Who doesn't love surprises? 'Me!' may be an appropriate answer given the circumstances or if the word 'surprises' is preceded by 'bad', then I guess 'everyone' would be even better. However, when it comes to shocks and spontaneity of the positive and 'good' variety, count me in. If you are fortunate and you live a good life, by its end you will have experienced many wonderfully surprising moments. Be it a proposal, receiving or (even better) giving a gift, witnessing some amazing occurrence or an endless list of other WONDERFUL things we may encounter in life, surprises can be things which you truly never forget. When it comes to music, perhaps we don't tend to look at things in that way (because a big tune is a big tune and when you hear it, at least not initially, you're usually not wondering how it came to be), but the same can definitely be true. To no type of frequency does it happen, but when it does, it sticks with you. I don't have to go very far for examples of this, in fact, I can use these very pages for research. Right off the top of my head two GREAT shockers come to mind. In back-to-back years, 2009 and 2010, we would designate our selection for album of each year to be from relative unknowns, Lion D and Naptali with "The Burning Melody" (still a fantastic title for an album) and "Long Journey", respectively. In the case of Lion D, I don't think I'd heard of him AT ALL prior to that album and, for Naptali, I may've come across a tune or two prior to "Long Journey", but it was nothing to suggest THAT was forthcoming. Both were debuts, I chose both over some spectacular competition (Naptali, specifically, was my favourite in 2010 over a pair, "Feel Your Presence" by Niyorah and Chezidek's "Judgement Time", both of which I've since deemed Modern Classics) and they remain two of the best albums I have heard from anyone. Similarly, we can go back now nearly a quarter of a century to a point when, one album deep into his career, a up and comer by the name of Miguel Collins would cement his arrival (and legacy at the exact same time) with his second and third, "Black Woman & Child" and "Praise Ye Jah", one of which is THE best album I have ever heard and the other is not very far at away at all. In those cases, curiously, we're dealing with situations where the surprise was that this unknown/up and coming artist demonstrated themselves to be capable of more than what we expected, but we did not know what we had, precisely. Today, on the other hand, we get to deal with an individual who at least I thought had played every card in his hand; but nine years ago during on seventy-six day tear, he showed me how wrong I was.
I'd known who Anthony Que was prior to 2012 and his name was exactly that. He was a name. By that point he may have already had four or five albums to his credit and he was, I THOUGHT, a 'known commodity' (and those albums weren't bad, far from it, but they were of a certain quality-level which suggested that... that was what you were going to get from him). I thought I knew who Anthony B was musically and there wasn't a song (not a single one) that I would closely associate with him. He was just a guy. The main attraction to him would have been that he sounded quite a bit like the legendary Beres Hammond (who he looked up to and actually recorded with if I recall correctly), while focusing largely on conscious Roots styled music. Where I was trying to figure out WHO Lion D and Naptali were and HOW talented Sizzla might've been, already around fifteen years deep into his career, I thought those questions had been answered for Anthony Que.
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| Anthony Que 2012 |
Again, I was horribly mistaken. In the early summer of 2012 a French label by the name of 149 Records (apparently still around, at least up until last year), in association with Babyclone Band (apparently looooong gone), would begin to show me the error of my ways by releasing simply one of my favourite albums ever, "Meditation Time". I probably should get around to writing it up as a Modern Classic feature, itself, because "Meditation Time' was HALTING. It was (and remains) the type of a release you hear from someone that makes you reconsider everything they'd done up until that point - essentially asking yourself, 'did I miss something?' and 'has it always been THIS good'? Nearly a decade on and I still can sing songs like 'Ease Up The Pressure' ["...on the poor. We can't take it nor more"], ["Meditation Time. This is...."] 'Meditation Time' [!], 'Hold On' alongside Queen Omega and 'Come Come' ["Beautiful Empress. Come give me all your love"] instantly without much thought. It is a personal classic for me and he wasn't finished that year. Just one day shy of seven weeks later, Anthony Que took his talents south and linked up with Reggaeland from out of Barcelona (hala Madrid) and produced another WINNER, "No Fear No Man". That album brought big tunes such as the unforgettable title track ["I DON'T FEAR NO MANNNNNNN! CAUSE I'VE BEEN GIVING JAH THE PRAISES ALL MY LIFE!"] (BOOOOOOOOM!), 'Holy Ground', 'Calm the Beast', 'Blowing in The Wind'.... I could go on and on. If you haven't figured it out by now: In my opinion, Anthony Que had a fantastic year in 2012. It not only scintillated that year, but it also marked him as someone who, going forward, I made a point of checking in on from time to time. From then, Que would resurface in early 2018 with an EP called "Resurface" for Ricko Berry and, later that year, came "Runaway Slave", which was a full album for Lloyd Mullings. That old school vibed set was very good and probably worthy of a vault review at some point and did absolutely nothing to dampen my newfound opinions concerning the ability of Anthony Que (there was also "Junction Series: Anthony Que Meets Bunny Lye Lye" in 2017 which was decent and did have at least one large moment in 'Rise Like a Lion'). Three short years later and the singer is at it again, this time with a very familiar base. "Nah Give Up" comes via the esteemed Stingray Records from out of London. A lot of Anthony Que's work has been with European labels and producers and, with what they've managed to do, you'll find nary a label in Europe or anyone else with the commitment to quality as the McLeod family ran Stingray. A glance at THEIR WEBSITE prominently displays their motto as "Producers of good Reggae music without profanity" and they have well earned their reputation and stature in the music (here would be where I would run off a list of the artists that they've worked with throughout the years, but instead of doing that, I'll just tell you that they've worked with everyone. Literally, EVERYONE) (oh, and maybe I should try to watch my dam.... my mouth in this review as well). I had no idea that this set was forthcoming actually, but even on paper the idea of Anthony Que & Stingray is very exciting. The question, of course, is whether or not it really works out in the end.
That's not really a question. You already know the answer; of course it does. Going back now and listening to both "Meditation Time" and "No Fear No Man", I hear a trait which I don't know if I've ever mentioned in a review (I also hear it on an earlier album by the name of "Recharge & Reload", which reached way back in 2005). I hear CONFIDENCE. I hear someone who is at peace and in favour of what they're singing about and has a certain level of assurance in their ability to convey it. It isn't Dancehall or Soca bragging -- it is a humble confidence -- it's just a very nice 'spirit' which is present and gives the music a compelling tone (prime examples are 'No Fear No Man', the song, and 'Hold On' from "Meditation Time"). Fittingly, Anthony Que also appears to be very solid and sure of himself as he strides into his brand new album from Stingray Records, "Nah Give Up", with the fully sterling 'Visions of Light'.
"I get the wisdom of life from being humble
I know the Higher Powers will keep me strong
Cause I'm a messenger from Jah, come to spread the message through music
Until my very last breath, I'll be doing Jah works"
That very first line, "I get the wisdom of life from being humble", thoroughly encapsulated what I meant in regards to Que's confidence. It isn't an arrogance; it's a COMFORT. That is the prevailing message behind this outstanding opener as well - taking comfort and finding a safe place with His Majesty. The song also has this delightful classic sound to it and quickly shows itself to be amongst the very best "Nah Give Up" has to offer. Even stronger, however, may be (it is) its second selection, 'Trample Vampire'. Here, we find the singer building upon the vibes set by 'Visions of Light' and taking things in a slightly more aggressive step (and you won't hear anything... like violent, but there is a greater 'push ahead' on 'Trample Vampire' to my ears). On top of that (or behind it, actually), this tune is EXCELLENT to listen to. That riddim is so fu.... so SWEET to listen to and I'm sitting here wondering if Stingray may've done even more work on it. Furthermore, take a listen to the latter portions of this one as it is easily amongst the most thrilling sections on the whole of this release. Next we have the first of a few love songs and the album's sole combination, 'Baby I'm a Want You', which features Anthony Que alongside BEAUTIFUL voiced Chardel Rhoden from of England. Rhoden has become a Stingray staple over the past few years: In 2018 she released "Natural Woman", a seven track EP on the label and, just last year, artist & label combined to follow the EP with a full release called "Born Again" (which featured a golden Reggae-fied redo of Aretha Franklin's classic 'Natural Woman'). Rhoden is primarily a Lover's Rock so, 'Baby I'm a Want You' is right near her specialty. She shines on this one with that voice! If angels do actually exist and they sing, if they're lucky, they probably sound a lot like Chardel Rhoden. After 'Baby I'm a Want You', we run into one of the COOLEST (and probably my second favourite) songs on "Nah Give Up", 'More to Come'. I've heard similar songs to this one and I think I usually go to the term 'ode to music', which is basically what it is but, again, this one is a VERY confident and bold one.
"Cause when you think that we're over and done
We still got more to come
The musical maestros, we are still around
More boom songs still left to come
So when they think, Stingray over and done
We stil got more left to come
The musical maestros, yes, we're still around
More boom songs still left to come"
Unlike any other form of entertainment than I can think of, music is something that doesn't really lose anything. If you watch your favourite movie, for example, over and over again, you'll probably get tired of it somewhere during just the second watch. Sports, inherently, lose their drama on the very first replay (because you already know who won and lost), but you can listen to the SAME DAM.... THE SAME SONG OVER AND OVER AGAIN for a few hours and still love it so while I don't know the impetus behind 'More to Come', I'm very happy it was written. What it does do is to give a bit more credit to producers and others behind the scenes who make this wonderful music possible. I'm thinking it may've been something of a vibe and a tune which arrived in a more organic type of way. Whatever happened here, 'More to Come' is excellent. Along with 'Baby I'm a Want You', "Nah Give Up" offers a few other at least decent love songs as well. The best of them all (technically) (more on that in a minute) is likely 'Truly Bowled Over'. Up until the time I heard it, I was really wondering what this song was really about. It is a basically about a feeling you're lucky to have once or twice in your life. It's being COMPLETELY and UTTERLY impressed by and enamoured with. It's a halting type of love and it doesn't come through on this one in some desperate or creepy infatuation type of display. Instead, as you would expect, Que is mature about it, all the while acknowledging that, YEP, he's stuck on someone in particular. On 'So Lonely', the artist isn't quite to the point of 'Truly Bowled Over', but he's working on getting himself there ["I've got so much dreams for you, you may think I'm Martin Luther"] while wondering if (even more importantly, perhaps), where exactly her head is as well. It's about that point in a relationship when things have clearly gone into a higher gear but you're STILL trying to figure out where your head is and where theirs is as well. And for the times when things go bad and stay bad, there's a piece like 'Girlfriend'.
"I need a new girlfriend to brighten up my life
I need new girlfriend to make me feel alright
I need new girlfriend to spicen up my life
I need new girlfriend to brighten up my night
After being together for nine long years
We've been through blood, sweat and tears
Now I think it's time for you to leave
Cause I'm a big man and I can't take your grief
Though after so long, we've been wasting time
So won't you pack up and leave, but don't touch my child"
Sometimes shi... stuff goes sour and, because of that, there will always be places for songs like this one. In full, I just want to say that between, 'Truly Bowled Over', 'So Lonely' and 'Girlfriend' (and definitely 'Baby I'm a Want You' is included in this), what you have is just SOLID Lover's Rock and four REALLY nice songs to listen to and that's what you hope for. They aren't the main attraction on "Nah Give Up", but they do well help things go along and stay at a certain level of quality to my opinion. There is another one which isn't truly a love song, but it fits within that scope and it is amongst the centerpieces here, 'Run to Me'. This one is unique because you don't come across many like it in Reggae music. 'Run to Me' is an anti-domestic violence song and the subject that Anthony Que isn't speaking to a love-interest really (and it doesn't even matter if she is), but more like an old family friend. It's such an fascinating point-of-view to take on the topic because it doesn't present this kind of 'leave him for me' type of dynamic that you'll hear on standard 'love songs'. Que doesn't really get anything out of her leaving that piece of garbage she's with; but it becomes a matter of him just being concerned for someone, in general, and wanting to see the best for her. An IMMACULATELY conceived song and one which reaches near the heights of this album or any of Que's is 'Run to Me'.
The delightful 'Jah Love Is Real' finds Anthony Que singing of a love of a different kind. What a nice song! <That is exactly what went through my mind from the very first time I heard this one, a quality which has not waned at all a dozen or so spins later.
"I rise in the morning greeted by the morning dew
Jah poured down his blessing and the sun came shining through
And whoa, what a glorious feeling! -
In seeking HIS spiritual healing
And I see all the things HE created for me and You
Jah love is real
Jah love is so real
That's just the way true love should be
I give thanks for health and strength, oh Lord, to go through
That's why I count my blessings
WHERE WOULD I BE WITHOUT YOU?
I'll never forget where I'm coming from
You've always been there to keep me strong
Yes, through you Jah, I'll sing a joyful song"
TEARS! You look at a title like 'Jah Love Is Real' and you think it something cursory or cliched if you want [!], it will be your mistake and you will be punished for the oversight. This song is a golden turn and it directly leads us into another, 'Fight Fight'. Where the track just before it speaks of the splendour of receiving The Almighty, 'Fight Fight' goes into what happens when you do not. It can lead to violence on a massive scale ["All they do is just drop their bombs on other nations"] and just terrible discontent ["It seems the people know Jah, they don't care bout creation"] in general. Que paints this picture, but it isn't one which is a depressing one. There is a underlying BEAUTY on this one and I don't just mean the riddim (.... which is lovely. The unifying 'Children of Africa' also ranks very highly on "Nah Give Up". What I eventually took from this one was the notion of just how much power and influence Africans and people of African descent could have if we all (or just even a lot of us) came together ["Don't forget where you're coming from. I need my people to be strong. REMEMBER YOU ARE NO BLACK MAN, YOU ARE A NUBIAN"] ["Tell dem be proud of dem darkness. THROUGH MELANIN, BE PROUD THAT YOU'VE GOT THIS. All inna di snow, all di boiling sun shine, you will find the Nubians every time"]. It's a tune virtually completely on the positive side of things and, as he says, Que sees an immense opportunity of growth should we reach some type of significant unity. It is my opinion that 'Nah Give Up' is the single greatest moment on the album named for it and, virtually as soon as I'd heard even a bit of it, I became (and remained) of that opinion.
"It rough, it tough, it dread down yah
But wi nah give up
Wi caan give up
And life get harder everyday round yah
Everyday dem pressure wi more and more
But wi nah give up
Wi caan give up
And life gets rougher everyday down yah
But wi nah give up
Wi caan give up"
The album's title track is a social commentary with a considerable STING to it (it leaves a mark and if you don't care for it properly, you may get an infection!) Along with the general vibes of it, 'Nah Give Up' impresses lyrically and it shines in its direction. While not being some 'game-changing' or revolutionizing type of drop, it is FANTASTIC and I wasn't shocked at all that someone decided to make it the album's title. Should it get it a push of some sorts, I think Que and Stingray may have a hit on their hands; because it is THAT strong. The somewhat similarly vibed 'Armageddon War' sends us home. On 'Nah Give Up', Que outlined precisely what the problem was and the effect that it was having on the world, 'Armageddon Time', on the other hand, finds him preparing for the battle to make things change. Between the both of them, 'Armageddon War' and the title track, you have what represents some of the finest output of Anthony Que's entire career and while Stingray's catalogue runs quite deep these days, I wouldn't be surprised if you could say the same for the label as well.
Overall, if I lean back on Anthony Que's wondrous 2012 campaign for the sake of comparison here, "Nah Give Up" fits COMPLETELY in there as far as its quality level. This album, unsurprisingly given its composers in Stingray, does have more of an old school sound to it than either "Nah Fear No Man" or "Meditation Time" (which is good, actually) and maybe features more in the way of Lover's Rock (the UK looooooooves Lover's Rock, always have, always will) (when Beres Hammond retires he could move there full-time and live like a king) (he could probably live like a king anywhere) but the qualities are to the point where I think it's safe to say that THIS is what I'll just be expecting from Anthony Que from now on. I'm convinced! He's an artist who makes really good albums. He just is and whatever he does in the future, I'll be interested in hearing. "Nah Give Up" shows that the revelation of 2012, while still a glorious surprise, may have actually been more of an indication of a talent which was already very well rooted.
Rated: 4.4/5
Stingray Records
Digital
2021
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