IT LIVES: A review of XTM Nation Presents Fatis Tapes In The Oven Vol. 3

Heritage. I'd like to think that it is the case for almost everyone who takes pride in doing almost anything that you'd like to be able to say that whatever it was that you've done, you have managed to make some type of lasting impression. Even if your "whatever" is working some random, dead-end job; you'd probably take at least a little gratification in knowing that, when you left and moved up in the world, your poor replacement/s had to go through a month or two hearing about how large the shoes were that they had to fill. Even for me, I do have to admit that at the beginning of our hiatus, it was nice to see people on the page and sending us messages saying that they missed us and needed us to come back because it makes me feel that when the day does come that we end things around here, as I have said in the past, all of this work that we have done can be useful to someone somewhere. It's a nice thing to think about. When we talk about musicians and artists, it is exactly what I just said but magnified maybe millions of times over. Can you imagine making a song that has touched people to a degree that, as long as there're people on the planet to sing it, someone somewhere will be singing that song and telling others just how great it is?? Can you imagine how good that must make someone, particularly in the winter of their lives, seeing clear evidence of the successes of their life's work. On the largest scale as far as what we do, I wonder if Bob Marley had any idea of just how big the legacy he had created was before the end of his life. I wonder if he knew that he had provided the necessary framework to send the greatest musical artform the world has ever known into international prominence and, quite literally, make himself one of the most popular and beloved individuals to have EVER lived. He probably had no idea and that's too bad. I often wonder about (and talk about on these pages) our current artists today. Some of them have an entire career worth of music that will never be forgotten, while others have singles here and there for which they will likely forever be known and others still may have come to [and remained in] be beloved for various reasons (such as an unsual skill for example) (biggup Vaughn Benjamin). As we progress, it will be most interesting to see how history begins to treat many of them.

Of course something that helps to build a legacy and notoriety which lasts beyond you is when you have someone directly continuing to display your work to the masses. When the generation after you and the generation after that knows who you are and has some type of grasp on what you did in your own era -- and then has a reverence for the work -- you may have something very special and may be in the process of 'building' a reputation which will last as long as humankind does. Let us take, for example, the case of my absolute favourite producer and favourite label of all time, Philip 'Fatis' Burrell and the notorious Xterminator Productions. There is first the direct method of remembering the work of Burrell and Xterminator: The label would be very instrumental in the careers of bona fide Reggae legends Sizzla Kalonji, Luciano, Beres Hammond and Cocoa Tea, and it would also see to stardom a variety of especially gifted vocalists such as [but not limited to] Turbulence, Mikey General, Prince Malachi and Chezidek. The work done in the case of all of these wonderful artists, and others, will find its way onto the tongues and lips of someone, somewhere in the world FOREVER. In those instances, however (as is the case right now - and for pretty much everyone) (trust me. I know), you may be unlikely to know the source of the material that you're singing, outside of the artists (and, then again, maybe not). The actual work of making sure that people remember the XTERMINATOR name directly is most vividly being done in another way.

2018 & 2019

I don't know if Xterminator is still at work today in any form. I doubt it as Philip Burrell transitioned just about eleven years ago. What I do know is that what I have to come to expect from the label in terms of actual releases over the last few years or so has been in the hands of one XTM.Nation. Ran by Fatis' son, Kareem Burrell, XTM.Nation (a BEAUTIFUL name) has done a wonderful job of not only existing as its own brand and imprint, but also of being something of an evolving musical museum of sorts for the works of Xterminator (and further research reveals that XTM Nation is Xterminator. They are one and the same). One of the ways they have accomplished the latter is through releasing albums full of some of the, perhaps, lesser known bits of Xterminator via a most interesting series by the name of "XTM Nation Presents: Fatis Tapes In The Oven". The first installment of the series would arrive almost five years ago now in early 2018, featuring top notch sets from the aforementioned likes of Turbulence and Chezidek in particular, as well as others such as Nadine Sutherland. The very next year the second release in the series would arrive and, though a third smaller than its predecessor, the album will still carry compelling tracks from Lutan Fyah, Ras Shiloh ["There's no reason for this life of war. What the hell is it that you're fighting for?"] and even Jr. Demus. Though it's now taken nearly four years, we're getting the third piece as "XTM Nation Presents: Fatis Tapes In The Oven Vol. 3" has now arrived. There're definitely children of former greats in Reggae music who are, in one way or another, doing their part in keeping alive of the respective memories of their parents. Someone who definitely comes to mind is the great Addis Pablo (new album, "Melodies From The House Of Levi", out now), who is continuing, DIRECTLY the life's work of his legendary father, Augustus Pablo, by utilizing the same obscure instrument [the melodica] to demonstrate a master class of Reggae music. This method here, however, seems even more direct and, again, as someone who was greatly impacted by the music of Xterminator at their peak and still to this day, I am SO happy that much of this work is put together in this type of package for the masses and, particularly, for some of the younger listeners. Old heads, like You and I, will also enjoy and not only for nostalgia. One would presume that the younger Burrell and XTM Nation would have an unrivaled level of access to Xterminator's vault (like ALL ot it, basically) and because of that you'll encounter tunes which are incredibly obscure and others which are totally unreleased altogether. Regardless of who you are, you are almost assured to find some level of interest in this project and all of that is just on paper.... wait until you actually listen to it!

Along with being my favourite label ever, Xterminator has always been an interesting point of discussion for me, in general. Not long ago at all -- without even knowing that this release was in the offering -- we cracked open the vault and, most randomly, took a look at "The World Shall See", a more than respectable compilation of the imprint's music now more than a couple of decades old! Add to that all of the years of Sizzla, Luciano, Turbulence and Luciano albums that we've done and, CLEARLY, it's something that I look forward to writing about and biggup XTM Nation for the FRESH opportunity once again (was SO excited to dig into this one). Coming through at an hour spread across fifteen tracks (meaning a very healthy four minute average), "XTM Nation Presents: Fatis Tapes In The Oven Vol. 3" (which I will now begin referring to as "Vol. 3") begins with a song that I've never heard before courtesy of the esteemed Ini Kamoze, 'They Don't Know'. Just a few weeks ago, Kamoze released a remastered version of an older single, 'Hardware', on XTM Nation and his most recent album, 2016's "Trampling Down Babylon" was another project with Xterminator/XTM Nation. Most notably, the union also produced the massive hit, 'Hot Stepper', as well; so, whether you realize it or not, the Ini Kamoze - Xterminator connection is one which definitely reaches back quite a ways. This tune is a LOVELY one which I took to be about the mistakes you make in underestimating people and overestimating yourself - thinking that you're smarter or just full on BETTER than anyone else. Kamoze has always had a very interesting style for me. It's at times both monotonous and highly melodic and though I rarely speak about his work, I well respect his talents and it's because of pieces just like 'They Don't Know'. Next up is one of the main attractions for me (and probably for everyone), as my favourite artist OF ALL TIME, of course, makes an appearance as Sizzla Kalonji spellbinds on 'What I See'.

"What I see is harmony-

Taking hold of everyone's hand

As for me, let it be

Stop the war, it's been much too long 

Look what they live fi si -

LOVE, within the neighbourhoods

Gratefulness happening as it should

In time passed by, even I myself would-

Wonder who would step forth and show me any good

BUT IT IS THERE

I see it all now

Love in the air, no war is allowed

Everyone been caring

Only love outpouring

We should all know to grow all di seed weh wi sew"

This track, BRIMMING with positivity actually reminds me a bit of another older tune from Kalonji, also produced by Xterminator by the name of 'Love Amongst Me Brethren ["To Sizzla, that heaven. None of us can run from the truth"], for some reason. They resemble one another FAINTLY at best but both were sensational on a very direct and basic type of vibes. You won't be shocked to find out that, albeit by the slimmest of margins, 'What I See' is my favourite song on the whole of "Vol. 3", but I think I may be a bit biased. Up next is the legendary 'Messenjah', Luciano who makes his contribution in a big way (also quite simple, but that is the norm in his case) on 'Youthman'. You know precisely what this one is about simply based on its title but don't make the mistake of letting its predictability cloud your judgment in respects to its quality: 'Youthman' is EXCELLENT as the dominant singing voice in modern Roots Reggae gives a MASSIVE pep talk to the youths of the day. This song has some very difficult to describe FEEL about it.... or something  that is quite special to my ears. I'm struggling mightily (and am about to give up trying) to find the right word but there is some... CRISPNESS to 'Youthman' which definitely heightens it for me and if I'm the only one who feels that way, it won't be the first time. The big voiced Jack Radics asks 'Where Do The Children Play' which, at least for me, is VERY clever. What I got from the direction on this one is the idea that the world has gotten SO ridiculously complicated and people have become involved in so many different things that we have never throughout history that we have managed to lose focus on some VERY basic aspects of traditional everyday life and Jack Radics is STUCK on it  ["We've come a long way. We changing day-to-day. Tell me, where do the children play?"]. He's wondering what the hell is going on and, unfortunately, he may be in very select company. 'Where Do The Children Play' is fantastic if you give it the opportunity. Wrapping up our first third of selections on "Vol. 3" is Reggae royalty, Marcia Griffiths, with the delightful 'Cry To Me'. If this one does NOT get your head bobbing and something moving in you then you may want to consider seeking immediate medical attention. 'Cry To Me' isn't going to change lives (obviously, it's almost thirty years old), but it is a JOY to listen to and, of course, any time you can attach Griffiths' name to virtually anything, it's only going to improve it.

Perhaps by design or perhaps by coincidence, but the next lot of artists on "Vol. 3" features five extremely esteemed vocalists, two of which were fairly consistent in terms of the work they did with Xterminator and three others who were a bit more surprising, at least for me. The biggest of them all provides a tune which I'm almost certain that I've never heard before as the truly timeless Beres Hammond brings 'Never Again' and says it to, arguably, the second finest tune on the album. There's just something about this man singing a song where he pushes his vocals -- even just a little that just you. It's almost unsettling and I mean that in a good way. As to the actual tune, 'Never Again' doesn't fall out of the scope of what you've come to expect from Hammond throughout the years in terms of either direction or quality and, again, it is exemplary from someone who has made an entire career (and then some) out of being exemplary and does so, here, in the nature of learning from one's experiences. Cocoa Tea is an artist whose career has been very closely associated with Xterminator and while no one will be surprised to see him appearing on "Vol. 3", we should be pleased with the results in 'Each Man Take Over'. Cocoa Tea's style has always been fairly simple and straight forward for the most part (even when at his best) (particularly when at his best, actually), but this one is a slight deviation in my opinion. 'Each Man Take Over', won't confound anyone lyrically (hope it doesn't) but it is a set about how, anywhere you go in the world things change. Everyone from everywhere sets the rules and laws (whether actual or.... territorial) for everywhere you go. Wayne Wonder did not voice a lot of songs for Burrell that I know of but he clearly made the most of what he did as evidenced by the very COOL 'The Way I Am'. I barely even know how to describe this almost R&B-ish piece outside of "very cool". The vibes are so nice and relaxed that I wouldn't at all be surprised if Wonder heard the riddim and just came up with the song on the spot. It isn't amongst the class of this album, but you let this song play and play and it'll probably show itself to be better than you originally thought. The generally underrated Spanner Banner does go just a bit higher with his solid lover's tune, 'I'm Crying'. I've never really been much of a fan of Spanner's, but he is someone whose talents I do appreciate (and I can say the same of his brother, Richie Spice, whom he often resembles vocally)and have appreciated throughout the years. I've never heard this particular song and while it isn't great to any degree, if you needed more a direct love song for this compilation, you have it here. Outside of 'Never Again' the second best tune you'll find in the middle portion of "Vol. 3" is definitely 'Know What Is Life' by the always welcome Pinchers. While I have rarely ever written about the work of Pinchers, I have been a fan of the curious voiced singer and, here, somewhat like Hammond, he delivers a golden offering largely about experience. In this particular case, Pinchers make a direct correlation between POSITIVITY and life experience and how crucial it is to not only look after one another, but to accept help when you need it (and ADVICE). 'Know What Is Life' is very impressive, although somewhat oddly vibed (I told you what you'll do with your head on 'Cry To Me', I'm thinking this one may just have you neck confused) - we'll overlook that.

Impressive singers continue to appear throughout the balance of "Vol. 3" as its final trio of selections come via big time crooners. As far as Xtermintor goes, in particular, none of them are bigger than the tones behind 'We Tired A It': Mikey General (big new album, "Hold A Heights", you should check it out). Again, I'm going to have to confess my potential bias in this instance because I LOVE Mikey General and 'We Tired A It' is a big, big winner her to my ears. The track finds the General outlining frustration of having endured centuries and generations of oppression.

"They gave us emancipation, but they took away our rights

Through some education, they demoralize our lives

Give worldly possesions only to a few

And use it as a barrier against the multitude"

This one comes in with quite a bit of lyrical HEFT as the singer does pay attention to get as detailed as he possibly can in several instances, which is a nice thing. It succeeds in its specificity which isn't something you're always going to say about Mikey General's music, but let this be an exception and an impressive one. The great Sugar Minott says that "you can kill 'The Goose' who laid the golden egg" on a tune that I'm well familiar with prior to "Vol. 3" (I cannot confidently say that I knew it was from Xterminator though. I'm actually inclined to say that I did not know that). I've always taken this song as an expression of both the level that Minott was pleased to have reached during his career and as a statement of the responsibility which he felt came with it. He was one of the biggest 'big men' of his era (of any era) and, thus, it came with the obligation of setting a good example and being a good role model for all of the youths and elders aspiring to be where he was. Sugar Minott embraced that and I think that 'The Goose' was his 'invitation' for others at his level and near it to do the same. The final tune on the album, 'We Give Thanks' from sugary sweet singing Al Campbell, is definitely not a favourite of mine, but I do not hate it. 'We Give Thanks' is just kind of here. It's harmless and pretty much anytime you get to hear a song sung by Al Campbell, it can't be too horrible, but the song doesn't do much at all for me. Following the middle of "Vol. 3" and given what was to come later on, it could have definitely used a bit more in the way of fire and if you need fire in Reggae music, you cannot possibly do better than in retaining the services of pyrotechnics MASTER, Capleton who well adds some bite with 'Clean Hands'. I've said it before and I will say it again here: You will often find yourself distracted when it comes to Capleton, given all of the FLAMES and dramatics that the man comes in with, but when you REALLY get into it, Capleton is a top ten lyricist in the HISTORY of Reggae music. He toys with the words at his best and you listen to what he does with this one - a scintillating display about bathing oneself (spiritually) and living up to your standards (or upping those standards if need be).

Another veteran of Xterminator, Jesse Jendau (aka Congo Jesse, Jesse Jender & Jesse Jendah), also provides this release with a little bit of chanter's heat with 'Where Can I Find' (which, for some reason to my ears, sounds like something you'd hear from Determine. You wanna talk about underrated lyricists.... don't even get me started on Determine. That man is a master) (probably my favourite Jesse Jendau tune was 'Ghetto Youths' with Sizzla and he had another named 'Fear No One' which was GIANT). 

"Where can I find

LORD

That peace of mind

WHOI

Lord, in this time of war and crime

You set up mi bredda fi be warmonga

All over this world, inna di ghetto era

Substance abuse, it gone pon top

Everywhere big .45 clock

WI NO DESIGN NO GUN, WI NO DESIGN NO CRACK

But war ah hit inna di Black man lap

You look inna di future and yuh bound fi si di trap

Oh lord, what a joy when Black man touch di top"

Jendau SHINES on the excellent social commentary, which finds him searching for a more basic and peaceful plane of existence; something which certainly isn't too much to ask for. "Vol. 3" would be less than it is sans 'Where Can I Find', well registering as one if its definitive highlights.

Overall, I don't want to make more of it than it is, "XTM Nation Presents: Fatis Tapes In The Oven Vol. 3" is just a damn solid compilation. That is true even if you take out the circumstances. Such a setting when observed, however, will make it more for people like myself (and probably yourself, if you're still reading this). This one comes in with all the nostalgia and musical ECHOES that you would hope from such a project and I really LOVE, again, how this music can be given and re-given to older fans as well introduced to newer heads at the same time. When XTM Nation does that, not only are you keeping the music of Xterminator alive DIRECTLY, but you're also very likely putting it in a position where someone who was never familiar with their work ends up doing what I did so many years ago and falls in love with what is EASILY one of the greatst musical legacies in all of Reggae music history. 

Rated: 4/5

XTM.Nation

2022

Digital

'Still Not Holding Back': A review of "My Way" by Wayne Wonder

A giant. Should it be your goal to, for some very, very strange reason, find evidence of the existence of CLASS in music, I would surely recommend that you begin your search somewhere besides the current landscape of modern Dancehall music. Not that you won't find any amongst the artists, you will, but you won't find it in any abundance and it doesn't seem to be a situation, at all, which is headed for a changing any time soon. In fact, for the most part, if you listen to Dancehall music these days (and you do), you've probably noticed, and may even enjoy, just how full on strange the music has gotten in recent times. And as someone who forever takes pride in the fact that I'm not [yet] that disgusting old man who will seemingly go out of his way to make sure you know that he thinks that everything from his youth was better than it is today, it's kind of making it difficult for me, but like I said, it is there if you're REALLY interested. I'd look at someone Agent Sasco as a classy artist as, when even near his absolute best, he comes across as someone who has spent… years and years writing his lyrics and perfecting his delivery. And I'd also look at someone like Ce'Cile, for whom 'class' definitely also takes on a visual context [DUH!], and others like Romain Virgo, a still nicely active General Degree, even Sean Paul and just a few other artists who present their music in a way which gives the listener the impression that the general intent was for the final product to sound as good as it possibly could. Another name which belongs in that lot or which that lot belongs with is certainly Wayne Wonder who, given his longevity and prevailing contribution to the genre, may just belong in a class of his own. The singer has now a career which stretches back a nearly ridiculous thirty years and, although he's surely experienced essentially everything the life of being a musician has to offer, Wayne Wonder remains someone whose music, with one large exception of course, really hasn't had to go through a glaring shift as far as its audiences. You'll find Wayne Wonder fans everywhere, young and old, and while you would think that he might reach a point where you'd see this kind of, very typical, gradual aging of his fans - but it hasn't happened. While the historicity of WW is reserved for older fans, the actual appreciation of his music still belongs to pretty much everyone who has ears. 

Because it only takes such a person to realize that he makes 'wonderful' music. It's going on a decade now from the time when Wayne Wonder achieved his biggest successes, which were raised on the strength of the still MASSIVE 'No Holding Back' (a bonafide modern classic) tune and album of the same name, which went around the world and back several times. Following that, he would also reach back in 2006 with the excellent 'Foreva' album for VP Records which, in retrospect, was probably an even stronger project than its predecessor. And from then WW has remained active and remained in the spotlight throughout the years, just as he has managed to do for his entire career - keeping his name one of the most respected in the genre - and his next move is sure to do the same thing again.  

"No Holding Back" [2003], "Foreva" [2007] & "If I Ever" EP [2010]

Wayne Wonder now delivers "My Way", his very first project since the aforementioned "Foreva", which released way back at the front of 2007. Taking its name into context is very interesting because the album marks something of a debut for the vocalist. In late 2010 news broke that Wayne Wonder had broken away from VP Records and was set to do things on his on and he had been, but "My Way" becomes the very first album he's done on his own imprint, Singso Music, which literally means that the album features him doing things his own way and answering, musically, to no one but himself - a right which he has well earned at this point. I should also mention that in late 2010, Wonder would drop a digital EP on his label from a forthcoming album (then still two years away, obviously) by the name of "If I Ever", which really just went to show how his intentions were set and where he was planning on taking his music on the behind the scenes end and also feature three songs which would subsequently appear on this album. Listening to WW's music these days (and all days)is just so easy because YOU KNOW that this album is going to be good. It's not something which requires a great deal of thought. It's going to be a very good album. You know that now and you knew whatever his next one was going to be, from almost six years ago, that it was going to be good. Adding to the attraction in this case is the downright royal group of producers Wonder had to work with here as well. Included in the bunch are very classy maestros Tony 'CD' Kelly and Stephen 'Di Genius' McGregor who provide tracks for "My Way" and, as we'll talk about later, he also links up with very talented vocal artists as well. The sound of the album, largely, continues to push what Wonder has been doing in recent times which is this very CLEAN and, again, refined brand of Dancehall and Lover's Rock which is just incredibly easy on the ears and extremely appreciable and accessible for all types of fans of the genre, new and old, which is a very rare quality reserved for a very select group of artists and an even more exclusive one when speaking of Dancehall. The results, as we've already established, is another nice album much along the same lines of its two most immediate elder 'siblings', "No Holding Back" and "Foreva", as "My Way" proves itself quickly to be on that same level. Let's take a listen.

'Caught Up'

Coming on the heels of nice releases from Cocoa Tea and Beres Hammond over the last month or so, Wayne Wonder just may be the last big-named Reggae artist of 2012 to release an album, leading into 2013 and I would think that the hope (and the expectations) would be to show that an album like this, on his terms, can succeed commercially and, even prior to the first tune spinning, the artist has given it every opportunity to do so. That "first tune" comes in the form of a single from the album, the very infectious 'Caught Up'. In choosing a single, I would think that you would want to pick a song which would definitely stay with the listener long after the tune has completed and because of that, I would imagine that WW and company didn't have a very difficult time here because "My Way", basically, features fourteen such songs, but they did choose so wisely in 'Caught Up', in my opinion. And good luck to you getting that song out of your head (biggup my Wife). Next up is the tune which I believe is the album's next single, the very frenetic (nearly Soca-ish) 'Drop It Down Low' which is a song so evidently aimed at drawing asses of varying sizes in the general direction of dance floors anywhere in the world. It won't have any problems doing that… it just won't. Typically I have an aversion of songs with titles like that, but I don't dislike this song at all, which actually, kind of, features a brief bit from an non-credited Supriz (biggup Supriz). 'Sweet Dreams' rounds out the opening batch of songs on Wayne Wonder's new album, "My Way" and it just may be the best of the initial trio. Of course, I'm absolutely biased in saying that because the tune comes through across a sterling mix of one of my favourite riddims from 2012, the Baddest from Dre Day (which Aidonia left for ruins with his devastating tune, 'Militancy'). The lyrics here are also very clever and a bit of the attraction of this song will be lost on you if you do not pay attention to what is being said. Big tune!

'Drop It Down Low'

With the way "My Way" is set up, the album has a very nice middle portion where things begin to slow down and while I don't say this in the same as I would in reference to the first three songs, really gets EXCITING and diverse. Again, for someone of WW's class and skill, this is what he's been doing throughout his career and it really adds a nice dimension to the album. DEFINITELY the best of these songs here is the Stephen McGregor produced syrupy sweet 'All About You' from a few years back on the Next Chapter Riddim. This song is a vintage level WW love song it hasn't diminished in the slightest to my opinion.

"I've been around the world and back -

And that's a natural fact

It really made a difference in my life

I've toured a lot of places

I've seen so many faces

But none compare, none compare…

It's all about youuuuuuuuu"

The tune is one of the biggest you'll find here and I think it's great that it gets a bit of a 'second-wind' and resurrection on an album sure to be heavily paid attention to. Also ranking highly is the tune following 'All About You' on the album, 'Xtra Ordinary'. This song has a riddim which took me a minute to catch on to because of the vocals, but is sublime (I'm convinced that the instrumental of this thing would be a gold bar). It has a unique sound altogether, so while it did take some time to grow on me, it was well worth it. Check the somewhat electric, but otherwise fairly laidback 'Anna Lou' which sets as another highlight here and another one which doesn't necessarily leap at you and grab you fully on the first spin through. 'Anna Lou' (at least to my ears and probably on mine) has a Zouk-ish feel to it and you could certainly call it R&B, but for me it has that kind of subtle, but wholly up front sound to it which you find in Zouk these days. It's excellent, regardless of how you take it, however. The very important sounding 'Crush On You', for some reason sounds very familiar to my ears and it also sounds kind of like Zouk with its rather 'bright' sounds. Both of these songs, 'Anna Lou' and 'Crush On You' were somewhat unexpected and having read an interview from earlier this year in which Wonder talked about his new album having "twists", I'm going to call these the biggest such on the whole of "My Way".  Even better than those is a later song which has just a slight bit more energy, but is clearly not of the variety of the opening trio or some of the others I'm about to tell you about, 'Lovely Days'. The sound there is a complex and it isn't that kind of natural and organic sound that you would have thought with that title, but it is a bit more forceful to a point - that point being a very nice song. Also check 'This Time', which actually does feature a bit from an announced Supriz (without the presence of whom, no WW album is complete) (and that may actually be a law). 

"I'm coming for you baby so make sure that you are ready, like -

Jay and Beyonce both of us, we're going steady

I got to ease her burden cause her burden getting heavy

I don't want she give way like the New Orleans levy, lets -

Make it a classic like the '74 Chevy

Spice up the love, mi no want it deady deady

Baby we can make a perfect pair

Just like All For One, 'I swear!' "

When things do speed back up, Wayne Wonder has enlisted the help of a couple of friends as making guest appearances on "My Way" are Shaggy and veteran R&B vocalist, the incredibly easy on the eyes Mya. The former, an oft-collaborator of Wonder's joins on the pulsing 'Don't Say No'. This song has been around for quite some time and in a few different forms (including a WICKED one alongside Delly Ranx) and Shaggy still adds a very nice facet to a song ["woman you buck up on a smooth criminal, good fi yah body like a vital mineral"] which is pretty hard to fuck up and isn't on this version either. For her part, Mya chimes in on a song which I've been completely unable to shake out of my mind from the first time I ever heard it, 'If I Ever', which reigns supreme as my favourite song on "My Way". That song is crack for your ears in every way. It has this very LARGE sound to it and while Mya tones it back just a bit initially, it's still as contagious as ever in this version and I'm still not complaining! 'Like The First Time' is another really fine selection and one which sounds right out of the same vibes as the sterling 'Glad You Came My Way' and 'Bounce Along' from the 'No Holding Back' days, which were captivating and somewhat 'loose', but also had this undeniable power (and I mean that outside of just making asses shake, which is a very nice trait to have as well). Check 'Put Your Drinks Up' as well as the Tony Kelly helmed 'Over All' which round out the album as two of its biggest moments. The latter is also somewhat of a changeup because it's a song about perseverance and determination, which steps outside of every other song on the record. Well done! It's very nice to adjust things a bit and while the nature of the song is different, it's very vigourous sound is absolutely not and it's also the single most impressive lyrical display you'll find here as well in my opinion.

Wayne Wonder

Overall, like I said, the actual perceivable quality of an album like this is pretty much sealed when you know that such an album is going to exists. Wayne Wonder's new album - whatever it is and whenever it gets here - is going to be a very good album. You also have an idea, going in, as to how it is going to sound and while there were "twists", I don't think any song here is going to run off any long time (or short time) fans of WW's. The only real question about "My Way" is, specifically, how good is it and to my ears, it's every bit as good as and it belongs in the same, general, company as both the "No Holding Back" and "Foreva" records. If you liked either one of those (and if you liked one of them, you probably liked them both), you're virtually locked to have a great deal of fun with this album as well. Just like I did. In "My Way", Wayne Wonder continues to show his own personal side of the music which brilliantly mixes substantial class and substance with just a bit of grime. The results are as expected: Another winner. 

Rated: 4.25/5

Singso Music

2012

CD + Digital 

{"My Way" by Wayne Wonder releases on December 4}

Review #402

The Vault Reviews: "No Holding Back" by Wayne Wonder

As the sun sets on the prime years of the light shone upon the latest batch of Reggae and Dancehall stars to achieve a look from mainstream eyes, surely the Reggae community begins to look for its next big international draw. In the not too distant past we look at names such as Sean Paul, Elephant Man and of course Shaggy, arguably the most popular of them all, as artists who have ascended through the ranks of the genre through various ways and, again, have now seemingly made room for others. They all come from very interesting backgrounds when you really think about it and how exactly they managed to reach the levels that they did is somewhat surprising, retrospectively. In the case of Shaggy, the simple argument could be made that he is, in fact, THE most popular Reggae-ish artist EVER after Bob Marley. In my opinion, what may be most remarkable about Shaggy is his career trajectory which originated in the States before booming on the worldwide level. Since then, and in recent years, Shaggy has began to solidify his actual strength and fan base in the Caribbean, where, he is arguably more popular than ever (and his charitable work hasn’t hurt that either). In the case of Sean Paul it seems very random. Paul was a big named, although ‘middle of the pack’ type, DJ prior to the days of ‘Gimme Di Light’ and while he was surely one of my personal favourites before the bust (he lobbed up ”Stage One” in the process, one of the greatest pure Dancehall albums of all time), the fact that he did maybe THE greatest shock in the history of modern Dancehall music. Ele is slightly different given the fact that his international bust came at a time where his Jamaican popularity was at its peak and, if anyone were going to make that leap (who hadn’t already such as Beenie Man), Elephant Man, given his very transferable style (even if international heads couldn’t overstand what the hell he was talking about), seemed like the most logical and likely candidate. Still, if you continue to go through and look at other names in that pack who have managed to make that leap, you get to very unlikely characters such as Sizzla (albeit very brief in his case), the (not at all) very personable Mavado and even people like Tanya Stephens to a degree whose respective rises to prominence just . . . Seem very unlikely and very very interesting at the least.

One my favourite such artists who have achieved that special limelight is definitely Wayne Wonder. I could probably sit here very confidently and outline the case for Wonder, after nearly a quarter century in the game, being THE greatest Dancehall singer of all time and even if that isn’t the case (with respect to Beres Hammond and Sanchez, of course) he’s certainly ‘right up there’. A few years back, around the same time as Sean Paul’s time to shine, the light ever so slightly and briefly bent in the direction of the veteran singer from out of Portland and did so, largely, on the strength of a single tune backed by a single BOOM (more on that later). What was most interesting and downright SATISFYING was that, in Wayne Wonder’s case, it wasn’t like a ‘lifetime achievement award’ - Not even at the time - But instead it was just due to the fact that his material was just that strong and people around the world began to feel it and although it didn’t last very long to memory, chances are there is a HUGE number of fans who will never forget his name and should they encounter more of his music (Say - Blown up on the Reggae page of iTunes) in any way, they’re likely to remember it and the music as well. And the song, although unusual, was merely emblematic of what Wayne Wonder had spent his entire career doing - MAKING HITS. So much so was this the case and so well liked was he at the time, having ran for many years in the absolute highest strand of the Dancehall (particularly on combinations alongside the exceedingly well known Buju Banton), that the type of backlash received by Elephant Man and DEFINITELY Sean Paul within the community of hardcore fans, was eluded by Wayne Wonder and done so with almost no effort at all. People were happy for the man at the time as they should have been. Everything with Wonder’s run in the mainstream would pinnacle back in 2003 (has it been that long???) with the release of the ”No Holding Back” album for the MAJOR Atlantic Records, courtesy of VP Records. Up until that time, Wonder, although not the most active in terms of releasing studio albums, had already done well with projects. Most notably there was the ”Da Vibe” album, from three years before for Dave Kelly and Madhouse (released on Artists Only Records), which featured a slew of Wonder’s biggest hits at the time such as ’Joy Ride’, ’Bashment Girl’ and ’Keep Them Coming’ (and just looking back on it right now, that album was REALLY strong) and was, essentially and proverbially, the ‘measuring stick’ for ”No Holding Back”. So how did it measure up exactly? Very well actually. The older album had a sound which was one on which Wayne Wonder largely made his name, but it could not have that sound - One which was pretty straight forward and not always the most dynamic, which is somewhat strange for a singer - and be SPECTACULAR at the same time for the most part. This album had more than its fair share of FLAMING moments. Certainly that was due, at least in part, to the wonderful production, but to my opinion, again, one of the most interesting things about Wayne Wonder’s mysterious rise to international stardom was that it coincided with him simply STEPPING UP. He began to be a ‘better’ and more complete artist and that’s definitely saying quite a lot because what he was doing prior to it was more than enough to make him one of the best singers we’d ever had in the Dancehall (and still that‘s not to say that this album is actually better than “Da Vibe“). By its end, ”No Holding Back” continued to distinguish its star because it may’ve just been one of the, if not THE greatest ‘crossover’ Reggae or Dancehall albums of all time.

'No Letting Go'

In order to fulfill such lofty declarations, ”No Holding Back” from Wayne Wonder comes equipped with some of the biggest names in production at the time (and at this time too). Highlighting the party is definitely Stephen ‘Lenky’ Marsden who provides the necessary ‘boost’ more than one time here. But also there’re the likes of Don Corleon, Donovan Germain, Tony Kelly, Lefside & Esco and others manning the production sets here. Following a Lenky produced ultimately expected and harmless Intro, the album also comes outfitted with one of the biggest stretches at the beginning of an album in recent memory of such albums. First up is the aforementioned “BOOM” and the greatest tune to be found on the album kind of named after it, the also Lenky produced ‘No Letting Go’. This tune was probably the biggest drop on one of the biggest Dancehall riddims of all time, the infectiously immortal Diwali. There isn’t much to say here, the song was absolutely dazzling and it largely fueled Wayne Wonder’s rise and the case could be made that, all these years later, it still is. ONE OF THE BEST DANCEHALL SONGS OF THE LAST DECADE. Next up is a tune which, clearly although not as strong, is so well placed because it keeps that set vibes of the ridiculous opener going, ‘Bounce Along’, which I believe was the album’s second official single. The tune doesn’t have that ‘built-in’ dynamism of the opener, but it’s not far actually and the well spotted claps are also still intact. The next tune, ‘Friend Like Me’, goes in a bit of a different direction on the whole, but it is also quite dazzling (not the best written tune, but dazzling nonetheless) and a real winner as well. ‘Nobody But Me’ is easily the weakest link of the opening lot, but even it has some redeeming qualities on a certain level and while there is less than stellar material here (more on that in just a minute), I don’t rank it in that batch because of the prevailing vibes of the tune which are . . . Yeah. I really hate to keep using the word ‘infectious’ (even though I love it!), but that is what it is. Finally there’s the second biggest selection on ”No Holding Back”, ‘Glad You Came My Way’ which rides across Lenky’s Masterpiece Riddim. It’s interesting because just like the tunes, the riddims themselves kind of come in succession of 1A to 1B from the Diwali to the Masterpiece and as he arguably had the finest songs on both, certainly Wayne Wonder is as fine of an existing example of such relationship.

'Bounce Along'

Although I used the word pertaining to the album in reference to ‘crossover’ attempts, I do not actually want to portray ”No Holding Back” as being a GREAT album because it has its fair share of soft spots in its duration and particularly in its latter stages. Check a song, for instance, such as ‘Just Another Day’. This song is pretty boring for the most part and melancholy on top of that which just doesn’t work too well for Wonder, and particularly not here. The tune which follows it, ‘Close Your Eyes’, although clearly better than the one which precedes it, still isn’t very strong actually. ‘Perfect Proposal’ is . . . Pretty AWFUL actually and has nothing about it which might warrant multiple listens past number one (with the exception of that riddim which is so beautifully simple that you could probably get the same satisfaction on a hundred different vibes). Later on we get the second of three official combinations on the album, ‘Metal & Steel’ which features Demo Delgado and Showki Ru, both of whom are best known for the material they’ve done for Wonder and alongside him, but the tune is less than average to my ears and I probably am more indifferent to it these days as I’ve ever been. Oh and ‘The Mood Is Right’ is pretty useless also, but only BARELY, it’s better than any of the tunes I’ve mentioned here, not that it’s hard to be that.

But! Helping to make up for those dry spots on the album are, along with the opening selections, just a few more nice vibes sprinkled in helping raise up ”No Holding Back”. The best remaining tune is probably ‘Definitely’ (you KNOW I would love this tune, the title alone is a beautiful thing, definitely). The tune is a lover’s piece, but it is HEAVY. With Fatta & Bulby helming the boards on the tune, what we end up with is this kind of beautifully AGGRESSIVE love song which kind of reaches back into the more straight forward style of Wayne Wonder’s music, but again, it comes with much more of a discernible flare on this album than perhaps prior to it, to some extent. And speaking of flare, Tony Kelly offers some of the brightest vibes to be found here with ‘My Kinda Lady’.

“There comes a time in life
When you must, who you must be yeah
And by your vibes I find
There’s still a few with good qualities”

The tune didn’t do much damage if I recall correctly (Kelly always seems to highlight the actual albums in crossover or mainstream situations with big big vibes, but his tunes don’t always seem to get the greatest of pushes (although he did do one of those smashes from Beenie Man, I’m sure) (and probably more than one actually), but for me it’s been a personal favourite of mine and if you dig into it, or if you already have, I’m sure it’ll rate highly for you as well. And even more opportunities for ‘flare’ exist when you add another voice which is exactly what happens on ‘Crazy Feeling’ which rides Don Corleon’s Krazy Riddim and features the aforementioned Elephant Man. It is the highest profile combination here and while it isn’t outstanding it was close enough to do a nice damage and listening to it now, for the first time in how long, it’s pretty good (especially Ele’s final verse). The third combination, ’Enemies’, features Supriz, which is Wayne Wonder’s DJ alter-ego. I do pretty much like this tune, but I’ll qualify it to some degree by saying that almost every time Wonder deejays, I’m a fan. I think he’s excellent at it and an album simply isn’t going to happen, but I could go for a Supriz mixtape or something like such, definitely.

'Saddest Day'

For some reason I kind of like ‘Slowly But Surely’, I don’t actually know why, so I’ll leave that there. And finally and predictably ”No Holding Back” ends with ‘Saddest Day’ which was Wayne Wonder’s biggest solo hit prior to the starring attraction of this album and you know some guy in a suit somewhere analyzed it and said “oh yeah, we should put that on there too”. Well, it was a good idea in the sense that the tune is EXCELLENT and a case could be made for it actually being the best tune here, but it was also a bad idea because its inclusion on this front gave it no added shelf life - Not that it needed it.

Overall, I do want to stress that this album is not a great one, but within the context that it exists - as a ’mainstream’ or ’crossover’ album - it’s probably about as ’great’ of an effort that we’ve seen to date (it would be in the same category with some of Beenie’s better releases in my opinion). From a musical point of view, as I said, the good portions of ”No Holding Back” are actually spectacular moments and they’re not just spectacular moments for the artist, but for the entire genre and of course, in the far reaching senses as well. For the artist, Wayne Wonder’s rise to prominence is definitely a ‘feel-good moment’ for the entire genre. While we may have artists seemingly arrive to grandest stage of music, as a whole, it seems even more fulfilling and just GOOD when one can, through some of the humblest and most hard working of situations, gain the biggest prize and make the best of his time there as well. Well done.

Rated: 3.999999/5
Atlantic Records/VP Records
2003 CD + Digital
Wayne Wonder Wayne Wonder @ Myspace