'Where They Belong': A Review of "Revelation Part 1: The Root of Life" by Stephen Marley

Normally when we do these things I attempt to draw linguistic laterals from the artist in question to others in order to make my ultimate point before diving into a particular album -- Yet, because of the very quietly unusual nature of the performer in question here today, and that of his family, it’s going to be very difficult to do so, especially in this specific instance. Making Reggae music with a name like ‘Marley’ is, in and of itself, a very odd thing. Akin to very few things in the world - perhaps like playing football with a name like ’Maradona’ or basketball with a name like ‘Jordan’ - it is something which is immediately attention-grabbing to fans of the genre and though we’re only on the second row of names, for the most part, I’m still going to have a very difficult time imagining an era in even the most remote future where that changes. As I’ve said in the past, the progeny of the King of Reggae Music, Robert Nesta Marley, have certainly gone a very far way in making a name for themselves, respectively, but as long as they are making music (and probably doing anything else, for that matter) they’re going to be compared to him in some way. The very strange thing which occurs with them, however, is that - where the patriarch of the family is the quintessential . . . He’s also the patriarch of Reggae music, as a whole - everyone else in the family tends to exist outside of what the music has become. Not only because of the name, but they also tend to go about framing their music through different sources. When is the last time you’ve seen ______ Marley on the _______ Riddim? It just doesn’t happen like that. Instead, they almost always build themselves towards album releases and when they do make other musical appearances, it’s generally well within a very small group of artists and friends. With that being said, however, it doesn’t mean that they couldn’t. I don’t tend to enjoy most of the Marleys output, personally. When I look at both Ziggy (biggup Ziggi) and Julian Marley, they normally make a ‘brand’ of Reggae which is ultimately too Folk-ish for my tastes and I’ve never been big fans of theirs. Ky-Mani has definitely made wonderful music in my opinion (the ”Many More Roads” album is still one of the best albums I’ve ever heard coming from a non-Bob, Marley), but it’s been quite some time. And then there’s Damian Marley. Arguably one of the greatest lyricists in all of Reggae today, Damian is definitely the modern champion of the family in terms of the music and what he does, stylistically, isn’t far from that of his more ‘residential’ peers. Most interestingly, Damian even does his business in a different way than the rest. And normally when you see (or hear) him, the genius which is Stephen Marley isn’t too far away.

“Executive Producer: Stephen Marley”

That is the tag which you’ll find attached to the three studio albums of Damian ‘Jr. Gong’ Marley, ”Mr. Marley”, ”Halfway Tree” and ”Welcome To Jamrock” and it’s also something which has helped Stephen Marley go charging into the next era of music as, musically, he and his youngest brother are musically inseparable to some degree. Also, I believe he served a similar role within the Melody Makers of Ziggy Marley & The Melody Makers fame, making his career truly distinguished amongst an already very distinguishing lot.

Stephen Marley

A few years back Stephen took his recording career to a higher stage and released the very well received "Mind Control" which would earn in the Reggae Grammy in 2008, a status which he would, again, enjoy two years later as an acoustic version of the suddenly very popular project was also subsequently released (and if you count his work with Ziggy and Damian, Stephen Marley now has a truly ridiculous SEVEN Reggae Grammy awards) - Winning the same award two different times with one album. Now, I don’t want to make it all sound as a case of happenstance or luck, Stephen is well talented and one of the most so gifted in Reggae today and when you take all of that into consideration, it really makes his releases very big deals in Reggae music. Therefore, when we look at ”Revelation Part 1: The Root of Life”, we’re looking at, at least on paper, one of the biggest and likely most popular albums of 2011. Besides being the followup to the aforementioned "Mind Control", the album is also a prequel of sorts as, later this year, Stephen is reportedly set to release the second part of this grand concept, ”The Fruit of Life” (and if he pulls that off, there’s almost a 0% chance that BOTH won’t be nominated for a Grammy, and I wouldn’t at all be surprised if it’s a tie, making him the first to win the same damn award twice in the same damn year). I don’t actually know if it’ll all materialize in that timeframe, in Reggae stuff doesn’t always (ever) go as it’s been planned to, but certainly if it does, there’ll be a great deal of eyes, from the Reggae community and outside focused on Stephen Marley this year. The first installment of this ambitious pair of albums is supposed to be the more Reggae-centric of the two, which makes it more to my and your interest. Prior to the album’s release, Marley stoked interest to a fine degree with a few very well received pre-singles and the album behind them is more than capable of carrying the flames and keeping the interest well high as Stephen Marley serves up what is certain to be one of the most spun Reggae pieces of 2011. Let’s take a closer look.

"Mind Control" - 2007

Vocally speaking, Stephen may most resemble his legendary sire out of all of the current Marley singers and, musically speaking, he also engages in a style which one wouldn’t think would be too dissimilar from what Bob would presumably make were he around and performing in 2011. Certainly Nesta would approve of ‘Made In Africa’ which gets us going on the new album from Stephen Marley, ”Revelation Part 1: The Root of Life”. The song is the first of a whopping seven different official combinations on the fourteen track set - This one featuring Hip-Hopper Wale as well as the cast of “Fela!” which is a stage play around the life and times of the legendary Fela Kuti. This song is an excellent one and one which is so wonderfully chosen as an opener because it well sets the tone for the rest of the album, not only in terms of ideology, but also in terms of the actual vibes.

“Educate yourselves of Africa
To liberate yourself, Africa
Keep your heads up high
No more will we cry
Our history that they stole, Africa
Is written in our souls, Africa
Oldest nation this earth
Know just what you’re worth
Ships that sailed to distant places, robbed us of our rights and worth
History says that you’ve betrayed us - talking of the gods you serve
Hear the rumbling in the sky -
Tears that our forefathers cry
And today we’re still in chains
Take the shackles from our minds”

The song is a praising tune for not only the Motherland but for, of course, His Imperial Majesty and as it develops the chanting kicks in and Wale does a very good job as well on what is my second favourite tune on the entire album.

Next is a decent solo track, ‘False Friends’, which doesn’t create too much excitement for me in terms of the message, but sonically speaking it is a very much top notch tune. This is the type of song which kind of fleshes out the ‘body’ of the album, but you know that someone, somewhere is absolutely in love with it (and will likely call me stupid for not liking it). Next we get the first big big guesting artist on ”Revelation” as longtime Marley friend, the great Capleton, joins in on ‘Break Us Apart’. This song is one which kind of coyly takes slap at corruption. Capleton, as you knew he would, brings just a bit more fire, but I left this one wishing that it had lost its obvious cool just a bit more and turned up the flames considerably more - Still a good tune and one of the album’s real highlights, however.

'Tight Ship' w/Damian Marley

The big names continue to roll in throughout the album (as I said, half of the songs are combinations) and to my opinion, its finest moments feature Stephen playing alongside some of the best in the business. Unexpectedly the only name to get two opportunities to step up is Jr. Gong and he well makes the most of both opportunities. Check the later track, ‘Tight Ship’, which sounds as if it came DIRECTLY out of I Grade Records’ studio from Tippy I. It’s just a STRONG (!) composition and the Marleys use it to deliver a very memorable moment and one which I suspect, in some form or another, WILL receive a big time spotlight shone upon it. It may not, however, get as big of a spin as the HUGE previous single, ‘Jah Army’, which also features a mighty riddim as it taps the timeless General Penitentiary track. Not only does a DAMN impressive Damian feature on this tune, but the song is seemingly turned over to an increasingly infamous Buju Banton to . . . vent and he uses the majority of the tune’s second half to do just that - get a few things off of his chest and he does so with some of the finest deejaying he’s done in quite some time.

“Not even one, but several
Of the thing mi buss, a federal
Issue by di Rasta General
Enemies ah meet dem funeral
Wi pick dem individual
Sniper have dem inna dem visual
Babylon time ah reach a minimal
Wi conquer dem subliminal
There is warfare inna physical
An warfare inna spiritual
There is warfare inna digital
An warfare inna chemical”
-Damian Marley on ‘Jah Army’

Dancehall stalwart and another frequent Marley associate (I believe he’s currently touring with Stephen), Spragga Benz steps in on ‘Working Days’. I actually do like this tune (I’ve heard a few negative views of it), but what I don’t like is Spragga’s obviously detached vibes with it. It almost seems as if it was thrown together and someone said that they wanted to get him on a tune on the album and this were the one arbitrarily. He has nothing to do with it just prior to his verse (which is nice) and the sound gets harder for him . . . Then he’s gone and its business as usual, like he was never there, until he comes back and the same thing happens again. When it happens like that it almost sounds like two tunes in one, with the one featuring the Benz the more impressive of the two.

Melanie Fiona

ULTRA CUTIE (DAMN!) Melanie Fiona gets an opportunity to add her spices to another previous single, the very cool ‘No Cigarette’, which definitely caught a lot of hype and deservedly so (and my Wife absolutely loves this tune) (biggup my Wife). Still, the biggest combination, and the biggest tune altogether on ”Revelation” is another trio of sorts as bros. Stephen and Ziggy team up to do a tune from their Father’s infinitely loaded catalog, ‘Selassie Is The Chapel’. TEARS! This song is going to destroy a few foul and disgusting living individuals around the world and you may be one of them! I’d argue that it’s even better than the original in a few ways, with the most essential element of the tune, the PASSION, being so very high in both instances. MAMMOTH!

'Selassie Is The Chapel'

That undefeatable moment isn’t the only time Stephen deals in the music of his Father on ”Revelation”, as the album also features a couple of other updates/remakes, ‘Freedom Time’ and ‘Pale Moonlight’, respectively. The former, to my ears, is nearly outstanding and definitely does the original a fine job on the track. I was never a fan of the first tune, in regards to the latter (which is also called ‘How Many Times’) and this one doesn’t do too much for me, unsurprisingly, but it isn’t a bad track either - Definitely one for the nostalgia seekers. I did catch on to the nice and FUNKY ‘Can’t Keep I Down’, which I was almost sure was a remake of something, but I can’t find anything else to suggest that it is besides my own intuition and in any case, it’s a nice tune. Later we get the KNOCKING ‘Old Slaves’ which quickly shows itself to be one of the real highlights on the album. At nearly six and a half minutes, this one is the longest song on the whole of the album and its one of the most ‘spacey’. There isn’t a whole lot in terms of activity going on with this one and, in a pretty rare situation, that’s a good thing, because you can definitely tune in the harsh nature of the vibes of the song better with less going on and it makes it much more of a musical EXPERIENCE by its end. Big song. There’s also ‘She Knows Now’, which I wasn’t too fond of, originally, but has well grown on me over the past week or so a small bit. And the album wraps up with a very interesting selection in ‘Now I Know’ (apparently we all know now). I mentioned earlier about music from Ziggy and Julian being just a bit too “Folk-ish” for my tastes and, ostensibly, ‘Now I Know’ is that type of tune . . . But I LOVE it. Stephen says absolutely nothing on the song besides “now I know” for the first ~ forty-five seconds and when it does get going, it doesn’t pick up very much at all, but there’s just something about this one which more than held my attention throughout and the same could be said for the album on the whole.

'Old Slaves'

Overall, while people like you and I will continue to hope that the Marley family will, someday, move into the line of their more active peers in terms of recording, even if you’re not in love with what they do every time, you have to admit that they do continue to impress and in terms of prevailing consistency, Stephen is the most impressive of that lot. Here, what we have is an album which I think has been vibed perfectly for the more mainstreamish thinking audience which will come looking for it the most. It’s a very nice blend of hardcore Roots Reggae with more Folk-ish/Poppish type of sounds in some respects, yet, as I said, it’s rooted in a very much Reggae-centric foundation with what is said. Still, Stephen and the album also manage to find enough room, within itself, to also be able to appeal to hardcore Reggae heads as well. And while I won’t suspect such a situation to develop on the followup (whenever it gets here), as for ”Revelation Part 1: The Root of Life”, it does such a fine job in walking that fine line between the two and keeping Stephen Marley and the Marley name apart from the rest, but relevant and musically compelling to so many different walks of life.

Rated: 3.75/5
Universal/Tuff Gong
2011
CD + Digital
Stephen Marley
Stephen Marley @ Facebook

{Note: Not writing this weekend. Will see you back on Monday for something truly ridiculous . . . After I figure out what it is}

Virginity

In Reggae music we are constantly looking for the next artist to take our music to the proverbial ‘next level’ in terms of attracting more ‘mainstream’ levels of attention. The thought, presumably, is to identify the next Sean Paul, Shaggy or Beenie Man and begin to market them, and the entire genre of music as well. However, this is taking entirely too much fucking time in my opinion, so I thought that I’d help matters along just a bit. Also, if you have poor and very very unfortunate friends who aren’t quite able to enjoy the greatest musical art form in the entire world just yet, here’s something for them as well. This list is compiled of largely unlikely performers who make a brand of Reggae which is very transferable and while some of them may not be the most marketable in the world, in my opinion they’re styles all have something which would attract a grander level of attention if given the opportunities. Here're ten artists who would make perfect entries into Reggae - The Musical Deflowerers.

{Note: Artists are listed in absolutely no particular order}
{Note 2: No Behaviour}
{Note 3: NONE!}

Beres Hammond


'No Disturb Sign'

As much as anyone on this list and perhaps as much as anyone in the history of Reggae music, the legendary Beres Hammond is a ‘victim’ (not literally, of course) of where he was born, in terms of his career. Speaking strictly in terms of popularity and the ability to receive the biggest light shone onto his careers as is absolutely possible, Hammond, presumably, would have benefited immeasurably being from another part of the world - Fitting in with all of the great and immortal R&B singers. These days, he’s still very much near his best years and continues to make a brand of Reggae music which is IMMEDIATELY ‘sexy’ to R&B fans across the world. Still, while he’s done far more than enough to make his name unquestionable in Reggae circles, had he not been ‘burdened’ with instinctively making Reggae and had he been American or English, the entire world would revere him as one of the greatest R&B singers ever . . . Damn I’m glad that’s not the case.

Gappy Ranks


'The Best Is'

In examining ”Thanks & Praise”, the latest album effort from sensational UK export, Gappy Ranks, I was left with a ton of thoughts and one of them was that, ostensibly, he could very well make a way for himself amongst Hip-Hop heads. He is very much a work in progress and, thankfully, that “work” is done with Reggae music, and particularly old school Reggae music, very much in mind, but when you listen to some of his more ‘post-modern’ efforts, he does things, often on a rapper’s pace and cadence, as opposed to a DJ’s. The differences are subtle, of course, but were to take Gappy and place him on straight acoustic sets, or straight a cappella sets and just have him rhyme, the results may be somewhere directly between Jay-Z and Shabba Ranking (in terms of sound). Should he ever go closer to the Hip-Hop style and begin to develop that vibes more and more, he could do a major damage there in my opinion. Hopefully he saves that for album #17 or so, however.

Toussaint

'Black Gold'

For nearly a year we’ve been well enjoying Toussaint’s brand of ‘Soul Roots’, which is this hybrid sound combining traditional Soul Music with Roots Reggae in, arguably, the most pure form in which it exists these days - From out of the VI. He was definitely successful in managing his way between the two genres but he’s also very much a rarity because, as we go on further and further, it seems less and less as if Toussaint worked this out in his head and more and more like it is his 100% natural style (and he actually said as much, if I recall correctly). What I wonder is what might happened if he went back the other way? If he were to make a similar album which was marketed more to Soul/R&B/Jazz fans, would it have a similar resonation with them in terms of maybe picking up more and more Reggae music? I’d be willing bet that it would.

Alaine


'Tahrir Square'

Besides looking good in a skirt (DAMN!) Alaine would also look good ‘wearing’ a very wide array of different musical genres and colours and in her case, I think she still has a chance to make a great way in a few of them. There’s Pop music, R&B, Jazz, Soul and maybe even traditional Gospel - Presumably fans of all of them would react to her music which, for years has been making impacts on Reggae heads such as you and me. Her vibes are just STERLING and you can literally pick up any tune from . . . Whenever and see that the song would have legs which would carry it beyond Reggae, in the most basic sense of the word. On top of that, of course, are her looks - She is a very beautiful women and carries herself very very well and dignified and should the rest of the world get a taste (there’s a wonderful joke here which I’m just going to ignore and keep going) of Alaine, they may not give her back to us.

Romain Virgo


'Rich In Love'

If Romain Virgo goes through his entire career (which may have another forty years or so) and doesn’t receive an EXTREME amount of international fame and attention at some point, in my opinion it will be a DAMN SHAME! Already the youth, who is in his very early twenties, has developed himself into, arguably, one of the most versatile Reggae singers to emerge in quite some time - singing not only the very expected and mandatory love song, but also the social commentary and even blending the two in many respects - and one would figure that before his time is done, he’ll find the proper mix to be able to take it mainstream at some point. The very danceable vibes of Dancehall music are one thing, but more Roots Reggae is thought to be quite difficult to pass through, yet I wouldn’t put it past Virgo to be THE one to do it. Should he manage to pull it off - The world will never forget his name.

Jah Cure

'Unconditional Love' featuring Phyllisia

What??? Yeah! Jah Cure. Here’s my thinking on this one: Compared to any other singer on this list, Jah Cure has, by far, the least command of melody and his music, ostensibly, would seem very difficult to crossover from Reggae to anything else besides . . . More Reggae. HOWEVER, what the Cure does have going for him is a talent which is TRULY one of a kind and one which is absolutely paralyzing at its best (and his very interesting and FUCKED UP story would also be of interest). Of course what I am talking about is that voice which puts him into a very special class of his own and one which isn’t likely to become crowded any time soon. The fine people at SoBe are in charge of taking that voice and delivering it to the masses and his forthcoming album, ”World Cry” (if they ever actually release the damn thing), figures to be a very important one in regards to introducing the rest of the world to the single most DAMAGING voice music has EVER seen.

Sara Lugo


'Rock Steady'

As I’ve said in the past, part of the reason why I so took to Sara Lugo and her great music has a little to do her image and how wonderfully it speaks to the power of Reggae music. People who look like she does typically don’t DO Reggae music and here she is so well and eagerly saturated within the music that her own vibes very much have the feel she’s been doing it for decades and decades (and when she finally does have that type of history behind her, you won’t need me to tell you how great she is). What she does is to make this very interesting and captivating sound which fusions Jazz with Reggae and what would be most interesting, and I suspect that it may happen someday, is if Lugo turned more towards the Jazz community (briefly, not forever) and introduced to them a perhaps never before heard brand of Jazz which sounds very much as if it were primed in downtown Kingston and she also figures to have an opportunity to do the same within more R&B-centric circles as well.

Maikal X

'Best In You'

The outstanding Dutch singer, Maikal X, comes from a background in Hip-Hop and after his ‘stint’ in Reggae (which will probably last for the rest of his career), he’d very well be prepared for a second-wind, of sorts, as an R&B vocalist. Maikal X is a very flashy singer - He makes a shiny brand of Reggae music (and I mean that in a good way) - And I would actually think, as ridiculous as it sounds, that if he were going to make a push towards the mainstream, he’d do it sooner rather than later, before he’s had even more time to develop as a singer. Already, tunes like the remake ‘Here She Comes’, ‘Irie Love’ (featuring Irie Love) and definitely ‘Best In You’ reside in his catalog and each would figure to make waves outside of Reggae given the chance.

Etana

'Caltariba System'

Much like Romain Virgo, I’m under the assumption that Reggae Roots princess, Etana, would have a damn good opportunity to take Roots music to more of an international and mainstream audience and in her case, it’s because of several different reasons. First of all, her brand of Roots isn’t the typical ‘burn out babylon . . . ‘ type. She’s able to make songs which center around that ideology, but ultimately have more real (and current world) identities. Also, there is the matter of her voice. She doesn’t get nearly enough credit for it, in my opinion, but Etana’s voice is one of the best in Reggae today and it is something which would attract more fans. And so that we not act BLIND, she’s also a very attractive woman which will help you in almost any walk of life.

Damian Marley

'Despair' w/Nas

With a name like ‘Marley’ surely you’re going to have a very special type of attention given to you from just about anyone in the music field, regardless of genre and, as I’ll speak on more tomorrow, Damian, even more so than his brothers has endeared himself to the masses greatly. The biggest piece of evidence of that, of course, came last year when he linked with Hip-Hop ace, Nas, for the ”Distant Relatives” project and from what I hear, he’s also set to enter a group which features none other than Mick Jagger from the Rolling Stones. SOMEDAY, Marley will come back and make a Reggae album (he may be forty years old before he does it, but he’ll do it) and when he does he’ll have a great deal more eyes on him than when he told all ”Welcome To Jamrock”. If at that time he’s fallen more into the ‘regular’ line of Reggae artists (and I suspect that he may), the entire genre will receive a well needed boost because of it and his contribution to our wonderful music may only be surpassed by the first man we new with his name.

Coming Soon Vol. 36

“Reggae Gold 2011” [VP Records]


'How Mi Feel/Nothing At All' by Agent Sasco

'For Your Eyez Only' by Shaggy & Alaine

First up this week is arguably the biggest annual release in Reggae . . . History (???) as its that time of the year again for the biggest compilation, “Reggae Gold” to make its return. This year, just like every other, the set attempts to link together some of the biggest and most popular tracks and package them (in a very nice package this year) and market them to a more mainstream audience and this year, just like every other, it’s probably going to be fairly successful. VP Records has assembled an excellent cast of vocalists which includes the Marleys (alongside Buju Banton), Agent Sasco, Vybz Kartel, of course Gyptian and Tarrus Riley, Beres Hammond, Mavado, Richie Spice and even Shabba Ranking (and a few more surprises, I was REALLY happy to see both I-Octane and Stevie Face on board here) to grab attention and a few other twists as well. From a more hardcore fan perspective (which is what you are), this is probably one of the better efforts from ”RG” in quite some time actually.

Potential Rating: 4.25/5
Releases on June 28
CD + Digital

“Soca Gold 2011” [VP Records]


'Come To Meh' by Iwer George


'Drop It/Created 4 Carnival' by Mr. Dale

I coming again. I mentioned this one before, but as I said, here it is again. After (two weeks before, actually) "Reggae Gold 2011", we also have ”Soca Gold 2011“ forthcoming as well. Historically, I more look forward to the ”SG” release between the two, if for no other reason than because the songs are typically much harder to compile on a disc in its best form and while that is normally the case, this year big things are on the way because the 2011 installment of the series is absolutely LOADED. Speaking of ‘loaded‘, Busy Signal is on board, as is Gyptian and they join Soca royalty such as Machel Montano, Alison Hinds (with Ziggy Ranking), Bunji Garlin [with Problem Child], Destra Garcia, Iwer George, Edwin Yearwood & Patrice Roberts, Rikki Jai, Skinny Fabulous and others (like Mr. Dale). Definitely not bad for a series which was criticized harshly (and justly so) for being low on the big tunes in 2010.

Potential Rating: 4.35/5
Releases on June 14
CD/DVD + Digital

“The Biggest Reggae One-Drop Anthems 2011” [Greensleeves Records]

If the tracklist I’ve seen is correct (and it may not be), then we’re in for a pretty odd year from the also annual ”The Biggest Reggae One-Drop Anthems” compilation in 2011 because it contains more than a few surprises this time around. ‘Achis - Like what ???’ Well first of all 2011 would mark the very first time, to my knowledge at least, that Midnite is featured on a VP compilation. Not too surprisingly the song, ’How To Answa’, comes from the ”Treasure” album from earlier this year, of which, VP Records was distributor if I recall correctly. Also there is a tune from the very popular band, The Green, who I believe won iTunes' Best Reggae album award in 2011 for their self-titled album which I never heard. The legendary Bunny Lee also makes an appearance as does Vybz Kartel with a dubbed out version of ‘Spend Time’. More unusual still is the presences of both Copper Cat and J.O.E. - Two big artists who, most unfortunately, both lost their lives (and in their early twenties, respectively) earlier this year.

Potential Rating: 4.25/5
Releases on July 12
CD + Digital

Joggo - “Modern Rockers Vol. 1” [Dredda Records]


'Strong Like Lion' featuring Turbulence & Jah Decko

I would have been almost certain that if we were going to see a new album from big Dutchie artist, Joggo, anytime soon that it would be coming through the joint Jah Solid Rock/Not Easy At All label, but that would have been because I wasn’t paying too good of attention, obviously. Joggo has also been releasing a semi-steady stream of singles through Dredda Records who now delivers his brand new album (and first, I believe), ”Modern Rockers Vol. 1”. I wasn’t too off base in my assumption because I do recognize ‘Strong Black Woman’ from the ”Cultural Vibes Vol. 1” album, but a great deal of the rest of this material is pretty new to my ears and I’m well looking forward to hearing some of it. Veteran Turbulence makes an appearance on this set which may just prove to be a bit of a ‘sleeper’ for 2011, so check it out.

Potential Rating: 4/5
Releases on June 27
CD [I THINK] + Digital

The SweetBaby Riddim Selection [IrieVibrations Records]


Riddim Mix

Apparently the Austrian based IrieVibrations is doing their impression of overactive Frenchie label, Irie Ites, in 2011 as besides gearing up for album releases from the likes of Luciano, and reportedly, Anthony B and Konshens, the label is also doing a riddim album for its SweetBaby Riddim to . . . Pass the time I suppose. Fortunately this one is a good way to spend your time awaiting those big releases because it’s a pretty nice riddim. All three of those big names are on board with tunes and they’re joined by Sizzla Kalonji, Perfect, Delus, and Achis Reggae favourite, Mischu Laikah. Take a listen and pick it up when it reaches.

Potential Rating: 3.75/5
Releases on June 17
Digital

“Frankie Paul: Most Wanted” [Greensleeves Records]


'Tu Sheng Peng'

I’ve never been much of a fan of veteran singer, Frankie Paul, but I am definitely fan of Greensleeves’ “Most Wanted” series and his career is the centerpiece of the latest installment of the cool compilation run. Fan or not, you’re likely to be well familiar with some of the tunes here, such as ‘Worries In The Dance’, ‘Tu-Sheng-Peng’, ‘Cassandra’ and ‘Cassanova’. They all sound excellent here, so if you, too, aren’t the biggest of Frankie Paul supporters, perhaps it’s time you got familiarized.

Releases on May 31
CD + Digital

“Ziggi Recado” [Greensleeves Records]

It’s almost June 7 (told you it wouldn't be too long) and that means that the entire world can soon get their paws on one of the biggest albums of the year in the form of ”Ziggi Recado”, the third studio album from its namesake. Big big vibes here from one of the greatest lights we currently have in the music today, so WELL pay this one attention.

Releases on June 7
CD + Digital
See Review

‘Je Te Donne L’amour Remix’ featuring Tiwony by Shalli (single) [Planet Rock Entertainment]

And finally this week we take a look and listen to new Achis Reggae favourite, Shalli, with a big new tune featuring Gwada star, Tiwony, ‘Je Te Donne L’amour’. The song is a cool and upful Poppish/Zouk-ish type of vibes and it’s also very transferable and easy on the ears. Everything we’ve come to expect from Shalli and loooooooooong time from Tiwony.

Digital
Releases Soon

In Stores Now

Ras Zacharri - “New Horizon” [Shem Ha Boreh Records]

I have to admit - I wasn’t too excited in looking forward to the latest effort from Ras Zacharri for some reason or another. Following his pretty good ‘opener’ from a couple of years back, ”Herbs Man”, which is still impressive, my already low passion (in general) didn’t get peaked for his next release. Of course all of that changed when I woke up and saw that someone had sent ”New Horizon” to us (and in an OUTSTANDING quality) and I gave it a listen and I liked what I heard. Zacharri, as always, is very straight forward and apparently I’m just in the mood for such a thing this morning. I’m also in the mood for Tiwony, Mark Tenn and Earl 16 (who we’ll be dealing with next week), all of whom join Zacharri on the new album.

CD + Digital
{Review coming soon}

The OMG! Riddim [Penthouse Riddim]


'Bleaching Shop' by Exco Levi

I feel SO inclined to mention the fact that the riddim album for Penthouse’s STERLING OMG! Riddim has dropped because I can NEVER remember the name of this thing, despite the fact that it is clearly ear candy of the absolute highest order. I love this riddim, Penthouse has been on such a fine streak over the past few years and strictly in terms of compositions, this may be their greatest stroke over that time. The aforementioned Coppa Cat features on a piece which also includes, the immortal Marcia Griffiths, Busy Signal, Sanchez, Chuck Fenda, Duane Stephenson, Torch and a dominant Exco Levi.

CD

Bunny Rugs - “Time EP” [Raw Edge Productions]

And finally (this is the easiest time I‘ve had writing one of these things in a forever, it isn’t even midday and I‘m already done!), I mention with no urging from anyone whatsoever and completely on my own notion (hey Heather!) - The latest from entirely too busy Bunny Rugs, ”Time”. An EP set ahead of his forthcoming album of the same title. This set includes three tracks, ‘Love Is Blind’, ‘Just Can’t Deny’ and ‘Kurfew’. The first of the three is featured across the LOVELY Tune In Riddim from Sly & Robbie. The smooth ‘Just Can’t Deny’ features contributions from both Dean Fraser and Richard ‘Bello’ Bell from Star Trail, while the final track, which is the best of the three to my opinion, was co-produced between Rugs and the most venerable and esteemed Mikey Bennett.

Of course, all of this comes in midst of Rugs still riding high at his ‘day job’ with the legendary Third World who are still enjoying the successes of their most recent album, the well received ”Patriots”.

Digital

'Far From Review': A Review of "Chino"

As I’ve said in the past, there is absolutely nothing worse in the entire world than AVERAGE DANCEHALL MUSIC - something which has haunted me and millions of others around the globe throughout the years, I'm sure. There's just something so terrible about a clearly somewhat talented artist who just CONSISTENTLY pushes material which is less than their finest and so woefully unremarkable that it literally does absolutely nothing. This is coming from someone who has suffered through the prime years and prime years of prolificacy of performers such as Bling Dawg, Danny English, Alozade and others who just elicit no prevailing emotion, for better or for worst. I’d much rather subject myself to PHYSICAL PAIN than listen to average and mediocre output in a genre which, historically, has been my very favourite and, if you haven't figured it out, I'd even rather listen to bad Dancehall music - really hopeless and nasty shit - than the music in that middle, emotionless and template-like ground. Now, with that being said, proving oneself to be average is really tedious work and it takes quite awhile to establish. Still, I've 'traditionally' (whatever that means) been very quick to place, in my mind, artists in this category who’ve shown themselves to POTENTIALLY be average. People like Kiprich (more on him in just a second), the individual members of T.O.K and New Kidz are good examples of performers who’ve demonstrated that they are, in fact, not only much more skillful, but are more capable of displaying their actual talent levels than I initially suspected and I look forward to be proven wrong in such situations. So the latest artist of note who is apparently trying to make a fool of me is the very popular Chino. His is a slightly different case than most because, to be completely honest, I never really gave his music the biggest chance to impress me as the first few tunes that I heard from him didn't strike me as too great in any way so, over the better part of the last few years or so (when he’s enjoyed his greatest successes) I just haven’t been paying any attention whatsoever. As I said, however, everyone else has been and strictly in terms of name value, one would be hard-pressed to come up with nine currently more well known Dancehall acts than Chino, so I was well aware that EVENTUALLY I’d dust off some Chino tune and have another listen. To expedite the process a bit, the DJ has done something which was sure to hurry me along - an album.

When I started doing research on this album, I was somewhat surprised to see that my 'history' with Chino went back further than I thought as he was the rapper formerly named Cappuccino who did a couple of tunes with Kiprich more than a decade ago (one of them, 'Leggo Di Boy', was a hit, despite being truly terrible in my opinion) (and the other came across the Wappy Back Riddim, which also featured the producer of this album at nine or ten years old) (and had you told me that more than ten years later I’d be reviewing an album for either one of them, I probably would have thought you a damn fool). However, the biggest set of 'history' behind Chino is well discussed heritage (which I won‘t spend too much time on hopefully). The son of one of the greatest to ever do it, the captain of the Big Ship, Freddie McGregor and the elder brother of one of the greatest to do it now, Stephen 'Di Genius' McGregor, Chino definitely comes Reggae musical class and, from that point of view, his own successes shouldn't be very much of a surprise.

Chino

To date one of his greatest pieces of accomplishment definitely comes on the album side as he has mashed up Japan over the course of two different albums, "Unstoppable" from 2007 and "Never Change" of just last year. The latter was reportedly one of the biggest albums, regardless of genre, in the Land of the Rising Sun (which isn’t all too surprising considering the fact that Japanese people love Reggae about as much as they love watching Koki Kameda lose). To follow that up, Chino has FINALLY linked up with VP Records and just as Voicemail (another one . . .) had done a few years back after having successful stretches in the Far East, brought to the rest of us -- his official international debut album, "Chino: The Autobiography of Daniel McGregor". The album’s existence seems somewhat overdue as Chino is someone who would, ostensibly, fit DIRECTLY into VP's plans and image (already as a Jamaican spokesperson of some of the biggest companies in the entire world, including Coca Cola) and I've actually long wondered why the big label didn’t do more work with the McGregors as Stephen (who is ~ twenty-one years old) would seem to be a most logical choice to reenergize the once mighty Riddim Driven series as well (and it would also, selfishly, get me closer to a debut album from Bramma), so hopefully this is just the first step in a long relationship. With that said, however, the album still has a very fresh feel to it and while I'm no authority on the situation because I haven't been paying attention, from what I can tell the lion’s share of the material on this album is at least relatively fresh. The album also appears likely to receive the full weight of what is STILL the biggest consistent promotion to be had in Reggae music today on an album, from VP, and with that occurring in such a way it should have the opportunity to give Chino every bit of opportunity to do so, should he have 'mainstream aspirations' of any kind with this album (and he does according to materials we've read), those doors are going to be as opened as they possibly can be for this project. The question is only how it will all sound if/when he walks through? Well, it'll be different, it'll be a little strange and it will be much better than I EVER thought it would be. Let’s take a listen.

'Never Change'/'Pon Your Head'

Obviously it’s Chino's aforementioned younger brother, Stephen 'Di Genius' McGregor (who I wouldn’t at all be surprised to see have his own debut album, as a vocalist, someday) who helms the boards behind this album. My neglect of listening to much of Chino’s work also coincided with me not listening to much of Big Ship's/Di Genius Productions' riddims, but that’s changed as of late (enjoying the Wildlife Riddim these days) because recently, 'Di Genius' has been BREATHING FIRE and serving up some of the only AUTHENTIC Dancehall riddims around. That isn't the focus on Chino’s brand new self-titled album as he goes across the board with the vibes here. The album gets going with the very popular and bubbly 'Never Change [From Mawning]'. I'll tell you that I've NEVER listened to this tune from beginning to end until we got this album and while I'm by no means blown away by what I hear, it’s the first glimpse of a talent that I would have never attributed to the DJ in any grand way, making its first appearance - Chino definitely has lyrics and the last time I was listening to him, I can’t say that he did. He REALLY makes me look like a damn fool on the next track, 'Protected', which is my favourite on the album.

“Hear weh dem seh -
‘Him only buss because him ride offa di boss name’
When mi just ah bust mi neva [advertise mi last name], eh eh
Mi nuh inna music fi no hype
No false fame
Dem no plant no corn and waan fi reap up every last grain
Nuff a dem sell out fi try live life inna di fast lane
Si seh dem no firm, dem weaker than mi Gucci glass frame
Mi si right tru dem - Is like dem have a glass frame
Try fi bruk mi meds, but tell mi no have no glass brain”

I typically don’t find myself enjoying these type of songs - the somewhat random and curiously BROAD slaps at 'haters' (I hate that word) (did you catch that???) - but this one works strictly because the wordplay is SO impressive and it's something which I wouldn't have thought Chino capable of as recently as a few days ago, even though this is one of the oldest and most well known songs on the album (told you . . . No attention). The final song from the opening batch is another good one and one which I have actually heard, the well spun 'Pon Your Head', which finds Chino espousing on the advice he received from his Mother - to not make a woman the center of ones life. As someone who has done more than his (and yours and everyone else's) fair share of dumb shit for women throughout my woefully long years, I agree . . . To a degree (biggup my wife). I do actually like this song in some ways, particularly as it goes a bit and the very colourful riddim underpins it well. Incidentally, all three of these tunes were on the second Japanese album and as they're three of his biggest hits in recent years, it is to no surprise.

'Before Dem Gone'

Throughout "Chino", as I alluded to, the music is all over the place and while I'm most partial and would LOVE if Chino and Stephen had hammered it down as a strictly Reggae & Dancehall project - who cares what I think? And I will say that Chino’s 'sudden' (to me) lyrical prowess makes ALL of the songs on the album interesting, even if you aren't completely in love with a particular one. Chino does R&B. Check the stirring and GORGEOUS and STIRRING 'Before Dem Gone' which is a song I most wholeheartedly agree with because what he says is to tell people what you have to tell them "before dem gone" because people are fragile and we aren't made to stick around too long.

“Biggup wi real friend dem weh did deh deh tru di strom
Craig Dennis did know wi love him from before him gone
Memories live on pon dem memories dem, wi holding on
But mi know Jah Jah guide him pon di new road him on
Real friend ah tell you right, when dem know you wrong
Real weh trod it from when you inna uniform
Some man seh dem a friend, and sell you out fi grand
Di cycle keeps going on!”

“If you have somebody weh yu rate, don’t wait til it late
Seh yuh fi tell dem right now
And if you have somebody weh yuh love
Forget bout di grudge and tell dem right now”
And if you have somebody weh ya check fa -
Talk that ya mouth mek fa
Tell dem right now
Tell dem before dem gone
Mi seh tell dem before dem gone”

The song is along the same line of thinking that I use by largely focusing on current artists, because I feel that it’s so important to tell them how great (or shitty if it applies) you think they are while they're still alive and able to appreciate it (or do something about it, if they care) and it‘s nearly spectacular. There's also the COOL and romantic 'Ruff It Up' which is probably missing an accompanying singer of some kind to make it even SMOOTHER, but it’s decent and, again, the wordplay is, at times, fantastic. 'Mus Come Back' is a similar track (and you can imagine the premise of the song) and the flow on that one may be even more impressive in spots. Things get somewhat Poppish on the album’s big sounding closer, 'Work', which seems to be an inspirational type of song and a MOODY one as well (at times, it seems like Chino is 'threatening' to break out into a full Soca tune). I do like the pacing of the song and although it isn’t the greatest lyrical performance here, it's still pretty good. Both 'Badness' and 'My Soul' come in with this kind of larger than life and electric type of vibe and they're two at least decent tunes. The former is clearly the better of the pair - It is an agitated social commentary of sorts - while the rocky latter is somewhat strange because if you were to take it and place it one something as straight forward as a one-drop it might actually be an excellent track, but here we have Reggae-centric and Reggae-normative ideology on a Rock track which is definitely different. Oh and the second verse is brilliant!

“Alright, some man sell out and mi see it
Sell out dem soul and nah go collect receipt
Dem sell out fi cheap
Ah wonder wah mek dem dweet
Some a dem ah pree
Nuff ah sell out as wi speak
Nuff ah dem -
Full of deceit
Sell out dem friend no matta how much food you mek dem eat
So mi tell dem seh -
Ah dem, Fadda God ahgo beat
Dats why mi stay far when mi si dem in di streets
Dem love sweets but -
Nah go sell out mi soul . . . !”

And speaking of Rock, you can also check 'God Nah Sleep [Rise and Fall Story]', which is exactly what it sounds like it is from the title. This one definitely brings up mixed opinions because it kind of has this dusty old school Rock/Alternative track behind it, which I certainly don’t like, but lyrically it’s about as strong as anything on the whole of "Chino". Also, it appears to be a kind of a ‘concept song’ and checking it at five minutes long it's one on which clearly there a great deal amount of time spent and minus the riddim I suppose (in my opinion), it was well worth it. BRILLIANT. And, incidentally, that EPIC tune follows one which is considerably less full (at less than ninety seconds), but DAMN exciting, 'Build A Vibe [Freestyle Skit]', which may be one of the most intense I've ever heard of its kind and is, again, at times so wonderfully impressive lyrically.

“No tek wi fi no simple guys
Wid fool wi nah sympathize
All ah who neva hip to di Ship before get familiarize
Who nah like si di Ship a strive can kindly mek a river dive”

Hmmm. Perhaps he meant someone like me.


'Leaving [Seal The Link]'

At the times when Chino does go back into what is more typically the arena of Reggae and Dancehall, he continues to impress and do so with a bit of a twist. NONE so more dramatic than when he channels circa 1989 with the lovely Denyque also on board with 'Driving Me Insane'. The tune is an update of Shabba Ranking’s immortal 'Mr. Loverman' and I’m pretty sure I don't like this one, but I can’t help but smile and laugh every time I hear it. Well done and keep an ear (and an eye) out for Denyque as well. There’s also 'Leaving [Seal The Link]' which also makes you smile because it brings in a SWEET piece of a riddim and is one of my favourite songs on the album. You'll likely hear this tune and think the same as I did when I first heard it (and this song, I have heard previously) - Freddie McGregor on this track would have made it even better, but as it is, it's very strong and a real highlight here. And finally we have a couple of songs which are very exciting. One is 'Yeah Yeah', which we dealt with on the BIG Peppa Riddim, from a little while back. I probably don't like this one as much as I did from before and listening to it compared to some of these other tunes has drained it a bit, but every time I hear that riddim I love it more and more and I’m nearly to the point where I don't give a damn whose voicing it, but it is by no means a bad track. And then there’s the positively ridiculous and funny 'I Am' which has a riddim which sounds like the Masterpiece from Lenky. I like ridiculous and I like funny and while this one doesn’t bring in any grand significance or anything like that, it’s just a big fun time and probably the most fun to be had here.

'I Am'

Overall, yeah, I'm convinced. This album is by no means a favourite of mind, in full, however, when I listen to it from a strictly lyrical point of view, it may just be one of the best albums of the year and one of the best Dancehall-ish that I've heard in quite some time. Also, I feel compelled to point out that in 2011 (just as in pretty much most recent years), you don't have too many big name Dancehall based performers doing full blown albums, so this is surely a boost to the subgenre, in general. What I think that I missed out in listening to Chino over the past few years or so wasn't actually that he had suddenly developed ability that he didn't previously have, but that he had the CAPACITY to do so and my prior very lukewarm and mundane feelings towards his vibes. As evidenced by this album, Chino may just be one of the most lyrically proficient acts in a Dancehall (or whatever you’d like to call it) which is severely lacking in that area. I'm still not a fan, but I'm much more likely to pay attention to what he does next. I was wrong - He's better than I thought.

Rated: 4/5
VP Records
2011
CD + Digital
Chino @ Twitter
Chino @ Facebook

{Note: CD reportedly releases on May 31}