'Can't Stop': A review of "Urban Jungle" by Brinsley Forde

For all times. As confident as I am in the current group of artists, I'm kind of thinking of inventing a time machine just to make sure that I'm on the right track. What I want to know, specifically, is whether or not the stars of today, twenty or twenty-five years from now, after the end of their musical primes, will continue to be capable of making music at or near the highest level. I want to know if Sizzla Kalonji can still toy with the spoken word in any way he sees fit well into his fifties. I'd like to know if Capleton's fire still burns as hot and as bright as it does now after six decades on the planet. And though you may not want to say it out loud (and I don't blame you), you know that you're interested in how a Lady Saw performance might look in 2035 or so. I'm suddenly curious because the more and more we see elder artists showing themselves capable of making top notch music in an era which began long after their own, I'm hoping that the current generation will prove just as fruitful in the years to come. Until then, however (or at least until I finish my machine), it is so nice to be able to hear such refined and accomplished talents succeeding on a level which, truly, shows their talents to be timeless. In just the past couple of years or so, we've seen so many gifted elders who have kind of eschewed the typical method of singing to fans their already classic material (and I'm not complaining about that, certain songs should always be sung by certain people) and, instead, have gone about the business of making new classics. Of course, most recently there was the brilliant Cornel Campbell, a man who has been singing Reggae music for nearly sixty years, who returned with a fantastic new set in "New Scroll" and also has yet another new album forthcoming later this month. As we discussed then, we've also seen releases from the likes of Freddie McGregor, U-Roy, Marcia Griffiths and others (like Trinity) who, again, though may come from an time long gone and were presumed to be past their best years - apparently no one bothered to let them know that. Fittingly, another pair of artists who we've heard from recently who would most certainly fit into that pack would be Earl Sixteen and Apple Gabriel from Israel Vibration. What do they both have in common? Besides being amazing Roots Reggae singers, the two have recently released albums for the increasingly flaming Dutch label, JahSolidRock and now someone else of GIANT note is taking the same route as the incomparable Brinsley Forde also visits the highest region. 

The label, which is more and more becoming identifiable as the place where veteran modern vocalist, Chezidek, does his best work (still fresh off the release of the MAMMOTH "The Order of Melchezedik" album) (in stores now) has also been keen to pay a heavy attention to forwarding the past as well. In 2010, they would give us "Teach Them Right" album from Gabriel and the following year would bring "The Fittest" from Earl Sixteen as well. These were and remain a pair of very well received sets from two very esteemed artists. Those albums, in retrospect, are very interesting as a pair because it shows just how much JSR believed in how viable those talents STILL were. It is one thing to maybe put Apple Gabriel on a riddim or feature Earl Sixteen on a tune on someone else's project, but to make two full albums for those artists in the 2010's, when what you do is make albums (and not kind of stumble upon them because you record someone on every riddim that you do and just kind of decide to compile albums from singles) really does say a lot about the label and their most recent move is also speaking volumes as Brinsley Forde, best known as the founder and frontman of pioneering UK Reggae outfit, Aswad, now takes us to the "Urban Jungle", courtesy of JahSolidRock. 

The first thing that struck me as interesting about this actual release (besides its cover, which is fantastic) is that it is actually the very first album that Brinsley Forde has ever done as a solo artist. To my knowledge, Aswad has been around for the last forty years or so and you kind of think it's somewhat automatic that, after such a period of time (like Apple Gabriel and like Bunny Rugs from Third World, who we also heard from in the last year), that he would have already had a solo release, but "Urban Jungle" becomes it and Forde could not have chosen a finer destination than JSR as a label which has not only done big things, but also one which has this delightful old school textures in their typical sound which figures to meld perfectly with the artist's.  Not that such a thing would be extremely difficult, given Forde's past. The man has literally done everything there is to do in Reggae music and pretty much held every position, so you would think (and you would be right) that such a track record would probably include the creation of a talent which could find a fitting home pretty much anywhere. And although he hasn't been extremely active in the studio in recent years to my knowledge (apparently loading up for this set), Forde has definitely done excellent work in recent years. Perhaps most notably his biggest efforts have come via the wonderful people at Necessary Mayhem from out of the UK, but he's also voiced for the once mighty Cousins Records and even Lockdown Productions for Tippa Irie (he also had a very nice tune, 'Inspiration Prayer', alongside Clinark a few years back). So, in the midst of everything else he does, Brinsley Forde has been mindful to maintain himself and his skills as a musician and, unsurprisingly it pays off tremendously on the new album and perhaps just being naturally gifted has something to do with it as well because "Urban Jungle" quickly shows itself to be exceptional. 

As I said, as is usually the case with JahSolidRock's output, "Urban Jungle" very much has an old-school type of vibes to it throughout and in this case, that comes via Marc Baronner and Manu Genius, of longtime JSR collaborator, Not Easy At All Productions. They make fourteen sublime tracks over which Brinsley Forde dazzles. Want an example? Check the album's sterling opener, 'Sodom & Gomorrah'. Though the tune starts off sounding like something out of a Godzilla movie (biggup Godzilla), it subsequently ascends into one SWEET composition (love the horns on that tune and throughout the album as well) which carries a big social commentary and antiviolence piece from Forde in reference to London. For me, this is easily one of the largest songs on the album and, particularly given its sound, a fine choice to begin matters on. The second piece, 'Whispering Tree', however, may be even stronger in some ways. The first song is definitely constructed to provoke thought and discussion and it succeeds in doing that, 'Whispering Tree', on the other hand, is to make you move and make you SMILE and just generally feel good and, again, it is a massive success!. BOOM! Next is decidedly modern 'She Don't Wanna Try'. If this came from someone like Ziggi or Benaïssa or Smiley, I don't think it changes much at all actually. As for the song, though it is very specific, and uses a story to make its point, I think that at its core 'She Don't Wanna Try' is a song about perseverance and not falling victim to things that catches so many people in life ["Don't we all make the same mistakes?!"] and to not give in at the first sign of rocky times. 

Though he surely does start well, to my opinion, Brinsley Forde really begins to find his way through this "Urban Jungle" in its middle portions and, essentially, continues throughout the duration of the album. 'Million Miles', for instance, is absolutely brilliant. 

"Why must the colour of man's skin -

Why must it always be denied?

Is there no hope?

Til love begins - mankind will never win

Oh why?

Why must there be? Tell me again -

First class and second class citizens

Until these things are made abundant

As long as this is - never a million miles away

I see the blood run down the street

Will they forever find the cause

Conflicts and rumours assuring wars

Never a million miles away 

I see them fighting in the East

I see them warring in the West

And though they dream of lasting peace

Wars and wars will never cease

Never a million miles away

I hear their screams I hear their cry

I hear the weak, they're asking why

Why must the strong, they loot and plunder?

Why must they raid and conquer?

Until these days come to an end -

Until all nations stand as friends

Until these things have come to past

No peace will last

Never a million miles away"

BOOM! The song is about as clever of a social commentary that I've heard in recent times, with Forde seemingly saying that a better way is there and it is attainable, but people treat it as if it is so far away. 'Million Miles' is a fantastic song and one of my favourites on the album - the only one which I definitely enjoy more, however, is the one which it precedes on "Urban Jungle", the MAMMOTH 'Chillin'. This selection is one dealing with the Afrikan Diaspora, one of my favourite topics and Forde goes after it HARD and with him he brings the legendary David Hinds from Steel Pulse (incidentally, having done albums for Israel Vibration and  now Aswad, are the prospect of a Hinds album from JSR.. inevitable???) 

"We were chillin

Just before the soldiers came

Now I am searching

But I don't even know my name

You came in your numbers, tried to surprise

Women grabbed children and ran for their lives

You put chains on my feet

Oh you bound them so tight!

Put aside the elderly -

They're no good for human cargo

Load your ships with the silver and gold

Then you steal away

You come to take I life away

Oh you are guilty, you must pay!

Now so many have gone astray"

The two, certain friends, make for a MIGHTY moment of a song and one which I feel well has the potential to do big things if given the opportunity to shine. 

'Can't Stop Me Now' & 'Baby I Love You Now'

Speaking of time in the sun, the two songs from "Urban Jungle" which have already received a bit of the gleam of the spotlight also manage to impress, 'Baby I Love You Now' and the album-closing 'Can't Stop Me Now'. The former, one of two love songs on the album, is basically saturated in an old-fashioned type of charm. It did take a minute or two to grow on me, but it should be said that this track may very well have THE best chorus on this album. 'Can't Stop Me Now' had no such a gestation period though. I well enjoyed it from the first spin through. Fairly self-explanatory, given its title, the composition thrives lyrically and sonically. It has a heavy message of being determined no matter what you may be forced to endure, but DAMN this song sounds so good! I always talk about how when someone is genuinely skilled at what they do, they can make a song whose presentation matches its sentiments and this is a perfect example of that. Brinsley Forde is saying that no matter what you do to him, you can't stop him and, as someone would when making such a declaration, he sounds HAPPY and CONFIDENT because he has the assurance that whatever awaits. He's full prepared for the moment. Big tune. Continuing on in the previous streak, 'Come Jah Children Come', which follows 'Chillin', is a stellar praising piece with a downright divine riddim carrying it. Forde embraces the spiritual side of things here (he has no choice with a title like that), but he wonderfully makes a more tangible connection to things as well. So you get a far more relatable and accessible offering to the masses - regardless of what path you may take in life. And have I told you how great this track is??? If they wanted to continue with it, I wouldn't have complained. 'Shewodun [Misguided]' was another set which took a bit of time to build up for me (and listening to it now, I'm wondering why that was exactly) (I keep telling you that I'm not all that smart), but I now rank it very highly as a highlight piece on "Urban Jungle". The song is really a challenge to listeners to question basically everything we think we know of the world. What I took from it, ultimately, is that it is call to action to become more socially active and concerned. I think it is one aimed at kind of taking apart apathy and indifference and replacing it with empathy and some sort of compassion for what is going on in the world. 

The album's other love song, the FARRRRRRRRR too relatable for me 'He Won't Love You' (that was a long time ago, but some things you just DO NOT get over), though maybe destined to be overlooked, is just as strong as 'Baby I Love You Now' and, at least for me, both of them being on the album make for a stronger project as a whole. And there is only one ganja song on "Urban Jungle", 'Blaze It Up', which may not be a favourite of mine, but what I will say is that I do like it significantly more right now than ever, so I'll keep working on it. Rounding out the album is a remaining trio of (and I'm still listening to 'Blaze It Up' and… yeah, not bad) tunes which are also amongst its best. In my opinion, the best of them all is the third, the LOVELY 'Shed No More'. 

"Not another single drop of blood

Heathen - shed no more!

Not another single drop of blood

Heathen - shed no more!

Not another single drop of blood

Heathen - shed no more!

Not another single drop of blood from the innocent

Heathen 

Watch babylon how dem ah try bun di youth dem!

Watch babylon how dem ah kill out Jah Jah fruit dem!

Persecute di youth and have dem bawling out!

Dem caah tek no more, dem soon explode, dem ahgo boom you out!

When hungry belly caan find food to eat, dem gonna tear you out!"

This song is a focused lashing out at corruption and those who persist and proper within it because they always do so at the peril of others. 'Urban Jungle', the song, also comes in here and fittingly, is as remarkable as a single track as the record named after it is as an album. And there's also another combination, 'One of Those Days', which features Forde alongside, Jah Son. I didn't have much of an opinion on this one from the first few times that I heard it, but it too has progressed. This isn't the type of track which kind of jumps out at you, you'll have to do a bit of work to get it, but I think it's worth it, particularly for more experienced fans of the genre.

Overall, unless I'm really forgetting about something (and I probably am), this is my favourite album that JahSolidRock has done with someone not named Chezidek. I do think that it is likely to find more of an audience amongst more longtime Reggae fans, though it is accessible, there is a clear lean here towards those who bring more experience (and if you've just read a review this long, surely you qualify) and for someone like that, You and I, there are gems to be found on this album. None of that, however, should be very surprising given the circumstances. Brinsley Forde's "Urban Jungle" is yet another in an increasingly lengthy queue of recent releases which demonstrate that ACTUAL talent does not come with a date of expiration. Now - time to get to work on that time machine. Very well done. 

Rated: 4.5/5

JahSolidRock

2013

CD + Digital

Review #454

What I'm Listening To: July

"Kings Bell" by Midnite [I Grade Records - 2011]

'Mongst I & I'

First this month is an album which I haven't been listening to, fully, very much recently, but definitely have been in parts and am, seemingly, well on course to ignite the entire set again shortly. Looking back, the Bassie Campbell produced "Kings Bell" for I Grade Records, from just a couple of years ago, can probably already be looked upon as a landmark release for Midnite albums which is unsurprising considering its source. I talk often about how, despite the fact that 'they' are so popular, Midnite's overwhelming activity basically means that something is going to slip through  the proverbial cracks… this album wasn't one of those times. It was and remains one of their most well known releases to date and it's recently popped back onto my radars by virtue of its wholly intoxicating first single, 'Mongst I & I' (which had a nice video) (biggup Bredz). Of course the album had a whole heap of other nice tunes as well such as its title track, 'Try That Way', 'System Peak Out', 'Peak Tension Time' and one of the greatest songs I've ever heard, 'Black Mamba'. It would make for an excellent "Rewind!" one of these days. 

CD + Digital 

"Total Reggae" [VP Records - 2013]

Checking in at a ridiculous ONE-HUNDRED AND SIXTY tracks in length, boasting the deepest vault in all of Reggae music, VP Records recently cracked it open and delivered "Total Reggae". Broken into four different records (each being a double disc set with twenty songs on each disc), "Roots", "Chart Hits Reggae Style", "Dancehall" and "Ragga", this piece is all encompassing and fairly useful particularly for newer fans. I just like to see things like this done. When VP purchased Greensleeves a few years back, you kind of worried that what would become of Greensleeves is pretty much exactly what ended up happening -- they don't really do anything -- but you can still make usage of what they had (which, if I recall correctly, was even more than VP did when they were active and still may be actually) and this is a pretty good idea in my opinion. 

CD + Digital

"Keep Your Joy" by Jah Mason [Ghetto Technology - 2002]

I ended up going mad on this album, "Keep Your Joy", the debut set from veteran Jah Mason after listening to Lutan Fyah's new album ("Never Surrender My Faith", in stores now) and then going from it, obviously, to the Mason's "Most Royal" (which shared a label of origin in Jah Warrior) and the from that album (which was wicked) to "Keep Your Joy". I probably don't listen to this one nearly as much as I would like to, but I guess I'm trying to change that these days because I've dealing with it greatly. You probably can't find it much these days and it never did actually arrive on digital (and I'm not expecting it to) . The main attraction to this one has always been and will always be the title track which, at least for me, ranks as one of the finest songs that Jah Mason has ever given us and there were more excellent selections as well, but I find and LOVE all kinds of nostalgic moments here which, at the moment, I'm having a difficult time putting away. 

CD  

The Lifestyle Riddim [Terroflex Productions - 2013] 

Sizzla, Lutan Fyah, Turbulence, Lutan Fyah, Ras Penco, Miriam Simone, Hyah Slyce and Bittah Sosicka link up with Terroflex Productions to add colour and texture to what is already a colourful and SENSATIONAL offering, the Lifestyle Riddim. This track is LOUD and it does many things, but I found a certain type of consistency in it which is all kinds of captivating. Kalonji and especially Lutan Fyah and Hyah Slyce really take the lead on this one, but I'm well enjoying almost everything on the Lifestyle. Check it out today

Digital

The Brixton Bounce Riddim [JRK Productions - 2013]

I had actually never even heard a single tune on this track besides 'The Baddest' which found a particularly venomous Mad Cobra in about as fine of a form as he's been in what has been an amazing year for the veteran DJ, so I was happy to see JRK really do the Brixton Bounce Riddim fully and I was even happier when I saw some of the directions they chose to go in. Joining the snake are not only the more expected likes of Ele and Konshens, but also the lesser expected, but no less welcomed General Degree and Mega Banton - more from Cobra's era. I was also happy to hear how the riddim was used with less of an edge in spots, highlighting its more traditional Dancehall side. Of course the Cobra still reigns supreme, but everyone does well, including a particularly clever Elephant Man and a FOCUSED Mega Banton. 

Digital

The Oil Stain Riddim [Stadic Studio Productions & Wetty Beatz Productions - 2013] 

And finally, St. Vincent and Grenada link up on the MAMMOTH Oil Stain Riddim from Stadic Studio and Wetty Beatz. Two really good tunes here come from 'the hurricane', Skinny Fabulous and Problem Child in 'The General' and 'Riot', respectively, but taking top honours is the fiery and always unpredictable Lavaman, with my favourite song from anyone at the moment, the unapologetic 'Wrenk' - a tune buttressed by Lavaman's shameless, yet POWERFUL declaration that:

"MY BEHAVIOUR STINK!"

The Vault Reviews: "Maschaana" by Midnite

Unlock it. It is a situation which is reserved for only the most active of artists in music, but it is one which is also quite common - the kind of 'ranking' of albums, not in terms of quality, but in terms of popularity. They have so many albums that you get to a point where a handful of them are well known to pretty much anyone who might be interested in a particular genre and following that a descending group of others which fill their catalog. In the next step in our all kinds of random look back at the work of Midnite, we come to an album which, as a few we've looked at up until now, went virtually completely unknown by most fans in its time and, if such a thing is possible, has even gone down in popularity in the half decade following its release date. We've already well looked at such an album in the form of the downright mysterious "Ark A Law", which basically just never seemed to get where it was going, but is probably somewhere still trying to get there. "Ark A Law" was very interesting on so many levels, but most fascinating it was an album which kind of went ignored by many of Midnite's more intense fans. That's just ridiculous! If you have any experience with the more hardcore fans of Vaughn Benjamin and co. you know exactly how passionate they can be and for an album to barely make a ripple, even when it was brand new, is damn odd! Comparatively, even if you look at albums which have grown to be less appreciated throughout the years, such as one which we've recently covered, "Thru & True", "Ark A Law", substantially, is less known than even that set which, as we discussed, is one of the least regarded of all of Midnite's releases. There's also another album which isn't very popular that we examined, "The Way". That album's 'lifespan' just amounted to bad timing. It was released in a time when fans' attention was simply put more into different (and arguably better) directions, so it wasn't as surprising what happened in that case. Now we take a course of an album which has also gone overlooked and, like "Ark A Law", has gone so much so, that it could well be called somewhat mystifying - something which I now find to be very strange after listening to it and then beating down for the point of reviewing and discovering for the four-hundredth time in reference to a Midnite album - that it was MUCH better than anyone gave it credit for being. 

This particular album belonged to a group which came via Natural Vibes from out of the US. The albums that label did for Midnite, in general, weren't amongst the most popular, but looking back now (and presumably, they're gone, having not done a project from 2008), they did a very fine job in retrospect. Along with doing a quintet of Midnite albums, Natural Vibes would also give us a pretty decent compilation which featured Vaughn Benjamin and others such Xkaliba and Ras Calle by the name of "Itinualjah" back in 2006. That same year, they'd also do an album which I should probably review someday because I do enjoy it a lot, the woefully underrated "Mo Fyah Chant" by Volcano from out of St. Croix and even "Freedom Sitee" from the unfortunately way too inactive Sistah Joyce ["One pot a ital fi mi bredrin!"] [BOOM!]. And in 2008, they would do another pair of albums, virtually simultaneously if I recall correctly, with "Fire Chariot", the first and only album from Jah Rubal and another by the name of "Maschaana" by Midnite. In previous years, as I alluded to, Natural Vibes had also pushed "Full Cup", "Current" and "Project III", a Midnite Branch One release. The label often worked closely with Ras L, who did ("Thru & True" and - ) three of their four Midnite releases and Volcano's album and Jah Rubal's as well), including "Maschaana". 

Midnite & Natural Vibes 

I've never had the greatest appreciation for any of the Midnite albums from NV. I didn't think that they were bad… okay, maybe I did (I've recently come to the conclusion that "Current" is my least favourite Midnite album of all time) - but there was nothing that greatly stood out for me and that was also the case for the Ras L albums in general. But as I'm discovering more and more these days, Midnite's work shines brighter when placed under a different kind of light and the 'gleam' I use for reviewing things seems to light them up very nicely and I was pointed back in the area of "Maschaana" after FINALLY thinking of doing the same thing for Jah Rubal's album (which I may or may not get around to someday). I had definitely dealt with this album before and I'd heard some good things, but if I listed my top THIRTY Midnite albums, I don't know if it would have rated anywhere in that list as recently as a week or two ago. But when I focused on it and thought to review it, I heard a different album and I think it goes back to my notion of how Midnite's music is perceived: You have those who believe Vaughn Benjamin to be musically infallible. Everything he does is amazing for no other reason than because he does it and they may not actually get into the music properly because of that attitude. On the other hand are those who'll listen to a song and not immediately like what they hear and know that they aren't the biggest of fans so they'll dismiss something as more kind of strange cryptic vibes from Midnite. Previously I was a part of the latter group and while I hope that I am never a member of the former (if you make anything, you make mistakes), I'm at a point now, where I'm well prepared to dig into things which I may not have seen a purpose in excavating from before. And what I found in the cave that is "Maschaana" wasn't the kind of bizarre and downright eerie sound that I had well believed was to be found in there. What did I find? A pretty 'bright' album actually. 

Vaughn Benjamin

I guess it's Ras L's style. Just like "Thru & True", "Maschaana" also pulled a heavy eighteen tracks (and if you're wondering, "Project III" had fifteen and "Full Cup" had seventeen). So, combined with the other reasons why many people didn't take in this album and it ultimately had great troubles in finding its audience, perhaps the fact that they may've heard something which wasn't impressive and then saw, potentially, seventeen more of them also had something to do with it. Though it should be said that "Maschaana", musically speaking, may be one of the most diverse sets Midnite has ever done. Because of that, in some truly ridiculous way, I'm inclined to call this one, one of the more accessible releases that they've done as well. Though, of course, no one will ever listen to it, so who cares? Anyway, "Maschaana" gets going with one of its biggest moments, 'If You Don't Know'. This song kind of snuck up on me because although I'd remembered certain things about it, like the melody (what little of it there was), I didn't at all recall the dominant vocal sound here which is this downright captivating doubling of the vocal, which kind of gives it this LOUD screeching sound and it's not bad. It keeps your attention and impresses. Of course the message is a crucial one and combined with the vibes of the tune, it well makes for a standout. The second song on the album, 'They Know It's Him', is a damn vexing one to get through because of its sound. I have no idea what is going on here! I listen to it and I like it and then I play it again and I don't enjoy it at all and almost hate it. Somewhere in the middle of it all is a decent tune, I suspect, and one built on an outstanding notion of people who are in the presence of His Majesty, in one way or another, realizing it - whether they want to admit it or not. Track #3 from "Maschaana", 'Absent By Jah', is yet another piece which has this kind of unusual and spiraling sound on it. This one (the sound), I do not like, but to ignore the wonderful connection Vaughn Benjamin makes between those who, perhaps, are found within the tune prior to it, and utter confusion and nastiness because, again, they refuse to acknowledge HIM - is making a mistake. 

"Maschaana" picks up considerably following its largely average beginnings and this clearly becomes apparent on my single favourite song to be found on this album, 'House of Behaviour'. BOOM! 

"Rastaman ah chant natty ganja raider

Love Jah more! 

Inna di house of behaviour

IMPORTANT TO YUH SYSTEM LIKE AN ALTERNATOR

Inna yah breastplate, important like a carburetor

Gratitude and love ya inna combination

Such a subtle feeling well come be near yah

Attack and hater!

Subtlety and quite - and revenge fi later

From Egypt to America, two-thousand years later

Identical anti-tactics of reaper

Family is the world, we could not exist on yah

The mountain of folly no accept the leach yah"

This song is a lyrical powerhouse of a piece which doesn't give in even a little and a full dazzling and unforgettable piece. And with a tune like this, you have to wonder if anyone heard it, because Midnite fans would erupt over something like this and it isn't the only one on this album with such a pull ["bun down di joint three more centimeter = clean out ya head, doubt of negative thought ya"]. Later on we get to a HEAVY piece by the name of 'Sang Real' which is also exceptional. Vaughn Benjamin goes purely ahead with a fairly aggressive delivery on what is an equally forceful praising tune for The Almighty. The song which takes over following 'Sang Real', the stirring 'Hold It Up' is also not to be missed. I didn't remember a song like this even being on this album. If I did, I wouldn't have thought it to be so skeletal and minimal, because this piece, and a few more I still have to tell you about, are anything but. As for the song, it's essentially about pride and having self-respect for what is the role you play in society. Whatever you do, 'hold it up'! And then there's 'Good To Me, Good To Be'. TEARS!

"Give I peace and rest after labour of accomplishment 

Good to me, good to me 

Rastafari been good to me 

Good to me 

Rastafari been good to me 

So many times I allow pride to stand in the way

Pride of person

When I look and see what has been done to the Haile characteristics manifested His Majesty

I STILL KNOW JAH HAS BEEN GOOD TO ME!

Diligence and companionship towards the work of Jah

Towards the Haile end

Beyond the false pretense

I have faith in my idren -

To rise and never fall again

I have faith, one-thousand

Youth happy and healthy

Yeah, Jah been good to me" 

There is a piano here and it provides the track with this breathtaking aspect to it, so you have to pay attention to it (well, obviously you don't have to) and, for his part, Vaughn Benjamin doesn't try things too hard. Instead he gives us this effortless technique which is being thankful for what he has received in life. The very clever 'Outta Sight, Outer Mind' also ranks very highly on "Maschaana", as does 'Clean Area', though the latter of those two took more than a minute to grow on me with odd arrangement. Ultimately, as is so many times the case with Benjamin, it becomes a powerful lyrical display which more than makes for any shortcomings it may have in any other 'area'. However, though I rate 'House of Behaviour' as the best song on this album (because it is), the one of which I am most surprised NOT becoming a substantial hit is definitely the MAMMOTH 'Sha-Tee'. Here, Vaughn Benjamin gives us a 'The Gad'-like stream of lyrics which is something which sounds like it took several years to craft, but is seemingly an instinctual action for him (and him alone). 

"WITH A DILLY THIS AND DALLY

AND THE TWO AH DILLYDALLY

With the misentry of collie, still ah bouncing pon di challie

And the numbers up wi tally only add up in di lobby

And di congress is di baddy, supreme court ah fight dem hotly

And di golf cart and di caddie and di mental and di body

Have to situate already and it's usually di media -

That ah pretend that it's funny and I thank dem pon my time -

INSPIRATION OVER MONEY

Inna various of money -

When it done, dem call it dunny

As di vibes of Jah is sunny 

And mi sun, I know Jah give wi

And it's numerous and plenty weh to better everybody"

The tune is amazing and immediately it became one of my favourite Midnite songs ever. And I remember this tune, but never remembered it sounding anything like this. DAMN! 

The remainder of "Maschaana" (because after all of that I still have eight songs to talk about) (biggup Vaughn Benjamin) (biggup Ras L) also gives us a few nice moments as well, particularly near its very end. Closer to the front, however, is a decent pair in 'Blessed Be The Name of Love' (which isn't horrible, despite its name) and 'For Life'. I really tuned in on the first of these for quite some time as I, for awhile, considered it a favourite. It's very involved despite its straightforwardness and a winner on some levels. 'For Life', on the other hand, is the definition of skeletal. If you subtracted EITHER the riddim or the vocals from the tune, I don't think it would be much different from what it is (and I go from that to listening to 'Good To Me, Good To Be') (the transition is kind of jarring) ["Good to me! Good to me!"] [BOOM!]. And then we head towards the other end and get another song which is currently working on my affections, 'Goes Out'. This song is different, to say the least and initially I began with the kind of thought that it didn't sound very good -- with Benjamin actually doing some rapping! -- but there're enough elements of the chanter in his natural state to make this one worthy of your time and I'm still working on it. The final judgment has been passed in the case of 'Run Dung' though. The vibes on this one are FUNKY. They're kind of Jazzy and although not a highlight for me, it's easily a changeup for the album and not a bad effort either. Speaking of not bad (and a little better), check 'Say Something'. Another piece which is quite thin, in this case it works well and its strange sound (and it is odd) notwithstanding, 'Social Arena' is a tune which isn't bad either… behind that Jungle-ish track it features. Again, it features a version of the artist that I'm more used to with the straight ahead chanting and I find that, at least in the case of this album, when it does feature a deviation from that style is when I'm less impressed. 

As I alluded to, “Maschaana" once again rights itself at its conclusion with two big songs, 'Give Jah Thanks' and 'Set Up'. With all of the zaniness right ahead of it, the former was a very welcomed returned to normality and it also features, in a slightly toned down way the same effective vocal doubling which is found on the opener. The song is self-explanatory and it brings with it this nice and calming vibes which come in SO nice. As for the album's closer, I'd be some kind of surprised if it was the case that this wasn't some type composition which was just vibed together, but if that was the case, then what they came up with worked fantastically and places a beautiful bow on the album. 

Overall, I don't want to seem like I'm attempting to make the case that "Maschaana" is a GREAT album because it is not. As I mentioned, it does get softer during much of its latter stages and the full start isn't amazing either (it's what comes between them which is considerable). However, for an album which has not only been largely forgotten and one which, even for its time, didn't receive too much attention, I think that "Maschaana" is MUCH better than it has ever been credit for being. The absolute best of this album, songs like 'Good To Me, Good To Be', 'House of Behaviour', 'Sang Real' and 'Sha-Tee' (and 'Hold It Up') rate very well, in my opinion, when compared to the very best of any number of other Midnite albums and, in retrospect, I'm pretty shocked an album like this received the fate that it did. 2008 did give us the HUGE "Standing  Ground" and Midnite's live release, but albums have had more in the way of 'competition' and done better than this one did. But you can still take care of that. By no means was "Maschaana" one of the best Midnite albums ever, but if you've never REALLY listened to it, I can pretty much guarantee you that it is significantly better than you think it is. 

Rated: 3.85/5
Natural Vibes Records 
2008
CD + Digital 

Review #453

The Vault Reviews: "Tell It From The Heart" by Luciano

Feel it too. For many different reasons and in many different cases, there is a very nice and comforting group of artists who will never find themselves too far outside of what I'm listening to at any given time. Though I love to find and the process of finding new and interesting artists to listen to --  truly one of the greatest aspects of being an intense fan of music -- it's often just as fascinating and probably even more necessary to have ones that you can depend on and go to, almost always, for a certain type of vibes, depending on your mood. Personally, as you might imagine, I have more than a few, depending on what I may be going through and they're largely my absolute favourite people to listen to. For example, if I need something to kind of ignite my brain (which sometimes, can take a REALLY long time), without question I'm tapping Sizzla Kalonji, Lutan Fyah, Vaughn Benjamin and other ridiculously talented wordsmiths who make amazing songs which are extremely useful in provoking and activating thought. They're also who I'll go to if I find myself struggling in comprehending something (… like a Vaughn Benjamin song, for instance) - with the idea being that if I can successfully navigate my way through one thing, then coming back to the confusion will seem easier. On the full opposite end of that would be someone like Destra or Skinny Fabulous or Fay-Ann Lyons who make music which helps me to basically shut my mind down and just let an intoxicating instinct take over and run things. They don't provoke thought, they provoke a 'detached' level of sanity and I absolutely love their work as well. Someone else whose music well serves a purpose in my rotation is definitely 'The Messenjah', Luciano. Besides being someone whose mere presence in the music makes Reggae a much better place, the legendary vocalist makes a brand of Roots Reggae which is just so damn encouraging and inspirational and although I am someone who loves to think my way through things and break down lyrics and fragments of lyrics -- and that isn't the trademark of Luciano's music (though I do believe him to be a better writer than he is given credit for being by many) -- I will always make room for someone who, when at their best, can just make you feel so good and not too many people are better at that than Luciano. 

Throughout the years, if you dig through his album catalog, you will find some SPECTACULAR moments from Luciano and his projects tend to be amongst the very most well-regarded and popular that the genre has to offer. However, while on the higher end of his work would be albums such as his most recent, "Rub-A-Dub Market", "Where There Is Life" and my personal favourite, "Serious Times", he's also made quite a few others which are not as well-known and may not be (are not) as GOOD, but, because of his style and his ability to amazingly apply it - a Luciano who is not at his best can still be quite strong.

A good example of this would have been an album which reached a decade ago now by the name of "Serve Jah". This album was one of my personal favourites that he's done, but it wasn't as widely acclaimed as so many of his others and it still has slipped past many fans. So looking back to 2003 - if "Serve Jah", an album from VP Records, went overlooked (and it did), then what could have possibly been the fate of another album from the same year which wasn't, as you might imagine, wasn't as popular as "Serve Jah". Today we take a look back at an album which, at least for its time, I also probably skipped by just a bit, "Tell It From The Heart". Although lacking the kind of inherent promotional vehicle that "Serve Jah" had (and if I recall correctly, "Serve Jah" was a fairly well ran record as far as marketing) in VP Records, "Tell It From The Heart", retrospectively, was in pretty good hands. The album came via the Minor 7 Flat 5 label which had a very nice stretch of output and successes for a few years in the earlier 2000's which would include not only this album but others from the likes of Turbulence, Lutan Fyah (his debut album, "Dem No Know Demself"), Cocoa Tea, Horace Andy, Al Pancho, Anthony B and the likes. And though it would all eventually kind of wear on me because they had so many of the same tracks on so many of the albums, I used to REALLY enjoy their work and now, with time have taken care of quite a few things, I was happy to pop this album back on my radars maybe from two or three months ago now and, finally, give it a properly intense spin through. What I found was pretty much what I expected. "Tell It From The Heart", like almost all of the albums from M7F5 was very solid and predominately straightforward, but it did offer a bit in the way of twists and turns. Furthermore, like I said, even though it may not have featured a version of Luciano at his full best and wasn't to be remembered as one of his better albums (if I had a top ten list, I do not think it would make it on the list), it was still a very nice release and one which, after really tuning it in, I'm predicting will continue to grow in my opinion. As was the case with many of their projects, Minor 7 Flat 5, headed by the one Brotherman, featured a great deal of work and input from the mighty Al.Ta.Fa.An. (ten years later, still going very, very strong) who definitely helped to bring an intense level of class to their releases and when you team them up with someone such as a Luciano, you know that project, whatever it was, was literally brimming with class. So regardless of whether or not this was one of the singer's best albums, you kind of knew what to expect in terms of at least how good it could be. Did it live up to those expectations? Without question, but let's go deeper.

If you kind of envision in your mind what a Luciano album is 'supposed' to encompass -- all of the things that he typically does -- what you're likely to come up with is something really similar to what "Tell It From The Heart" turned out to be. It wasn't spectacular for the most part, but for all that it lacked in the way of those amazing and immediately attention-grabbing moments, it made up for in being consistent and entertaining. A good example, however, of what "Tell It From The Heart" could be in moments which were even better than "consistent" or "solid" was to be found in the album's first actual song, following an intro, 'Ends of Never'. As if anyone had a question regarding his faithfulness and loyalty, Luciano makes it crystal clear on this tune.

"I'll be loving Jah until the end of never!

And I'll be praising HIM and serving HIM forever!

I'll be loving Jah until the end of never!

And I'll be praising HIM and serving HIM forever!

And if some people could try to face reality -

Then they would overstand why, I've got this faith in me

I give my soul to Jah completely

Hallelujah - My future I can see" 

Easily one of the most memorable and identifiable selections on this album, 'Ends of Never' was big and it was my second favourite offering here altogether.Next was another fairly memorable moment in the form of Luciano's cut of M7F5's Campo Riddim, 'Babylon Go Down'. This was a decent (and self-explanatory) spiritually steered social-commentary and although I probably used to like it (and everything else on that riddim) a little more than I do these days, it's still a well done set and well worth hearing. Another of the pretty well known piece from "Tell It From The Heart" puts a bow on our opening - 'Another Moses'. I've kind of gone back and forth and up and down in my appreciation for this one, those these days (after focusing primarily on the latter stages of the tune) I'm in a good mood on it and I'm not complaining at all. 

As was the case with almost everything (if not everything) that Minor 7 Flat 5 did around the time, Luciano had a little help with "Tell It From The Heart", in the form of two pretty big combinations. The first of the pair was 'Freedom Train', which was a somewhat unusual, but ultimately strong pairing of former Xterminator residences as the tune linked The Messenjah with Turbulence. This tune was more dazzling than anything -- it had a very nice sound to it -- but it also brought the substance as well and the two made for a nice combination. And later there was the call for 'Peace', which linked Luciano with another pair of artists who also had albums for M7F5, the aforementioned Lutan Fyah and Taffari. As the Fyah proclaims in the early bits of the tune, "this is more than goodness!" and, looking back, here is definitely a track which never got the attention that it deserved. Of course Lutan Fyah and Luciano are excellent, but Taffari also shines brightly as he does… pretty much everything associated with Al.Ta.Fa.An. 

The three best songs on "Tell It From The Heart", at least in my opinion, are solo tracks, however. Along with my #2, 'Ends of Never', there's also the third best effort here, the golden 'Only Jah Knows'. Carried by  the equally gleaming Security Riddim, this ultra straight-ahead observation on the times was very subtle in many ways, but after a few spins through, it develops into this vibrant song which heads near the top of the entire album for me. At that head would definitely be the HUGE repatriation anthem 'Ethiopia'. 

"Ethiopia - here I come!

Mama Afrika - here I come

Ethiopia - here I come!

Mama Afrika - I'm coming over

I'm coming home to take my rightful place - under Jah sun

Make preparations oh ye mighty race

I'M COMING HOME!"

This tune here, alone makes "Tell It From The Heart" well worth hearing and something of interest (as if you needed something more than 'Luciano album') (and you didn't). I'm so happy that it sounds even better today than it ever has in my ears and I'm looking forward to it progressing to being some type of personal classic for me because it is that good. 'Bombs' was a better than average offering as was 'I Grow Up'. The second of these, especially, stands out most these days as it speaks on just going up into different and better stages in life and doing so and being able to do so because of the will of His Majesty. Although what really makes the song for me, I should say, is its passion. This doesn't feature a version of Luciano who is searing with emotion or bouncing around, but you almost get the feeling from the way that it is done that if you actually asked him, he might say that this was his personal favourite song on "Tell It From The Heart". The final and title track on the album certainly isn't a highlight for me, though I do appreciate it in a couple of ways. And rounding things out are a pair of songs which kind of represent kind of what happens to me these days in reference to some of the work from M7F5. 'Go[t] To Strive' is a song with absolutely nothing wrong with it. It surely is one of the better songs on this album and I don't even think that's questionable, but when I hear it what do I do? I get bits and pieces (biggup Lutan Fyah) in my head of another song and I sit and try to figure out what song I'm singing. In this case it is the MASSIVE title track from Taffari's "Break Down Babylon" (his second album , though if I recall correctly, both of his albums pretty much have the same songs on them), which is a better song than this one, but 'Go To Strive' is very good as well. The same could be said for the Gospel infused 'You Can Have The World' which is carried by the Immigration Riddim which actually had a few good songs including 'Black King' by Lutan Fyah and Jah Mason as well as Mark Wonder's 'Rasta', but the song I instantly began to sing when I hear it comes via Anthony B and… Taffari as the two teamed up for the excellent 'Rise Up' on the track as well. The chorus on that song is in the stars - it was beautiful, but Luciano also turns in a fine performance with 'You Can Have The World' (and, if you care, Al.Ta.Fa.An. has been pretty active in releasing riddim albums, so you can find a few of them, including the Immigration, rather easily these days). 

Luciano

Overall, "Tell It From The Heart" was a better than decent release which I'm glad that we ultimately got around to digging into. The album hasn't aged the greatest in terms of its popularity, but the fact that it was what it was -- a Luciano album -- does help and will continue to. Also, in general, the run that Minor 7 Flat 5, as I mentioned, was just a very good thing in retrospect and it takes this long to kind of be able to look back on it and appreciate just how much ground they did cover in such a short time and while not every release was stellar, as a whole, the movement itself was exceptional while it lasted. When you have someone like a Midnite or a Sizzla Kalonji or Luciano who has put out so much work, it's often difficult to advance past that top level because it's just so damn good! But if/when you do, you can find many very useful projects like "Tell It From The Heart" which do not belong on top and are not on top, but are still packed with moments which fans like You and I can enjoy for a very long time. 

Rated: 3.55/5

Minor 7 Flat 5

2003

CD + Digital

Review #452