absence of something which is found in abundance on 'Dem Want More' and I never thought it would have come with lift with from the Morgans and they're right... I do want more. What a sweet, SWEET sound!
Overall, "Simma" is just too damn long. It just is but besides that, though it isn't very much of what I was hoping to hear; in an effort to just judge it by what I hear, it most certainly isn't BAD by any means. It's fun! There are so many interesting musical moments found throughout this release and, again, just based on what it is here (and ignoring what I was hoping for) lovers of many different genres and styles will find something to appreciate and, potentially, LOVE from "Simma" and you just KNOW a Grammy nomination (and potential win) is forthcoming as well. We find a certified legend in Beenie Man still in a wonderful form and showing no evidence of slowing down. Still, in my ridiculous old-agedness I can't help but think that, regrettably, when I think back to this album years from now what is likely to stick with me isn't so much what it was, but infinitely moreso what it WAS NOT..... damn I miss Dancehall.
Timed. Does anyone else feel really, really old going through this shit? Once upon a time, which doesn't seem very long ago at all, things were much simpler. Everyone fit into or nearly into a certain category and we rarely ever had to make changes to the schematics: The Dancehall was very easy to keep track of. At the head, of course, there was Beenie Man and Bounty Killer (and, when he felt like it, Buju Banton) and then there was... virtually everyone else. The vast majority of artists would have fit into a never-endingly rotating 'chase pack' (not really chasing, but I like that term), usually starring the likes of Ele, Spragga Benz, undisputed Queen of the Dancehall, Lady Saw, Mr Vegas and whoever had a big tune at the moment. This was ahead of the era including the likes of Aidonia and Busy Signal and, when they arrived, they'd settle down nicely into that group as well. We also had a solid group of elders who were sparingly active such as Shabba Ranks, Super Cat and Mad Cobra, making respectable contributions when they did reach with new material and you could say the same about them this very day also. You also had this downright BRUTALLY fascinating group of outliers who either didn't fit into either of those groups at all or at least not with enough consistency for me to fully count them amongst some of their more straight-forward peers (probably the first time anyone has ever referred to Elephant Man as "more straight-forward" than anyone else, ever) (biggup Elephant Man: An artist whose 'show' sometimes makes people forget just how talented he can be). The most notorious of these wonderful 'non-comformists' was definitely Vybz Kartel who would position himself as the likely heir to the throne once Beenie and Bounty abdicated (and some would claim the man was in the process of overthrowing them at his peak) (....others might say he still is in that process), all the while (at least initially) demonstrating himself to be amongst the most lyrically proficient stars the Dancehall had ever given birth to. There was Merciless whose powers seem to fade and return frequently and largely on the strength of who he could get to fight with him. There was the phantom of the Dancehall, Baby Cham - a hilariously gifted DJ who fits perfectly into absolutely no category at all, due in major part to his reticence to voice for anyone not named Dave Kelly in his prime (and I do often wonder what may've became of Cham had he, like many others, jumped on dozens and dozens of riddims back in 'da day) (maybe it would have been better for him, but maybe not because he's had a fantastic career). Today we're going to take a look at someone who has spent the most recent, long ass, portion of his course on a giant island all by his lonesome.
There're probably grandmothers and great-grandmothers in Beijing who could hum the melody of 'Gimme Di Light' if you played it for them. In terms of pure popularity, one could well make the case that Sean Paul is THE MOST WELL KNOWN AUTHENTIC DANCEHALL ARTIST EVER. Maybe not the most beloved or most successful (although he probably is in that case), but just as far as how many people have ever known who they were, he is either number one or very close and, not to go back and cover his story too much, but his rise to prominence was a very unlikely one..... kinda. When I first began listening to the Kingston native, Sean Paul was someone who had been clearly influenced by the great and aforementioned Super Cat (a comparison he more than welcomed if I recall correctly) and that was a lot of what you heard about him initially. On top of that (and more on this in just a second), he had a very open and light vibes to his music. He was halfway between the Don Dada and the Doctor, not the Warlord. When Sean Paul did attract international attention, in retrospect, it probably shouldn't have been the biggest of surprises, given his style. It was bound to happen (for someone) and, as I said, Paul's brand of Dancehall music wasn't violent or heavy and, though he did have his moments, it typically wasn't very sexually explicit - the radio edit of a Sean Paul song wasn't very different from the original mix most times. The surprise, now, should have been that he managed to STICK internationally and have as much lasting success as he did and still enjoys to this day, but I even have an idea about why he's managed to do that.
2021
It comes down to a little thing called SKILL and having actual talent. I've named several really gifted Dancehall artists and, not to get into specifics, but Sean Paul h as as much NATURAL ability -- in terms of deejaying, the delivery of his lyrics -- than.... many of them, really (not ALL of them). He had this way about him in the way that he rolled his words - it always seemed SO detailed and CRISP. Everything was so immaculately detailed at his pinnacle. It is a gift you could see plastered all over his debut album, 2000's "Stage One". That album was amongst the very best Dancehall albums of the modern era in my opinion. There isn't a single album of its day that I would say is SIGNIFICANTLY better than "Stage One". Yes, it was entirely too damn long and some of the skits (not all of them) were ridiculous, but tunes like 'Infiltrate', 'Next Generation', 'Faded' ["Dem deh gal no rated. You ah live comfortable, but dem life frustrated"], 'Next Generation' ["If every day a man dead, the next man lose him head. Dem find di next baby dead inna di bed then wah go happen to wi next ghetto youth man. Wah go happen to wi next generation"], 'Mek It Go So Den', 'Check It Deeply', 'No Bligh' and my personal favourite, 'Deport Dem' are bona fide, unquestionable CLASSICS for me. That album was fantastic. Its followup from a couple of years on, 'Dutty Rock', was probably better than we gave it credit for being, but it was at the eye of his burgeoning popularity and then there was "The Trinity" which, at least in my opinion, was damn near excellent. After "The Trinity" in 2005, I kind of lost touch, although that's news to me now that I think of it, because I do certainly remember albums such as "Tomahawk Technique", "Imperial Blaze" and "Full Frequency" EXISTING -- I know they were made -- but I couldn't tell you a damn thing about any of them off the top of my head. I'd have to look at the tracklists to say anything at all on either of them in regards to the music they contained and, even after looking them up, I find myself wondering exactly what the hell I am looking at and when did all of this happen. Where was I??? Why didn't anyone tell me??? Thankfully, last year Paul gave me an opportunity to become reacquainted in the form of his seventh studio album (oddly, every album he's done to date with the exception of his debut and opus has been nominated for a Grammy and "Dutty Rock" won it) (his new one will also be nominated, but you knew that already), "Live N Livin". It took me a minute but when I did finally dive into "Live N Livin", I was damn happy with what I heard. That album was delightfully MESSY (had a song on that album called 'Danger Zone' which was just FILTHY)! It was cluttered and I mean that in the best possible way because when you trimmed away it (not too much though. Want to save some of the fat), what remained was a very strong Dancehall album and I'm still planning on slapping a review on that album at some point this year. "Live N Livin" was the finest Sean Paul album that I'd heard in the sixteen years since "The Trinity" and it ain't even close! That kind of brought me into a broader scope when it came to not only his music, but Sean Paul, in general. In January of next year, Sean Paul will be FIFTY years old. Again I ask you, WHEN DID THAT HAPPEN?? He's older than Beenie Man and Buju Banton. We've entered a place where he has this very interesting perspective on Dancehall, being an elder statesman who has, literally, seen it ALL. Given his achievements on the international scale, he's been to places NO ONE else has in the music and, in the not too distant past, Sean Paul also spent a considerable amount of time on his grind as the star of Jeremy Harding's 2 Hard Productions! [WHAT!] He has seen it all and he has BEEN it all as well. So given both his most unique perspective and his history, I'm extremely curious, particularly after "Live N Livin" as to exactly how the hell a Sean Paul album in 2022 might sound. Let's see about that.
"Scorcha" becomes his eighth studio set to date and it is the one I've looked forward to more than any other in quite some time (again, given his m ost recent performance). Following a long and productive relationship with VP and Atlantic Records, Sean Paul would take on "Live N Livin" by himself on his own, Dutty Rock Productions, but in this latest project, he goes with another major, this time linking with Island Records and is executively produced by Paul's brother, Jigzagula. Looking back, Sean Paul's albums tend to go in either one of two different directions. The first is that they'll be like "Stage One", "The Trinity" and "Live N Livin" (and, "Dutty Rock" to a lesser degree to be fair) and be largely Dancehall experiences. It's what he does best, in my opinion and, though it may be difficult (for others, not for me) to overlook the other things, Sean Paul, purely as a Dancehall artist, is one of the best we've seen to date in my opinion. The other way his albums tend to go is the course that we've seen him explore on "Imperial Blaze" and the likes as something either incorporating so many different styles, centering around Dancehall (or some highly enthused version of it) or just something else entirely. So where on that scale does "Scorcha" register?? To its credit, for the vast majority of its fifteen tracks spread across nearly forty-nine minutes, "Scorcha" is a Dancehall album (for the most part) (in a kinda/sorta way) (basically). It does give an obvious international lean in the form of the sheer number of collaborations it features (although that is a trait which is becoming increasingly normal in Reggae music. The image of looking at Hip-Hop albums LOADED with combinations is forever etched in my head so every time I see it, that's automatically what comes to mind) (and that isn't a bad thing, inherently, pretty much every damn song on "Live N Livin" was a combination), as well in the particular artists who're involved and the prevailing sound isn't rigidly Dancehall yet, as I said, it is a Dancehall album, primarily, in my opinion. When I figured out what to expect from "Scorcha" my expectations heightened because of its most immediate predecessor and although it doesn't approach those lofty heights, by its end, it does prove to be a very FUN and colourful display from one of the greatest to ever do it. Following our intro, 'As We Enter' (which may or may not feature Jigzagula, just like he opened "Stage One" if I recall correctly), the first full tune on "Scorcha" get things started in a direction from which the next fourteen rarely stray. 'Wine Up' features production from both Di Genius and Supa Dups which might let you know (especially when you consider the song's name) what they were going for here. 'Wine Up' is infectious, it will get something on you moving, it also has its clever moments ["This mornin, right back to evenin - give her di stormin and mek she start grin"] and it's harmless. You will encounter several like it throughout "Scorcha". Another example of that would be the album's next and title track. 'Scorcha' comes via our old friends at Chimney Records and is probably one of the best songs on the release named after it. Do something for me on this one: If you can, even if you don't give a damn, focus STRICTLY on what Sean Paul says on 'Scorcha'. If you do that, no, you won't have an epiphany. You won't hear angels and shit or suddenly realize your purpose in life, but you will gain an appreciation for just how lyrically proficient Sean Paul can be, even still.
Listening to it superficially, 'Scorcha' is still solid. It's a nice Dancehall tune, but he does little things in his wording or in his delivery, taking things to another level of quality (and the riddim on that thing, billed as the 'Hot Peppa Mix', is ridiculous! It is lovely). We get four tracks deep into "Scorcha" before coming to its first combination, 'Only Fanz'. US based vocalist, Ty Dolla $ign (whose name I've seen before, but I don't think I've ever heard him before), guests and makes a fine first impression for me. Coming in with a bit of a different vibes from the pair ahead of it, 'Only Fanz' is a nice SLIGHT change of pace and, again, features a stretch or two of damn impressive wordplay. If you enjoyed the little stroll that 'Only Fanz' took you on, then perhaps you'll LOVE what happens on 'Earthquake'. I don't even know how to describe the vibes on the Banx & Ranx licked tune. Whatever it is, it works! If you haven't moved a muscle from the start of the album (you are COMPLETELY deaf) 'Earthquake' will likely do the trick for you. Banx & Ranx have been long collaborators with Paul and they helm a number of tunes on "Scorcha" including the one I just told you about and the next one as well...... album single, 'How We Do It' featuring Guamanian singer Pia Mia, who I'd never heard of. Mia actually has a pretty nice voice and she compliments Sean Paul very well. It maybe highly unlikely that I run back into her work again, but if/when it did happen, I wouldn't expect it to be a bad thing. 'How We Do It' is.... innocuous. It has a a nice kind of R&Bish vibes to it and it's just an attractive song - making it a rather obvious selection when considering singles, I'm sure ["More women, we keep on winning. Mi tell yuh this again: Not one fuck wi giving"]. 'How We Do It' is the first of five consecutive combinations on "Scorcha" and next is definitely one of my favourites as Paul and co. tap the always very interesting Jada Kingdom for 'Bouncing'. It took a minute or two because of what I'm going to call a 'curious' sound, but 'Bouncing' did ultimately win me over. There's just something very COOL about this song and I can't quite put it into words properly. It doesn't overdo itself or wear the listener out at all. Instead, you find a very nice and colourful, but laidback groove in the middle of it and I latched onto it and I'm still a little hooked. Take that and compare it to 'Dynamite' which follows it and you have something almost entirely different. Though not downright exhaustive, 'Dynamite' which features the big voiced Australian, Sia, comes in with this giant vibes and doesn't really take a step back either. I don't love this one, although I do appreciate it musically (another Banx & Ranx production) but I see 'Dynamite' as that song, years from now, that I look back on "Scorcha" and am surprised that it was on that album (and it could be worse... you pick up "Imperial Blaze" and see). Not too dissimilar from 'Dynamite' (though considerably stronger) is 'Calling On Me', with Swedish singer Tove Lo. This song has flames, but it also lets you chill just a little, but in either situation it has a sweetness to it. It also comes with a hair of substance. There is a message here about depending on others and being a dependable person yourself and for an album un-brimming with themes (and that isn't a critique, it's Dancehall. It doesn't have to save the world), it comes in as a very welcomed moment.
By far the most attractive -- on paper -- combination on the middle of the album and you could make the case on the entire set is the easy Reggae-fied 'Light My Fire' which pulls in burgeoning superstar, the ultra talented Shenseea and longtime US Reggae head, Gwen Stefani (in terms of start power, there's one other name who can give them a run, but with both of them, yes, 'Light My Fire' is the most loaded). Shenseea returns the favour Sean Paul paid her on her own 2022 release, "ALPHA", from back in March and, just as he did for her, she provides Sean Paul with one of the finest songs on his album as well. 'Light My Fire' is DELIGHTFUL. It is such a nice piece to listen to and, given the trio, I suppose they couldn't have truly screwed this one up even if they tried to. If you listen to Reggae to pretty much any extent, you've surely ran into Stefani in one way or another and I've always appreciated that, even from her musical nascence in No Doubt, she's well made it known her affection for the genre (she has a kid named Kingston and another one middle-named Nesta) and she's tangibly demonstrated several times over the years - very few times has it sounded better than it does here. For her part, if I'm still writing about Reggae in a quarter century or so, I'll probably be writing a review very similar to this one about Shenseea. That young woman has a devastating skill with the spoken word and, even amongst two card-carrying legends, she more than holds her own. I would presume this track would receive a push at some point and if/when that happens, I'd also presume it'd be a sizable hit from "Scorcha".
"Baby a long time mi deh yah, come gimme wah mi desire
Beat it wid di wire, mek mi sing out like di choir
Come yah Sean, come gimme likkle light
Spark it up cah mi need likkle fyah inna mi life
What a long time mi nah get fi si yuh
Panty wetter than di wata weh inna di Rio
Take mi high up, like a mi ah meet Jesus
Come one, then two, then three up"
The remaining two collaborations, 'Pon Di Reel' and 'No Fear' are very interesting as well in their own ways. Stylo G makes an appearance on the former which is all kinds of fun. I don't particularly enjoy Stylo G's verse on the tune (it isn't bad, it's just kind of awkward) but I have liked what I've heard from him in the past (I hate to say it but he kind of reminds you of Gappy Ranks) and what he does do doesn't take away from one of the best times to be had on the whole of "Scorcha" in my opinion. Let me cut it in right here because the moment is right for it: Speaking of goodtimes, check the tune immediately following 'Pon Di Reel', a [very similar sounding to my ears] remix of previous single 'Back It Up Deh'. Were we in a different time and Sean Paul hadn't yet made his big international splash (and maybe the featuring artists didn't have as much name value as they do), I would probably listen to this album and come away thinking that the most likely Dancehall hit present was 'Back It Up Deh'. It's pretty damn excellent for what it is. Also, I want to mention the fact that despite the fact that it doesn't feature Sean Paul at his lyrically precise best (the chorus does), what does come as a freestyle in 'Back It Up Deh', is going to be comparable to the 'A game' of a few of Paul's peers - even gifted ones. Just a fine performance and if you find none greater on "Scorcha", I'm okay with that. While I'm at it, there's also the '6:30 Mix' (also sounds like the original to me, but what the hell do I know) of the TJ Records produced 'Bend You Back'. Take most of what I said about 'Back It Up Deh' and slide it over to 'Bend You Back' because nearly all of it applies. This song, however, does feature a more pinpointed Seah Paul across TJ's mesmerizing Incredible Riddim from a couple of years ago. If you're an older fan of the DJ's, 'Back It Up Deh' and 'Bend You Back' will take you back! They're both the fairly straight-forward, well done, OPEN Dancehall music that Sean Paul specialized in on his way up. Back on topic: Reggaeton artist Nicky Jam and the great Damian Marley adorn 'No Fear' and the trio bring "Scorcha" to a close in a huge way.
"A that's why mi stay so-
Cah wi escape from a place where it seem like poverty embrace you
You ah try win inna di race, when you look is a police ah chase you
And a pure gunshot dem ah spread, don't think dem ah mace you nor court-case you
Dem will waste you
These are just the facts of life-
That each man tries to maximize
And meanwhile some will fantasize-
Of who they can't be dem patronize"
I hear African vibes all over this tune and the obvious influence from Nicky Jam (who does a SIMPLY beautiful hook. There's nothing outlandish about it, but it STICKS with you) making for such a compelling and colourful piece and the best that I hear, altogether, on "Scorcha". Lastly, check an interesting pair of solo selections in 'Good Day' and 'Borrowed Time' almost surely destined to get lost in the proverbial shuffle here. Going backwards, 'Borrowed Time' is pretty odd, actually. On one hand, it isn't a grand deviation from 'Back It Up Deh', 'Bend You Back' and the likes, but you get to that chorus and shit changes! I don't know what's going there - I like some of it and I full on dislike some of it (just talking about the hook!). 'Borrowed Time' comes in as two (or three) different tunes wrapped into one and I've found myself landing all over the place in terms of how I feel about it, but like I said, I don't think it's going to get a great deal of attention in the end. 'Good Day' also has a different vibe to it... albeit it a consistently different one (whatever it is) and I ultimately came to enjoy it almost strictly based on its MOST PROFOUND punchline.
"It's a good fucking day"
It is a celebration of that day you're luck to get a few times a month or so, when you wake up and you cannot find a damn thing to complain about. You still have whatever problems you did when you went to bed the night before, but you'll deal with them tomorrow. Today you won't even spend a second thinking about them and YOU WILL NOT GO OUT OF YOUR WAY TO FIND SOMETHING TO COMPLAIN ABOUT AND STRESS OVER!
"Try no let dem negative forces-
Come inna yuh life and make your choices
Mi ah tell yuh, don't let those voices block yah path dem and change your courses
THEY'RE DRAINING YOUR ENERGY SOURCES
While you should be burning more ses
Forget about all of your losses
And know the strength of your love is-
Like family inna wi thanksgiving
Forward stepping and wi nah give in
Upward livin and wi ever reppin
Done with the nega- make the posi- begin
Wait likkle bit and mek di spliff kick in
Before you go gwan wid di head bussin
Di Devil is a liar so don't trust Him
Don't trust him
It's a good fucking day
Cause everything around me seems to go my way
And every move I make it real and it don't fake
AND ALL THE RULES DESIGNED TO HOLD ME BACK - I BREAK
Yeah
It's a good fucking day
Cause everything around me seem to go my way
Sunshine rays keep blazing down upon my face
And all the rules designed to hold me back: I break
Oh yeah
It's a good fucking day"
BOOM! I don't know what to call it musically so I'm not going to stress myself trying to figure it out but if he could leave you with a single message from the album, I'm sure Sean Paul would want us all to stop stressing over every little thing that we can think of. Listen to "Scorcha", turn the real world off for a little while. It will be waiting for you later.
Overall, having reviewed it in this form, I do have a greater appreciation for "Scorcha" than I did after going through it a couple of times (that happens a lot which is part of the reason I write big ass reviews like this. The more I grind something down, the more likely I am to find something to cling to) (it can also help to provide a foundation for me NOT liking something as well), but still certain things remain. If you are looking for that rare, unicorn of a Dancehall album that is both fun and philosophical, you can keep on looking. You will not find that here for the most part (incidentally, "Stage One" did have elements of that and, of course, Bounty Killer and Capleton are masters of that, if you're interested). That isn't what this album is and it isn't at the core of 99% of albums like it either. What "Scorcha" does have going for it, however, is that it is either going to point you in the direction of a much earlier sound you enjoyed from Sean Paul or it's going to fill in on what you may've missed back then. IT WILL NOT TAKE YOU ALL THE WAY THERE! There're too many other sounds involved for me to declare it a full direct descendant of his early days. It's fun, it never threatens to take itself too seriously, but it also has its moments of making an impact or two. These days I look at Sean Paul as someone in such a rare stage of their career. While we have other stars who have made international strides, they ultimately either comeback to Dancehall/Reggae COMPLETELY or they'll spend the rest of their time having flashes that will grab a bigger spotlight, all the while doing their more typical work. Sean Paul never had that. He never returned fully and pretty much everything he's done over the past two decades has received a very large amount of attention. "Scorcha" is both an example of the fact that he remains fully aware of exactly who's listening now and who was listening in the beginning and he is still attempting to please us all. Good effort.
"ALPHA" by Shenseea [Rich Immigrants/Interscope Records]
1. 'Target' featuring Tyga
2. 'Can't Anymore'
3. 'Deserve It'
4. 'R U That' featuring 21 Savage
5. 'Lick' featuring Megan Thee Stallion
6. 'Bouncy' featuring Offset
7. 'Henkel Glue' featuring Beenie Man
8. 'Lying If I Call It Love' featuring Sean Paul
9. 'Hangover'
10. 'Body Count'
11. 'Egocentric'
12. 'Shen Ex Anthem'
13. 'Sun Comes Up'
14. 'Blessed'
Okay so, recently released is one of the most anticipated Dancehall/Reggae albums in quite awhile as, at last, delivering her debut album is the extremely popular Shenseea, with "ALPHA" (great title) and, having listened to it quite a bit now, I'm thinking that I should probably get this out of the way right now: I DO NOT LIKE THIS ALBUM. It isn't a Dancehall album, it is pretty much a Hip Hop album by a Jamaican artist and Hip Hop is not and never will be 'my thing'. It does have its moments, Beenie and Sean Paul join, and there's a tune here called 'Shen Ex Anthem' which is DAMN impressive (more on that in a second). But I didn't expect that I would actually like "ALPHA". I'm certainly not the target audience (something tells me that, while recording the album, Shenseea and co. probably didn't have it in mind that what resulted would mash up forty year old men who don't enjoy Hip Hop) (still kind of hurts to say that) (DAMN! How did that happen?!) and it is very much a release that I fully expect to ignite with her typical fanbase and I think "ALPHA" has more in the way of international ambitions and, in that regard, I also imagine it will do quite well (apparently it already is from what I'm reading).
HOWEVER - With that being said I do actually consider myself a fan of Shenseea's for one glaring reason. Yes she's very easy on the eyes, but even more pressing is the matter that Shenseea is EXTREMELY gifted with the spoken word. As I've said in the past about people like Damian Marley, Spice and others: They have qualities outside of the studio that're dominant. When you think of them, you might not immediately think of their music -- maybe it's their persona or their lineage in the case of Marley -- but when you do get around to hearing what they're capable of, it is top-flight, world class material. Shenseea is of that ilk. She's created this persona which has worked for her (and will continue to work for her), but she keeps relevant amongst a different group of people, like myself (and maybe like yourself), who're able to appreciate her skill. It is that skill which keeps her on my radars and has me listening to an album which, I know full well going in, that I'm not going to like very much, because I know that she has the ability to do something special.
"ALPHA" is not for me. If you frequent these pages (shame on you!) then "ALPHA" probably isn't for you either. But Shenseea's is a name that will have to do a lot more than dropping one set that she made for someone who isn't me.... shit, if she made another one just like it (and in a couple of years she almost surely will) I'd still be interested.
