'Link Up': A review of "Powerlink" by Amandla

One common destination. Although we may not look at things related to music in such a manner -- and instead are often ultimately steered in the direction of or cleared away from by -- the final product, there certainly is a lot to be said for just having good planning and idea development when it comes to music. There are the obvious examples in regards to the absolute basics - as far as with whom to record and where to do it. And while many of these things can be quite random, just as they can be in almost every aspect of life, sometimes when they reach a level above stumbling upon what are the crystallized results of a chance encounter and become something which really involves a great deal of preparation and follow through, the output can be just as organic, and arguably even more impressive. Currently, looking at the current landscape of Reggae music, if you wanted a really good example of this, I would definitely point you in the direction of the assembled production machine that is the Zion I Kings collective. What they do and have already done to date, in my opinion, represents some of the finest idea development and full-on good common sense that we've seen during not only the modern era of the genre, but perhaps EVER. Along with fine choices in the artists with whom they choose to record (which may or not be set to include the great Lloyd Brown sometime later this year), they keep a very active release schedule and the group's latest undertaking, a riddim album series (The Songbird Riddim, in stores now), is yet another wonderful step from the ZIK. Now, where that union includes the bringing together of three different labels, the case which we take a look at today is a union of great musical minds to come together to form a fully functional band. While such groups are not today in Reggae music what they once were, in terms of numbers, amongst more hardcore fans of the genre definitely names such as Virgin Islands bands Midnite and Bambú Station are of the household variety. And personally, I do have to say that there exists some different type of trait that the music has when you have a set of individuals who come together, specifically, to make music for the whole and for the successes of the whole. It seems to give the material a bit of a 'fuller' feeling at times.  

Amandla

Meet the fullness that is Amandla. While it remains to be seen if they go on to reach the levels of the aforementioned Midnite and/or Bambú Station, on paper the Amandla Band would appear to have each and everything they need to succeed. Like what? First of all, if you read my work to any degree, you're definitely going to know the name of Tuff Lion (who, coincidentally actually played on and had a full tune on the Songbird Riddim) (have I mentioned that it is in stores now?). The masterful guitar player/producer/arranger/vocalist/engineer/writer has been a favourite of mine from a very longtime now and so has the downright monstrous catalog of music to which he has contributed. If you look into that catalog, directly, you'll find the work of an apparent favourite of the Lion's by the name of Ras Iba. Along with delivering what we've already called a modern classic in the form of his most recent release, "Matsahyel" ["He has found Jah!"] from 2010, the amazingly gifted Cruzan born chanter has been around for quite awhile, officially on albums going back to 2003 (when he debuted with "Jah Lion: Children of The Nile" (on which Tuff Lion played extensively)), and has had a fantastic career. Also, if you've spent enough time here, the name Toussaint shouldn't be a new one to you either (well, it shouldn't be "new" to you in anyway) as the dazzling US born 'Soul Roots' singer has also become a favourite of ours. His MIGHTY "Black Gold" release, also from 2010, is a project which we've discussed at length and it also featured the work of Tuff Lion. Now imagine that all three joined the same band. They have and it is a very big deal and now the Amandla band releases their very own album.

The fittingly titled, "Powerlink". The Amandla Band is different. They don't necessarily have a 'built-in' lead singer, like a Vaughn Benjamin or Jalani Horton and instead there're five different vocalists who rotate and do the honours. Along with Tuff Lion, Ras Iba and Toussaint The Liberator, there is also Burnie T (who was apparently born in Dominica) as well as US born YahKali - both of whom sing, write and play various instruments throughout the project. There're also Jah Derek, Leon Cotter, Akhil Gapal and Brian Paulding adding additional instrumentation and Empresses Melinda, Tonya and Nephertiti, who sing backing vocals. That is a HEALTHY unit of talent and it is a quality which is exhibited throughout their album. Last year Amandla actually gave us a taste of what was to come by pushing a six track EP release of the same name (all of the tunes on that EP have subsequently made it onto the final album). The EP, in another fine exhibition of common sense, displayed a single tune sang by each of the band's five vocalists and an instrumental piece (I did say that Tuff Lion was involved) and, if I needed even more of a reason at the time, and I absolutely did not, when I put it all together it well made me interested in hearing a full Amandla band album and it didn't take very long at all to materialize. Unsurprisingly, what I heard on the EP was a great deal of musical chemistry and, as I said, three of the main principals had a history in working with one another and while I wasn't incredibly familiar with the work of either YahKali or Burnie T, my research on them leads me in the direction of thinking that they're both those wholly necessary types of individuals who, although they may not get their deserved credit most times, if they all suddenly stopped making music, people like You and I would notice IMMEDIATELY. Put all of that together and, again - at least on paper - you have the foundation laid for one big project. The question is whether or not the full album fulfills on those prospects. Yes it does. Let's talk about it! 

Ras Iba

With the different vocalists, "Powerlink" very much has the feel of an extremely well carried out compilation. This album actually gave me the mind to go back and enjoy a previous and related set from a few years back, "Wadada: The First Itation" ["Burnin away. Burnin away! Can't keep babylon from burnin away"], and just like that release, where almost all of the songs were written by the same person, despite having different artists on the mic, this album has a nice level of cohesiveness and, essentially, is a compilation specifically put together for the purpose of creating an album. Because it is Ras Iba who gets us started on "Powerlink", we'll take a look at all of his songs first. His first and the album's first effort, 'Arise' is also one of both of their finest. Iba may just be one of all of Reggae's best writers at the moment (and if you want to hear a master class of lyrics in Reggae music, definitely pick up "Matsahyel", which is one of the most intelligent releases that I've ever heard) and he uses that major skill here to near perfection. This track is one constructed to inspire people through difficult times, in particular, and it goes to a powdery level of detail, especially in its latter stages. There's also a nice vibes to the tune and while it may be a little heavier of a song than I was expecting for an opener (and I mean that in a good way), it ranks near the best material that you'll find from anyone on the album. Iba later returns with the delightful 'Afrikan Queen' which (does sound like a typical opener) is an obvious tribute to the amazing Afrikan Women of the world. This piece simply instills a great feeling in everyone fortunate enough to hear it and definitely adds a nice dimension to the album. If this song were not here, it would have been the type whose absence I would have lamented because it is necessary. Still, my own favourite song of Ras Iba's on "Powerlink" is his final and the song which was on the EP, the MAMMOTH 'Herb & Music'. 

"Music was always part of my life

From in Mama womb, hearing her voice

Hearing her sing to me 

Hearing my Daddy playing the bass for me

Natural in I destiny

Music kept I man busy

And the way from jailhouse and cemetery 

Herb and music saved my life

That's no lie

Herb and music 

Give thanks for the drum line

Herb and music saved my life

That's no lie

Herb and music

Give thanks for the riddim

Empress Mari -

Such a mystical spice

Secret flowers bloom in the dark of night

She help I reconnect and align 

She help I and I open up mi third eye

And help me to look inside

To look inside -

And see the source of life: SELASSIE I"

Ras Iba speaks on the two entities which helped to make him the man and the musician he is today and, if you're a fan (and you are), you have to be just as thankful because when at his very best, Iba is also one of the best as is shown by his three songs on this album.

Tuff Lion

For his part, Tuff Lon also dazzles on his pieces on "Powerlink". This album really presented a nice opportunity to hear the somewhat vocally reclusive Lion (of course I LOVE his instrumental work, but he's also a very strong vocalist) on a trio of selections which should also be a big selling point for more hardcore fans for this album as well. His first, the album's second, is either his best or his second best, but it is fantastic in either case, 'Ready'. This VERY clever relationship song speaks on the most important aspect of a full unity in a positive and functioning connection. And (because I'm an over thinker) I also take this one in a different direction towards general friendships. If you're going to be married to someone or in a relationship, it takes both of you to make it work ALL OF THE TIME and the same is true in being [good] friends with someone. It is a unique idea and an even more unique delivery of it on a big tune. The Lion returns on the just as impressive social commentary 'Some Have' (his tune on the EP). This composition is very straight forward, but it makes the most of itself and Tuff Lion talks about people basically helping someone else out who really needs it. The song pinnacles when the maestro kicks up the intensity and delivers a big verse later on which is not to be missed. 

"Too many helpless people deh pon di street

Ah push dem life inna cart, with no food to eat

No government nah help dem inna dem plate

Wonder how does it look inna His Majesty sight

Rich man pon di top

Poor man at di bottom

Dem mussi fi get tough fi dem foundation

Table ahgo turn, change of di situation-

Bringing bout di poor man revolution!"

And Tuff Lion's final song is also something to remember - it's actually called 'Something To Remember' - which is an excellent and somewhat funny lover's piece on which he… offers a very, very special token to remember him by to his special lady. This song lightens things up a bit and I'm sure that it is a big song in a live performance as well.

YahKali

YahKali is next and I have to say that, from his three songs, I was VERY impressed. Coming in with three very well known talents and two lesser known ones to my ears, I finish this album thinking that I'd like to hear more of his work, in particular, at some point in the future because he is excellent. By the slimmest of margins, his first song, 'As I Am' is my pick of the best of his lot. Along with possibly having the best riddim behind it on the whole of "Powerlink" (BEAUTIFUL!), this is a powerful and serene praising tune - sounding something like you might hear from Luciano, actually. 

"In this mystery of life, I need Your guiding hand, oh Jah

You are my strength in I going out and coming in

Though You seem so far away, yet deep within

And when I go astray, You lead me back again

As I breath in, I find the I within my heart

And as breathe out, I feel Your presence all around

As I sit and contemplate  in this earthly struggle

Oh Jah - give I courage and protect I and I hustle"

Everything about this one is a winner and it resonates well beyond its completion. It also has a great feel to it and you hear a small variation of the sound throughout, making for one dynamic piece (and I still call it serene - it is both) and a most memorable presentation as well. YahKali returns with another sizable offering in 'Debt In Slavery' which continues to impress (especially lyrically) as does his third contribution to the album, 'Same Old Story' which is a kind of a love/relationship song (seeing a familiar sequence here?). Again, this is an entertaining and compelling song and, like I said, these three as a whole make me interested in hearing so much more of his work as, particularly placed in this context -- where I was SO much looking forward to hearing three other people who were not him -- YahKali demands attention within all of that brilliance. And I don't want to pass over it quickly either, 'Same Old Story' is a very good song!

Toussaint

The Liberator, himself (curiously absent from the Songbird Riddim), is up next and to introduce himself on "Powerlink" he offers my single favourite song on the entire record and in the process gives a remarkable tribute to Jean Jacques 'Dessalines'. A lesser known leader of the Haitian Revolution (lesser known than Toussaint's own namesake, Toussaint Louverture), Dessalines becomes the subject of this unforgettable tune and I suppose it should have clicked with me at some earlier point in time that someone who calls themselves "TOUSSAINT", might have Haitian blood and, whether the singer does or does not doesn't diminish from this huge song. His second song on the album, 'See It In You' (which I believe was written by Burnie T) is Toussaint's relationship type of song and it is a solid one and he later concludes with the crucial 'You Got It'.

"Let your mind go free

Relax, ah yeah

Let your troubles go 

That burden's far too heavy to carry alone

No time fi worry

Can't live life in a hurry see-

Always worried - no

No!

You got it

I got it

You got it

I got it

Brewing within, under your skin

What it takes to turn boys to men

Fighting the sin that we living in"

I was probably most looking forward to hearing what Toussaint did on this album, given his dynamicity as a vocalist, and he does not even come close to disappointing. And YES, I'm damn looking forward to that next big album from the singer ["nobody knows what I did today. Only me. Me and The Most High!"]. 

Burnie T

Lastly is Burnie T who plays a significant role on every tune on "Powerlink" (usually as a drummer) and gets his batch (biggup Batch) of tunes started with a love song which appears to be quite personal to him, 'My Love Reads Like An Open Book'. I'll tell you something that happened to me when I started listening to this song: I heard it and I decided that it was okay. It was decent, but not a highlight for me and then, while doing something else and listening to another song, I'm still singing the chorus for that song. So definitely don't pass a judgment here from a cursory listen, because you're likely to miss something that you'll like if you do. Burnie mines and Reggae-fies a classic song from the legendary singer Nat King Cole and does a respectable job with 'L-O-V-E', but to my opinion Burnie rides on his final offering to the album, 'Can't Keep A Good Man Down', which is 'officially' Burnie T's track, but actually is a song from THE AMANDLA BAND. Tuff Lion, Ras Iba and YahKali seem to join in at points for a dramatic and likely signature moment from this album. Biggup Burnie T who, as I said, was very important in the construction of this project as his, alongside Tuff Lion and YahKali, are the only names to appear on every song on "Powerlink" for doing something. The album wraps up with a GOLDEN and lively instrumental, 'As It Is', which is a definitive highlight in my opinion. I really enjoy when labels and artists and producers choose to include things like this on otherwise vocal projects, because it really adds to the EXPERIENCE of listening to an album and adds so much to vibes. Again, a very good idea.

Overall, while I am certainly tempted to give this one a more conditional recommendation, I don't think I'm going to based on its quality. Listening to it, I think that "Powerlink" is the type of an album which can really be appreciated by any fan, new or old, of Reggae music, but it will just as surely mean more to more experienced fans. Tuff Lion, Ras Iba and Toussaint on a project together is a very interesting set of circumstances that are actualized exceedingly well throughout the album and, subsequently, also becomes fitting introductions to the work of Burnie T and YahKali. Furthermore, there is such a prevalent interrelation between these songs so while they do stand alone quite well as single songs from different vocalists, they come together to make one fantastic album as well. In "Powerlink", Amandla comes together and, collectively, performs one giant stroke of genius and with a group like this, together and as solos, you have to continue to keep an eye on what they'll do next. Very well done. 

Rated: 4.35/5

Amandla Productions

2013

CD + Digital

Review #444

The Best Reggae Compilation of 2012: "Jah Golden Throne"

In our final look back at the bests of the wonder that was 2012 (unless I think of something else) (and I might), today we take a look back at the single finest compilation release that I heard in the calendar year, "Jah Golden Throne". The fine Roots Reggae anchored set came via Zion High Productions as a production of the Zion I Kings collective (and you can see their respective logos lined across the back cover of this album, ZHP, I Grade Records & Lustre Kings Productions). Just as was in the case of the artist albums, there were so many fine compilations and riddim albums and projects in 2012, so when we tell you that "Jah Golden Throne" was the best of them all, that's definitely saying something, but as every label in the ZIK has previously shown, it really should come as a surprise to no one. Today we take a look and listen back to "Jah Golden Throne" from Zion High Productions - The Best Reggae Compilation of 2012.

#1. 'Empress Omega' by Chet Samuel

Though I know he's remained active as a performer and I may be wrong (again), but I think that, looking back, 'Empress Omega' may've been the only new tune I heard from Chet Samuel in the last year. That's really very bad because, as you can tell if you've heard this song and/or any of a great deal of his previous work, he's excellent. Hopefully someone was really paying attention and Samuel gets busy in the studio in 2013. As for the opener for "Jah Golden Throne", it didn't seem to get quite the response as a few of the songs on the record, but to my opinion it was at least as strong as most of them, as Samuel gave well due credit and love to the wonderful Women of the world. 

"Empress Omega -

Beauty and generosity she have ain't got no equal

Ain't got no sequel"

#2. 'Fall On Me' by Glen Washington

The reigning world's coolest man, Glen Washington wasn't at all hard to find in 2012. Besides appearing on "JGT", the venerable vocalist would also make an album on Zion High Productions, one of the finest anyone did in 2012, "Masterpiece". My single favourite tune from that album and one of my two favourites (but the first), was definitely this GEM of a song, 'Fall On Me'. I still feel all kinds of joy in listening to this song and it hasn't lost a bit of steam in my mind. It is a praising tune at its core, but it's sung like a love song and, I suppose, that was the point. 'Fall On Me' basically is a love song - it's celebrating the love of the blessings of His Majesty. The sound is… divine or something like that and, despite its softness, is as powerful and resolute as anything I hear on the album. 

#3. 'Make It Work' by Tippa Irie & Lloyd Brown

"Well everyday wi get up, wi ah try

Cause everyone outta road ah look a bligh

Mi si it clear, through mi eye 

Well tribulation no stop multiply

Well the economy is on the decline

And it's just a sign of the time

But with our hearts and our mind combine -

Wi just might si the sunshine

Because it really kinda hard out deh

You know

Tings ah run slow out deh

You know

Wid famine and drought out deh

You know

Well every artist ah fight fi stage show 

Cause a free download out deh

You know

No artist nah mek no doe

You know

It really kinda tough down yah

You know

Fi all di people dem in di ghetto

How we gonna make it work

If we don't try

To show some love and overstanding?

Yes we gotta make it work

Shoulder to the wheel

I know that my request is not demanding

Well The Father HIM bless mi wid a gift

That's why I write lyrics like this

And it's not just for my benefit

It's for all the people dem inna di district

Where I come from, I've gotta promote

I love my people dem without a doubt

Because we striving for the same goal

But wi not gonna sell our souls"

Longtime UK Reggae pillars Tippa Irie and Lloyd Brown link-up = big results. Not the first time. It wasn't be the final. Always excellent. 

#4. 'Race Of Life' by Lutan Fyah

There're maybe two or three that I've heard in the entirety of his giant catalog, but I think that 'Race Of Life' is a tune from Lutan Fyah that I have personally underrated to a degree and I really do like it already and have from the first spin. HOWEVER, every time I listen to this song, I get just a kind of a 'surface' feeling that I'm listening to something really special. Picking this album up and going through it again for the sake of this post has brought it back for me and I'm still working on it and you can be sure that I'll get it, whatever "it" is, someday (and probably soon, because I've been listening to this one more than almost any other tune on this album lately. 

#5. 'Babylon Yuh Wrong' by Cornel Campbell & U-Roy

If I recall correctly, the cavity-causing 'Babylon Yuh Wrong' which featured the legendary U-Roy alongside the equally mighty Cornel Campbell, was the very first tune I would have heard from "Jah Golden Throne". The tune was released back in 2010 as a single, which Zion High was obviously very proud of (and they had very good reason to be). The link here, alone, should be enough to suggest what type of quality you're dealing with, but really if you haven't heard this tune by now then you are just a really, really awful person. 

#6. 'Set A Way' by General JAH Mikey

'Set A Way' is a tune which I now regard as fully SPECTACULAR. It's an amazing song and easily registers as one of the finest moments on an album full of absolutely nothing but 'fine moments'. Its star, General Jah Mikey, was another person who we didn't hear from nearly enough in 2012 (but he's never been the most active of artists, unfortunately), but what he did bring, highlighted by this sublime tune, was hard to forget by year's end and it continues to get better and better. 

#7. 'World Needs Love' by Jahdan Blakkamoore

Light it up. The big, big 'World Needs Love' by ZIK veteran Jahdan Blakkamoore (who should really think about giving us a new Reggae album in 2013) definitely brings a different tone to the album - a bright one. This infectious tune also carries a very poignant message which is, perhaps, lost because of the 'glow' of the tune, but it's really a piece appreciable on a wide variety of levels: It sounds superb and it makes high level common-sense. Not to be missed. 

#8. 'Y Should Yee' by Arkaingelle

'Y Should Yee' by the Arkaingelle is yet another tune on "JGT" of which I've well grown to have a greater appreciation for these days and, in this case, I think that has a great deal to do with the fact that I've REALLY gotten into the lyrics of the tune. It's a song written with a grand biblical inspiration and one which Arkaingelle carries with such a fine amount of detail and 'high perspective' (which is a really nice way of saying "pride") that it is incredibly difficult to ignore and one of the SMARTEST songs on the album to my opinion.  

#9. 'Just So That You Know' by Lloyd Brown

"Jah neva want I to fail

In my devotion to HIM yeah

From you got love inside

I'm on your side

Just so that you know"

The beaming 'Just So That You Know' from a returning Lloyd Brown, like Glen Washington's 'Fall On Me' before it, is a song which very much walked in two different circles. This time around, this tune was also THE prevailing highlight from Brown's most recent album, the phantom-like "30" (best album cover of 2012) (biggup Bredz), and also like Washington's effort, it has only grown in stature from after appearing on both projects. This song was one with a fine message wrapped up in this SWEET package and, in typical classy Mr. Lloyd Brown fashion, really made itself standout on the compilation and probably for no other substantial reason than what Brown normally brings to a tune. 

#10. 'Culture Inna Yuh Face' by Pressure

Speaking of standing out, Pressure Busspipe (who I think is about to have a MASSIVE 2013), also made his presence known on "Jah Golden Throne" with one of its biggest moments, 'Culture Inna Yuh Face'. Today I'm under the line of thinking that this tune may just be one of Pressure's biggest tunes over the past two or three years (and if you've followed his career to any length, you know that's saying quite a bit in his case. The lyrics here were supreme, but when you combined them with this gorgeous kind of 'stepping' riddim, what you ultimately had here was a just as ruling tune altogether.

#11. 'Towerful' by Prezident Brown

Reggae/Dancehall veteran, Prezident Brown, had a strong year in 2012 with the releasing of some really nice tunes as well as a new EP and album. In there somewhere was this very clever  tune, 'Towerful' which I think went somewhat overlooked as far as being on this album, but it was no less mighty because of it. I hadn't heard it in a minute or two before diving back into it for this post and, maybe because of that or maybe because it's excellent (and it is), I found a new level of affection for the HEAVY track. Join me! Have a listen back. 

#12. 'Nowhere To Run' by Marcia Ball

This is well the type of an album which would get a critique out of me if there hadn't been anyone representing with a tune for females, but that's taken care of by underrated veteran Marcia Ball. She not only shows up for the festivities, she also manages to impress (and she always does when I'm listening) with her offering, the cool social commentary, 'Nowhere To Run', which deals unfalteringly with those who don't have their priorities in a proper order.

"There's no hiding place from Jah

HE will find you no matter where you are

So find yourself

SALVATION IS NOT MATERIAL WEALTH"

#13. 'Life To Live' by Messenjah Selah

Still breaking the curse, Messenjah Selah (any day now Selah) infuses a bit more energy into things with the inspirational set, 'Life To Live'. This song may just be one of the better Selah has done from the release of his last album (also check the wicked 'Be My Messenjah') as he tells all to make the most of life, IN THE MOMENT, and stop fearing certain things which're beyond your control. I really like the direction of this tune and not because it is so rare or unique, but I just so much love when the MOOD of a song matches the lyrics. When you sing certain things with urgency, the same way you would say them when speaking, that really adds a new dimension to a tune and adds to its overall PRESENTATION and, at least in that aspect, not too many people on this album, if anyone, gets it better than Messenjah Selah. 

"Life is to life

Don't be afraid to die

Don't be afraid to live" 

#14. 'Showers Of Blessings' by Mr. Mention

BOOM! Mr. Mention seems to build directly on the same notion previously explored on Glen Washington's 'Fall On Me', when he goes on to speak of the 'Showers Of Blessings'. I don't think that anyone will ever confuse Mr. Mention's music with more seemingly finely tuned vocalists such as Washington or Beres Hammond, but for what he does --this really rough and kind of wonderfully unrefined and inherently coarse style-- it can be as IMMACULATE as anything any of his peers is capable of, when at his best. For example??? Check out what has become my most favourite tune from Mention ever, OF ALL TIME, 'Showers Of Blessings'.

#15. 'Crown I Got' by Toussaint

TEARS! Unsurprisingly Toussaint's MAMMOTH 'Crown I Got' has been amongst the most popular selections coming from "Jah Golden Throne". The song, which is, basically, a title track of sorts for the album, represents one of the very few times that I can say that I have actually been overwhelmed by a song. And I've probably heard millions of songs in my life at this point and maybe 10-15 of them have really just overpowered my senses. This was one of them. Of course Toussaint has been no stranger to ZIK, as his wonderful solo debut album, "Black Gold" arrived in 2010 under the same set of maestros (and hopefully they do that again someday), so the 'blueprint' of musical chemistry had long been laid, but I didn't think they'd do something like this which is only separated from being a 'classic' by time at this point. Unforgettable.

#16. 'Highway To Zion' by JAH Bless

Lastly and fittingly, "Jah Golden Throne" would come to its conclusion in the more than capable hands of saxophone player, Jah Bless with 'Highway To Zion'. I was thinking, from since hearing this tune, how fantastic it would be if the ZIK would do some sort of instrumental/Dub release someday (preferably with a great deal of Tuff Lion music on it) and this tune, as it is here, would be a great addition to such a project if it should happen. 

To my knowledge, "Jah Golden Throne" was only the second compilation worked on by the Zion I Kings. It followed a release from 2009 which was… probably the greatest release of its kind in the entire modern era, "Joyful Noise" and it, too was excellent. The real lasting attraction here, besides being sixteen song which were, at least, exceptional, is just how well done it was carried out. With these two sets and albums from the aforementioned Glen Washington and Toussaint as well as others from Ras Batch, the Nazarenes and probably someone else who I'm forgetting now, I think that's become a significant statement of the Zion I Kings. Yes, they make incredible music, but they also find a way to present it to the listener which, generally for more seasoned fans, is hard to not pay attention to. If you were looking in 2012 you got something really special from Zion High Productions and the Zion I Kings in "Jah Golden Throne". 

'Stick Around': A review of "Where I Lead" by Toussaint [The Liberator]

Even over the course of just the past three years or so, from since I've been writing here, we've already seen the emergence of some extremely significant talents in and around Reggae music. Of course, that's a normal step, no year goes by without someone 'new' reaching big heights, but having a special type of awareness over the past few years has definitely shown the arrival of, and musical reception of, quite a few different names who aren't necessarily amongst the more 'usual' types. These artists, for one reason or another, have gained a nice amount of attention in Reggae music and in Reggae circles, despite not, at least ostensibly, falling into the more general types of people in the genre. A couple of them, in particular, have become two of my favourite vocalists as of late and as you know if you spend any time around here, I talk about them every single chance I get. Of course I'm talking about a certain German Reggae princess who needs no introduction around these parts and someone who just may be one of the most interesting people to rise up in the music over the past decade or so, Toussaint The Liberator. In the case of the latter, with whom we wonderfully get to deal with again today, it's almost strange because what was the initial point of interest in the discussion surrounding him and his increasingly AMAZING debut album, "Black Gold" from either about four months ago or a couple of years back (it REALLY does not seem like it's been two years already!), has kind of waned for me. When we first really heard of Toussaint and got to enjoy his music, there was this big deal made, and rightly so at the time, about this subgenre of music 'Soul Roots', which perfectly described the music of the US born soul singer who had more than just an ear for Reggae music. Having now listened to that album in its entirety . . . maybe around six thousand times, the 'edges' have faded away, and I now basically just regard it as an excellent Reggae album. It's still interesting to talk about Soul Roots music (obviously, I'm doing it right now), but Toussaint's music resonates far more for its quality than for its [sub]genre designation. What's far more fascinating for me now is the extent to which he went to deliver his vibes and just how detailed he has been in ingraining himself in Reggae music. Well, he just did it again.

"Black Gold" [2010]

"Black Gold" came via what has become a damn inferno these days, the currently well ablaze I Grade Records, which was and remains something really big. If ever you have a doubt, that album is the prime example as the label previously (and still) known as the biggest in the Virgin Islands for Reggae, took a virtual unknown to people like you and I (and someone from a non-Reggae background) and for the second half of 2010, helped him become one of the most talked-about Reggae artists around. Of course Toussaint also played a huge role in his successes and prominences as well which, made him even more of a 'prospect' to watch. Listen to that album! It is one of the cleanest and most passionate and sincere pieces that you're going to hear and so well produced. There were so many things to like about that project and while so much of it got attention before you actually pressed play, the music was definitely the main attraction. 

I Dwell Records

 So how do you follow up on something like that? It seems rather soon for Toussaint to have another album, but that's exactly what he's done adding even more flames to a boiling first quarter 2012 schedule of releases. The most welcomed "Where I Lead" doesn't find the singer working again with I Grade, but it does find him linking with a label which should be fairly recognizable to hardcore Reggae heads, the California based I Dwell Records, who is also apparently in the midst of a big year thus far. Along with this set, I Dwell has also finally released the full album for their Fyah Furreal Riddim from a few years back (a lot of big names on that one, including a tune from Isasha & Million Voice) and they've also done the release of a solid album from Lymie Murray by the name of "Deeper Roots", which has been on its way from quite some time. Still, up to this point, I have to say that the biggest impact I Dwell Records have made on me was on an album which I didn't love from an artist who isn't one of my favourites necessarily from a few years ago. Al Pancho did a full feature for them named "My Story" and buried on that album was 'merely' one of the best songs I've ever heard from anyone, 'No Space'. When you do something like that, it may not make me run down everything you do into perpetuity, but it does give you a bit of fuel for my tastes, so I was just happy to see them here. From the other point of view – seemingly Toussaint, having satiated the Reggae side of his vibes in a golden style, could have returned to a much different type of area to deal with his next release. So the fact that he connected with I Dwell is a big plus as the label probably doesn't have the biggest of reputations in the Soul music listening community (duh!). It's also very interesting from the standpoint of Toussaint not waiting for a next album with I Grade (which hopefully will come again someday). I don't know this for sure, but I would imagine that "Black Soul" was fairly commercially successful for what it was considering how popular it seemed to be and another combination between Toussaint and I Grade Records would be, presumably, another very big deal to many people (like me) (and You), but the singer went right back to work and did so with very Reggae heavy label. So did that work proved to be more of the same brilliance from Toussaint? Yes. It did. 

The first thing that you're  going to notice about this release is the fact that it's only carrying ten tracks and three of those are dubs. I can't say that I have a problem with that (probably because listening to this one gave me a nice reason to go back and re-re-re-re-re-recap the first one, so I feel like I've had the full experience) and that's because this seems to be somewhat of an album which has an idea to give the listener more of a musical experience that you'd almost get in a live performance. On some of the sung songs, the riddim plays for extended periods of time without vocals as well. And it should also be mentioned that, unlike on "Black Gold", 'The Liberator' is involved in the naming of the artist this time, and not just a title of sorts, so when you go and look for this (and you will), you may find him billed as 'Toussaint The Liberator' or 'Toussaint Liberator'. Call him whatever you like, but his second solo album, "Where I Lead", gets up and going with one of its finest pieces to my opinion, the ultra cool and Reggae-Bluesy 'Insanity'. I had so much fun with this song in trying to figure out exactly what the "insanity" was Toussaint was talking about - oh and it just sounds amazing also. Also a point here is that 'Insanity' is somewhat skeletal lyrically, it's a point being made and driven back and back again, but it doesn't take away from the fact that it's a top notch tune!

“Longtime since I seen your face, but the memory’s there

In between me and the insanity 

I conjure up images but they can’t take your place

Standing next to me

This road, this road, this road so rough for me

Cause it takes me away from you

But baby I know that you’ll trust that you got your king

He’s holding out for you”

Surely you can take this one in a few different directions. Maybe he's singing it from the point of view of someone who's incarcerated, in which case -insanity- is a good word or maybe from the position of being himself, a musician on the road (and he has been very active in that, performing alongside many of the top VI Reggae acts). In either case or something else, it works excellently on this occasion. Well done.  Next up is the very first of a pair of strong combinations on "Where I Lead" (that's not the only thing they have in common), the herb-inspired 'Reload' which features well GRIZZLED veteran Kulcha Knox alongside Toussaint. Knox has this eternal and unwavering old school DJ style which I find absolutely delightful every time I get to hear it. On this selection, the riddim captures him nicely and he and the singer compliment together so well, pushing this one near the heights of the album for me. The slightly Ska-ish and jovial, 'I Wanna Fly'. The tangible purpose of here, OBVIOUSLY, is to lift up your spirits. It's one which is going to get heads knocking and do so instantly and that may just be the overall purpose here because at just 2:49, it's the albums shortest track by nearly half a minute. 

When I first saw the tracklist for "Where I Lead" and figured out exactly what I was looking at (it took me a minute), I fixated on hearing one track above all others and did not disappoint at all! 'I Blaze' is the other tune on the album with a guest on board and in this WONDERFUL case, it just so happens to bring together Toussaint with one of my favourites, the incomparable Mikey General. Just as when Kulcha Knox jumped in, the General comes on a song which also aimed at the herbalists and the results are MASSIVE! Besides just being that type of an obligatory call, it also goes onto another level of really putting a more concrete 'face' on the herb and not just really pushing itself in the way of something which is, largely, a stereotype in Reggae music at times. Here, it's so much more on this sublime composition. 

“I build it up, and take a puff-

Cause I’m not inna no rush

I gotta a lot of things to do

And my mind must be focused”

“And all the pain just fade away every time I start to blaze

No problems, none at all

Cause I am burning down the walls”

The title track was another one I was interesting in hearing and it didn't fall short either. Part old school HEAVY Reggae and part Jazz, the song is interesting and, presumably, very personal as well. On it, we find Toussaint wanting to take his place as a man in the relationship and being in the household. It doesn't seem that this is a very easy process though (it isn't) and you hear about the inside struggles and outside struggles, making it one remarkable moment on the album named after it. 'Ninety Nine Percent' is another such moment and another one I was very much looking forward to hearing. The tune is one referring to the Occupy social movement and I actually heard another tune on the topic (with a very similar message) which featured Toussaint alongside a rapper (don't remember what his name was), some time last year, so obviously it was a very important subject matter to him. That's evident on this track, one of the real highlights on "Where I Lead". Lastly for the vocals, check the James Brown-ish 'Take The Money and Run' which features Super Tough Records (who, presumably, made the riddim). It's not my favourite on the album, but it just might be growing on me at this point.

As I said, "Where I Lead" also features three dubs and although I'm not the biggest fan of Dub, I have not a single complaint about these. The first is called 'Much Closer Dub', but it's actually the dub of 'I Blaze'. There's also the 'Where I Lead Dub' and a 'singer's dub' of 'Insanity'. What they do with the last of them is very clever as the once LUSH riddim is streamlined for the track and we basically see the exact opposite of a normal dub, where the vocals are largely stripped. The other two are classy as well, but I favour 'Much Closer' slightly. I always like when label's throw these in as it shows that the idea was to really give an all encompassing musical display in my opinion. 

Toussaint The Libeator

Overall, while I do resist the temptation of actually comparing the two albums, "Where I Lead" is a very nice followup to a most outstanding debut set in "Black Gold". Although I wasn’t expecting to hear from Toussaint this soon, I'm very happy that he and I Dwell Records and Gatorwood Records, who is also involved with the album, decided to work together because what they did was damn good work. I'm going to recommend this release to the large crowd who enjoyed the first album without qualification and, of course, Toussaint's music is very open and accessible, so if you're someone maybe new to the genre of Reggae (and I said Reggae!) music, this also wouldn't be a bad start for you either. Toussaint is an artist who may not be the type we usually deal with around here, but I'm glad he's stuck around. So call it Soul Roots, call Roots, call it whatever the hell you want to call it: "Where I Lead" is a very good album. 

Rated: 4/5

I Dwell Records/Gatorwood Records

2012

CD [I THINK] + Digital

Review #354

Rewind!: A Second Look & Listen to "Black Gold" by Toussaint

"Black Gold" by Toussaint [I Grade Records]

Today we take a look back to what was definitely one of the most interesting (and perhaps THE most) and best releases of 2010 and an album which I hadn't picked up in a minute until quite recently. This was an album which, wonderfully, got quite a bit of attention and, looking back, in terms of being what it was and when it was released, it was probably one of the most gripping albums of its time and it also figures to have a nice 'charge' to it as well as we'll still occasionally get messages from readers not only interested in the music, but still VERY passionate for it, nearly a year and a half on. "Black Gold" by Toussaint.

Toussaint The Liberator

1. 'Nobody Knows'

Still the best. While it was surely well received, I don't know that I ever read anything from anyone who appreciated this song as much as I did. For me, it is the 'title track'! If you come here looking "GOLD", you'll find it as soon as you start listening to this album in the form of this absolutely DAMAGING opener, 'Nobody Knows'. All this time later - what really sticks out now is the kind of 'broadly personal' nature of the tune. It now comes off as a presentation of thoughts more so than a written out and performed tune (which is what is actually is). Of course, there's a spiritual element to it, but that side is even active primarily in the mind. Very, very UNIQUE song.

"Nobody knows what I did today

Only me and The Most High"

2. 'This Song'

And from that conversation with "The Most High" was born -'This Song'. Here's another one which I recall immediately enjoying from the very first spin through. This tune is just full of discussable points and moments, not the least of which is the examination of the actual subject of the song, 'this song'. The "song" can be called a few different things in my mind. It's a song, it's an idea, it's a memory, it's a theme - So many different words fit into it and allow the song to still make perfect sense and I think what is at the song's core is INSPIRATION. It's a song very much about seeking inspiration and acting upon it as well.

3. 'Roots In A Modern Time'

In terms of the music on the album, I think that 'Roots In A Modern Time' so wonderfully expresses the situation of the album (and I believe it was the original title of the project also) in terms of how an album which sounds like this comes to be in the spectrum of Roots Reggae music (more on that later). But in digging deeper (because that's just what we do around here), the most fascinating word here is "Roots" because when you listen to the tune, it's clear that it's a synonym here for LIFE. The song isn't an examination of the world in reference to the music (or is it?) - but it's making a musical link between those Roots and to life and that is a MIGHTY notion.

4. 'Be You'

'Be You' has gone onto become the signature tune from this album and it's no surprise why. It was the first single from the album and there was a video (which should be in here somewhere) and it was just a very nice and vibrant song. Past the obvious, it also brought in concepts of inspiration and ORIGINALITY and, at least for me, it was a celebration of uniqueness and you could take that in so many different directions, but the one I go to is the idea of beauty and how wonderfully fucking beautiful the world is because everyone is at least a little different from everyone else.

5. 'Sunshine In Morning'

'Sunshine In Morning' is a song which will make a quick impact on the listener because it's a GLOWING tune. On a superficial level, it's easily one of the most sonically pleasing tunes on the whole of "Black Gold" (and that riddim is SPECTACULAR!). When you're able to get passed that, however (if you're able to), the message here is just as vivid as the 'aesthetics' of the tune. Be patient!

6. 'Hello My Beautiful'

We can call this one a "love song" because that's what we do with this kind of tune, but it's so much more. For me, I don't know that I ever paid as much attention to the sound of 'Hello My Beautiful' - it's . . . very odd and I mean that in a good way. It sounds worn and kind of rough at times, but in there somewhere is a polished and repolished tune which almost sounds like something out of some kind of movie. It's very BIG and dramatic and one of the most shocking moments on the album.

7. 'Black Gold'

The album's title track, now, is one which I find just almost over-filled with a sense of pride. The premise of the song and the title of the song are both concepts which are built on it.

"The faces I see starring at me-

In Grandma's collection of pictures

A treasure-trove to behold, nuggets of gold

And there lies the reason for my existence"

Toussaint will mention bad things and situations ["I come from mental anguish, malnutrition"], but they're COMPLETELY overthrown by this pride which is inborn and a birthright! This song is amazing and if it were set sans music at all (even though I do like the music), it would still be - it's a very message-driven beauty in this case.

8. 'Look Up'

I haven't gotten much further on 'Look Up' because I . . . pretty much overthought my way through it the first few times I heard it. It's a song for the Afrikan Woman and I'm still so very much interested in the way the tune is constructed and arranged. It's almost like Toussaint is apologising to the Woman (who has done her part) on behalf of the man who hasn't handled his responsibility and he's doing it without condition. But it is his hope and belief that this will be corrected and soon which ultimately gives the song a very positive bend.

9. 'Conquering Cocaine'

Here we have a song which I definitely liked when I heard it, but I don't know that it's ever been as strong in my mind than it is these days. 'Conquering Cocaine' is very personal (despite the very 'free' nature of it - when you think of such a tune, I think the vision is of someone sitting in a room playing a guitar, singing and crying about their problems, but that isn't what happens here at all), very unique in the spectrum of Reggae and a song which has become a late highlight from the album for me.

10. 'Rise & Fall' featuring Jahdan Blakkamoore

Jahdan Blakkamoore wasn't far away from delivering his own set which would be nice for a "Rewind!" someday, "Babylon Nightmare", when he, expectedly, popped up on the only combination on "Black Gold", 'Rise & Fall'. What I'm focused on now is one of the verses in the song from Toussaint where he speaks on Haiti and a reawakening of Haiti which is something somewhat unexpected, but when you frame it into the balance of the tune, it's well situated. Between the two, Jahdan goes more on a broad level where Toussaint dives into specifics and between both sides is a HUGE track.

11. 'Marching'

Next we go 'Marching' with Toussaint. This song is interesting because I can remember not liking it all that much and while I still wouldn't rank it amongst my favourites here, slowly it's starting to pick up a little steam to me. If you take the premise of the song - this call to action and call to movement - the style of the song, which is what I didn't like, makes more sense. If you want to get someone up to do something and take an action, you're probably not going to be easy about it. There'll likely be a great deal of urgency in your voice and that's exactly what you hear on this one . . . and I'm still working on it!

12. 'Patient'

TEARS! 'Patient' is and always was the second best tune on "Black Gold" to my opinion. It was absolutely GORGEOUS! And the tunes punchline:

"Please be patient with me

I am not through with me yet"

Resonates with me so much that it's such an identifiable tune with me, personally. As someone who's done a TON of really stupid stuff in they're life, I listen to this track and I wish I would've had the words in my head in . . . so many different situations that I found myself in, in my life. Particularly gripping is "Can't worry bout the apathy, though it's CRIPPLING" - DAMN! It's like the man wrote the song with me in mind. But that's wayyyyyyyy too much of my business. Excellent tune!

13. 'Unforgettable'

Toussaint goes all Nat King Cole on the people (not really) with the second single from "Black Gold", 'Unforgettable' which, again, is much better than I think I originally gave it credit for being. It's pretty much an R&B song and one which is just so beautiful that I'm wondering if it ever got an opportunity to be appreciated in those circles because I think that it would have done very well.

14. 'Changing'

Although somewhat buried on the album and pretty laid-back I've paid a great deal of attention to 'Changing' and while it isn't really hard to follow along and it's low on metaphors and is very straight forward, I think that I'm getting to a point where I can better appreciate this one. The main thing which interests me, much like in the case of 'Marching', is this wonderful marriage between vibes and messages and how it now sounds like an old school Jazz tune but . . . ask me again in a year.

15. 'Rain Again'

FINALLY (although it really hasn't taken a long time to write this one - maybe 60-70 minutes of actual work) (combined with about four hours of downright masterful procrastination) is 'Rain Again' and after all of this time - I like it. I was wrong, it's much better than I gave it credit for. Youssoupha Sidibe produces the tune which is very stringy and kind of hard to really grab or do anything with. BUT somewhere in the middle of listening to it, it lit up. I now hear a melody and a musical direction and it's not there yet, but I see the intent and in terms of a single tune, I can't actually think of more of a change that I've had than here. Beautiful and growing.

Okay, here's what's sticking with me from "Black Gold", in full, today. The album was pushed on the concept of how Toussaint brought together Reggae and more traditional Soul and Jazz and R&B for a genre which was called "Soul Roots". I wrote about it, pretty much everyone else did as well and that was a big point surrounding interest on the album as many people from the Reggae side just hadn't heard of Toussaint very much. Now? I don't even care about it slightly. That aspect of the album has relented a lot for me and while I won't go in the direction of saying that genre doesn't matter to me at all (clearly it does, I LOVE categories, they make things really convenient), I really like how this album has 'progressed' from being this project which was, to a large degree, interesting because of the background of the artist, to being just as interesting and arguably even more because of the music. Going forth that's what is most easily accessible. You'll have to do research to learn/remember the story of Toussaint and the background story of the album, but all you need to do to realize just how special "Black Gold" is - is push Play.

'Come As You Are': A Review of "Black Gold" by Toussaint

In a matter as completely flexible and ever-changing as music, it’s almost shocking at times when you think of how it is categorized. The very fact that we can hear a certain drum pattern and throw around terms like ‘one-drop’ and have that automatically mean - Reggae Music - is quite remarkable because the very elastic boundaries of both the music itself and how it is being made is, at least theoretically, being changed each and every time someone makes new music (because everyone does something different every time, no matter how miniscule). Also, when you take into account how global music is, it would only stand to reason that, if not the music as a whole (and hopefully not), then at least certain portions of the whole would begin to ‘buck the trend’ and become even more as diverse and colourful as its listeners. The result of that would almost certainly be these type of welcomed new subgenres and . . . Who knows, in a couple of centuries or so, it may advance to the point of entering a record shop and just having one large category of MUSIC or literally thousands of smaller ones. Well, right now, we’re going focus on one in particular in this potentially rapidly expanding group, ’Soul Roots’. In regards to other forms of ’urban music’ (yet another very broad genre which, to be frank, generally means anything which is predominately made by people of Afrikan descent) being linked with Reggae, throughout the years we’ve seen most contributions come from the Hip-Hop arena. Most recently, of course, was the ” Distant Relatives” album which featured Hip-Hop superstars and one of the greatest of all time at that, Nas, alongside Reggae light Damian ‘Jr. Gong’ Marley. That album brought together the two genres and did so probably in the grandest light in years, if not of all time. And there’ve also been the likes of Foxy Brown, Wyclef Jean, Heavy D, Sean Kingston and others from the world of Hip-Hop who have made recent regular ‘visits’ to Reggae and continue to do so. What I don’t recall seeing, however, is an artist who comes from a more soulful background make that same voyage. Maybe it’s R&B or traditional Gospel - There really isn’t anything keeping such an artist from making that leap into incorporating Reggae music, but we haven’t seen it for the most part - well at least not until now, as BY FAR the most interesting new artist that I’ve encountered in 2010, Toussaint [The Liberator], gives us Soul Roots with his debut solo album, ”Black Gold”.

Now it would be one thing if we were going to take some sweet singer like Sade or maybe even a Jill Scott and throw them over the crystallized works of perfection coming from Don Corleon (you would imagine the results to be very comfortable and not too much unlike the work done with the super producer and Alaine). And honestly had Toussaint been the latest Don Corleon find, while still very fascinating, I wouldn’t have been as so wonderfully puzzled as I am now. That would have been one thing. Instead, Toussaint has linked, most strangely, with I Grade Records. The singer, to my knowledge, comes from a background of being born in the States (Indiana) and singing Soul music and singing in the church. He’s also sang for the well respected Soulive group, which does a mix of Soul, Jazz and ‘Neo-Soul’ (don’t ask), which is a pretty near perfect background and foundation for a Soul/R&B/Jazz singer, but not one which would normally be associated with someone singing Reggae at all and ESPECIALLY not with the likes of Laurent ’Tippy’ Alfred and I Grade Records, a label best known for defining and redefining the Virgin Islands’ Reggae sound. The sound is the same which has backed the likes of Vaughn Benjamin & Midnite, Dezarie, NiyoRah, Tuff Lion and others (like Army and Danny I and Abja) - I mean REALLY straight forward and HEAVY Reggae artists - Definitely not something I would imagine dropping someone in who comes from Toussaint’s background. On board are the ‘Zion I Kings’, which is a collective of the labels Zion High Productions [Zion], I Grade Records [I] and of course the Lustre Kings [Kings] and again, that’s not something I’d imagine as the basis for a ‘crossover’, but the very fact that it is, ALONE, takes this project from already being ripe with discussable moments and circumstances, to literally being a GOLD MINE of fascination and arguably the single most interesting release I’ve come across thus far in 2010 (also on board with production and instrumentation are the likes of Tuff Lion, Dean Pond and others). What would make it even more interesting is if it actually worked and thankfully it does. ”Black Gold” is BEAUTIFUL. It is a GORGEOUS album and while I’ll most certainly deal with this later, what the album and Toussaint manage to do is strike a very nice path for itself, one which eludes the ‘trap’ of making itself too much of one genre, thus risking the alienation of fans of other styles and doing that bilaterally. That is definitely a plus in an album which is certain to not only grab the attention of Reggae heads, but also keep the attentions of fans that Toussaint has accumulated in his career up to this point (of course, I’m not very familiar with his work prior to this album, so maybe those fans are also Reggae fans to some degree) and perhaps the fact that he is able to do that is the most ‘tangible’ piece of evidence of this new genre, ‘Soul Roots’. Aside from that, I also found it very nice how, while there’re clearly moments on ”Black Gold” which are more colourful, combining different vibes and genres, for the vast majority of the album, it doesn’t step very far at all outside of the confines of Reggae music in terms of the riddims. So what Toussaint is ultimately able to do is take his music and either change it to the point where it works so well in this way or, as I suspect, he’s been doing it all along and has developed it this well. Regardless, what he offers by album’s end is one of the better albums of the year thus far with the confounding ”Black Gold”.

Musically speaking, besides the things that I’ve discussed thus far, what was most interesting to me, prior to listening, was how these songs would be written. And I was so happy to get the liner notes to the digital release and see the writing credited to a ‘P. Barrett’ [Paul] who I’m pretty sure is Toussaint (because he thanks siblings, all of whom are also surnamed Barrett), because with his background being what it is, not only is the sound going to be different, but at least seemingly, he would also come from a very different perspective than most of the artists that I listen to and that is definitely a trend which pops up throughout the album as well. That album, ”Black Gold” the debut album of Toussaint [The Liberator], gets off to a start which is the most powerful moment on the entire album for me, ‘Nobody Knows’. I’ve probably listened to this tune now well over fifty times and I’ve gone back to check and make sure of it and yes - This is my favourite tune on the album.

“Nobody knows what I did today
Only me, me and The Most High
Nobody knows if I prayed today
Only me, me and The Most High”

TEARS! The song immediately goes into what I mean by Toussaint potentially having a different perspective on things in his lyrics as he says things like “spook” and “Jim Crow” which are terms deeply ingrained in the landscape of Afrikan American History, yet still so remote from the 'standard' lexicon of Reggae and are just interesting to here. I think that at the heart of this MASSIVE tune is humility and comfort. It seems as if what Toussaint is saying is not actually “today” but more of ‘what I’ve been though and where I’ve been’, and despite the fact that it definitely hasn’t been an easy road, I can still find comfort in The Most High. And even I’m wrong (might be), again, the song is just . . . WOW! One of the best I’ve heard this year. Charged with keeping those extremely high levels extremely high is the second tune, ‘This Song’ which seems to have its roots in a more traditional Gospel frame, but in terms of sound it definitely isn’t Gospel. In its subjectry and apparent inspiration, the tune is not very far from the opener (“This song came down from Glory. I just can’t take credit for it, no”) and it rolls through sounding SPECTACULAR at the beginning before ascending into this gorgeously calm vibes. So it may not sting as hard as the first selection, but it does very well (the tune sounds like it’s about seven minutes long, when it’s actually less than five) and I LOVE the extended play on the riddim. Then ”Black Gold” reaches what I believe was to originally be its title track, ‘Roots In A Modern Time’. And while I do favour the direction they ultimately went in with the title, NO song on the album, in my opinion, better encapsulates what this album is about and its significance.

“In this modern life of mine
I gotta get back down to the root”

The message here go in a variety of different directions - be it talking about a very broad and general kind of ‘changing of the times’ type of situation or talking about the music itself. But (call me corny if you like) what I came away with was the notion that in a not too distant past (like the day before we got this album), we didn’t have songs like this and it’s damn interesting how that seemed to change overnight to the point where apparently Toussaint is in the process of perfecting it.

Somehow, someway I’ve managed to get through almost seventeen hundred words of this review without mentioning the tune which brought me and I’m sure a very large number of listeners to Toussaint’s music and, by extension, to ”Black Gold”, the album’s first single ‘Be You’. GOLD! I fully anticipated crowning this one the best tune on the album and was wonderfully surprised not too, but this is still a HUGE song and will almost certainly become the signature tune from the album. We take words like ‘uplifting’ or ‘inspirational’ and others and apply it to tunes like this which are just so very vibrant and touching without getting too sentimental or sappy. It’s just BEAUTIFUL music and I’ll leave out the deeper thinking genre connection (at least for now I will) because it goes without saying in this case in my opinion (although I will say that there is a delightful video of Toussaint writing and vibing the tune with Tippy and off-screen there’s a gentleman named Whealan who helps with the chorus and I was really looking to see if he got a writer’s credit for his work and he, ‘W. Massicott’, does and he also helped on two other tunes apparently and takes a producer’s credit as well) (yes, I am a nerd) (no shame) (none), as being simply PLEASING to the senses, clearly ‘Be You’ is MAGICAL material. And sticking with the more visually sexy pieces, of course the title track is going to receive quite a bit of attention and justly so because it is a big big song. I almost feel like I’m spoiling it for you - The metaphor of ‘Black Gold’ (but I’m doing it anyway) - Toussaint’s ‘gold’ is his history and his heritage, good and bad and the way he conveys is near a master class level. It’s a song about being proud and seeking strength in one’s heritage and one’s bloodlines and it is a very powerful MOMENT on the album as it’s presented wrapped up in this kind of bellowing Bluesy type of vibes. And the other on paper standout, is most likely going to be ‘Rise & Fall’ which is the only combination on the album (album #2, I’d expect more links) (someone call Queen Omega). It features a most expected of faces, hotter the flames chanter, Jahdan Blakkamoore (himself hopefully to deliver a Zion I Kings produced album ”Babylon Nightmare” within the final third of 2010), who makes a very strong pairing with Toussaint on the tune which is one of the more Reggae-centric selections on the whole of ”Black Gold”, with that excellent riddim standing behind it and the two definitely deliver an outstanding and fitting effort.

Perhaps not to the extent of the previously mentioned three tunes, but another tune sure to catch a lot of eyes based on its title alone is ‘Conquering Cocaine’. I’m not totally sure, but I would think that, based on how the song is written (very straight forward and matter-of-factly), Toussaint is speaking of experiences that he personally had on the tune, which is another very un-Reggae like subject matter, particularly in recent years. And that one, besides the messages and the ‘effects’ is one which will have your head knocking as soon as it drops in, but hopefully you check the lyrics as well. And speaking of lyrics, you should check what’s said on the whole of ‘Patient’ which might just be my second favourite tune on the album altogether. The chorus here is intoxicating and the very introspective song speaks of perseverance ("Please be patient with me, I am not through with me yet") and basically just holding firm in tough spots. I shouldn’t have to draw lines back to ‘Conquering Cocaine’ as far as the message here goes. So close are they, in my opinion, that one makes the other better and neither would be as powerful in the absence of the other and I can’t honestly say that about any other pair of tunes on the album. I also hear obvious links in the album’s two love songs, ‘Hello My Beautiful’ and ‘Unforgettable’. I think I more enjoy the former with its kind of ‘moody’ vibes - The intensity of the tune builds and drops several times throughout - But that latter, almost a completely R&B vibed tune is impressive as well, with one of the stronger choruses that you’ll hear throughout the album. And it just so happens that the next tune after ‘Unforgettable’, ‘Changing’, is also pretty R&B-ish and Jazzy (‘COOL’ is the word I’m looking for). It is not a 'love song' and is full of lyrical sustenance, as Toussaint blends equals parts Ras Army and Danny I and does so very nicely.

And while the balance of ”Black Gold” does contain the two tracks which I’m not necessarily in love with (tell you about those in a second), it’s still strong. In fact, one of the tunes, ’Look Up’, is a favourite of mine. I almost wanted to mention it in the line of love songs, but it’s so much more than that, it’s more of a relationship type of song and a very complex one at that.

“I say look up little woman
Don’t let your head hang at all
Look up little woman
You’re the Mother of us all”

It is a relationship tune AND it’s a women empowerment tune (but empowering through the relationship and empowering through the kind of FULLNESS of a good relationship). And there is a constantly used line in the tune, “your man is coming home” which, for my obviously over-analytical ears is just so striking because it takes the song out of the relationship (but not really) and places it into the social realm. What it seems that Toussaint is saying is that the man, having screwed up for so many years and in so many different ways (and we have) is coming back to reclaim his position and at least try to fix the wrongs he’s created. So it’s definitely a very very well written tune. I also like ‘Sunshine In Morning’ which is one of the better tunes on the album (find myself saying that a lot) from strictly a sonically pleasing point of view. It just sounds nice and the song surely has a social and spiritual context as well as it speaks of returning the Afrikan to His place in the world and how wonderful and joyous it would be. And lastly, I’ll mention the two songs which didn’t exactly blow me away. The first, ‘Marching’, came really damn close as, with that organ and the horns, it sounds like something from out of Femi Kuti’s catalogue and the riddim is so strong that (especially in the second half of the tune) you kind of wish they would have just stopped and fully dubbed it out (and they basically do with the singing), but the problem is that Toussaint seems to get maybe a bit too ‘loose’ in his vocals and at times it’s kind of hard to comprehend him. But, make no mistake about it - Even listening to it and just trying to figure out what is being said is pretty entertaining, I just wish I could have heard it easier. And lastly is ‘Rain Again’. Now, I read the press on the album which said that Youssoupha Sidibe had also worked on ”Black Gold” and because of that, and the fact that I hadn’t heard anything emblematic of his handiwork in the first fourteen tracks, I KNEW what ‘Rain Again’ was going to be. So when I heard the very skeletal track, I wasn’t exactly surprised at all. Midnite fans will definitely be familiar with Sidibe because he helmed Vaughn Benjamin’s 2008 album, ”For All”. His style is very interesting, very ‘stringy’ and beautiful in many ways, but it’s somewhat difficult to create melody within it at times, however, and while with Benjamin that isn’t a problem at all (because he just doesn’t give a damn) (it also isn’t a problem from someone like Rokia Traore, but she is literally the vocal equivalent of Sidibe’s instrumentation), but Toussaint has moments on the tune where it sounds like there is more than one song playing. Sidibe’s work definitely takes some time to get a hold of and perhaps it should tell you something that although I’m not in love with this song, I wouldn’t mind hearing Toussaint give it another try at some point in the future.

Overall, as for the whole ‘album thing’, however, I think he’s pretty much got it. As I alluded to, Toussaint’s style is such that it’s not going to alienate a great deal of people at all. I can actually see this one appealing to R&B/Soul fans, Jazz heads and maybe even some of the Hip-Hop crowd, because it’s going to be VERY accessible across the board and you can probably tell that I’m more on the Reggae side (hopefully you can) and it’s ENOUGH Reggae to impress me as well. I’m going to credit that, largely, to the wonderful production and the most unexpected way that ”Black Gold” came to be with I Grade Records, however, certainly Toussaint can take credit for it as well as, who knows, he may’ve been doing this for years. I am also guided back to the foundation of this review and the notion of these kind of intermediate or ‘middle-man’ type of genres and if this is what Soul Roots is, then I’m a fan. I’d be interested to see if the album has any type of lasting effect - If any of Toussaint’s peers might also crossover or if any Reggae artist might do so in the opposite direction - but even if this is strictly his corner of the music, then that’s fine as well because the bottomline is that it’s just GOOD MUSIC. Call it whatever the hell you want to, it’s very well done and while I have come across a few better albums in 2010, I haven’t come across many and I most certainly haven’t seen any more FASCINATING than the wonder which is ”Black Gold”. Very well done.

Rated 4.85/5
I Grade Records/Zojak Worldwide
2010
CD & Digital


Toussaint The Liberator