Back to work. If ever there was a direct benefit from us having taken so much time off over the last few years it is definitely the preponderance of the material that we missed. I find myself sitting around trying to figure out what to write about next and, unlike it was in the past when I was struggling at times to find things that I was passionate about to write a big review for, I now have the opposite issue. There has been five or six years that we missed of consistent activity and, as time waits for no one, I am doing my best to catch up (and I won't. I never will because something has already certainly slipped between the proverbial cracks and I will never return to it) to what we missed. Because of that and because it was always my desire for these pages to at least somewhat focus on some of the more obscure or less covered pieces, giving them what may be their only comprehensive attention online, I have soooooo much stuff that I am looking at doing and, for someone like me, those prospects are DELICIOUS! Still, as it is amongst the traits of my species - I am a creature of habit and a few years away may break some of them, but clearly not all of them. So, as you will clearly be able to see, in our brief time back to writing 'fulltime', I've already shown quite a few of my habits. I write about Sara Lugo (she's a part of my life) (she's "a part of yoooooooours!"). Doing so in October 2020 was the very first post on this blog in over three and half years and, nearly nine months later I was damn happy to do it again in taking a look at her new album, "Flowaz" (which is fantastic and you should have a listen to it if you have not already.... and even if you have, you should have another). She is one of the most delightful and wholly interesting individuals that I have ever encountered in music and not only is writing about her fun, in general, I also love the fact that we've been able to keep some type of 'historical' account of her work from so early in career. So maybe someone, a hundred years from now, might mistakenly stumble across these pages and hear one of the most amazing voices that has ever existed (you're welcome! With your flying cars and stuff). Another undeniable pattern of mine (probably the clearest) is that I write reviews for Vaughn Benjamin albums. I've explained it ad nauseum by this point - it is something which I find both refreshingly challenging and therapeutic for me, personally. And while the historical aspect, in his case, isn't as significant giving just how popular he has been for SO long, my dealing with his work is as much about me writing about him, as myself. I've written at least five of them already since we've been back and, following this review, I'll write one for someone else, then it's another release from Akae Beka. You'll also find various methods of analysis for a variety of our favourites in the short term and, going forward, of course that will remain the same. Some of them - I LOVE!
Fortunately I am not the only one who has a habit for doing similar things. While Lugo will dazzle us with her organic blending of styles and genres and HALT us with that voice and Benjamin will force us to keep notebooks to breakdown his words, we already know what Mark Wonder is going to do. While the singer may lack in the departments of mystery and the art of surprise, he makes up for it in virtually EVERY single aspect of making music (so, I'm sorry to tell you that if it is one of your major aspects in deciding who to listen to that you want to be SHOCKED every time you turn on a record, you may want to find someone else to listen to) (you poor, poor soul you) and does it as one of the most consistent names in all of modern Roots Reggae in my opinion. Something which, over the past decade or so, has been so remarkable about Wonder is just how his popularity has seemed to increase over that time. I don't know of anyone who, at such an advance stage in their career, has seen that happen without some kind of great shift in terms of the type of music that they made. While people like Capleton and Buju Banton may've (they did) endeared themselves to a wider audience after turning to Roots music after having reigned as Dancehall aces, respectively, Mark Wonder has no such history. And although he's certainly been respected from the very first single he released, whatever it may have been (for some reason I want to say it was called 'Caution', but I could be wrong about that) (further research reveals that I was right (I once heard it said that the sun even shines on a dog's ass occasionally) It was 'Caution' for Black Scorpio in 1988), a few years back his popularity seemed to take a lofty jump. I'd like to think that a whole heap of that is on account of the "Working Wonders" album from 2012, which was a bona fide masterpiece and definitely attracted a great deal of new listeners. In addition to that, Wonder has really just been on his grind and has made a way for himself, particularly on the very active and populated European scene. Personally, he's also grown in stature by my own estimation. As I've said in the past, Mark Wonder has gradually but SOLIDLY become one of my truly favourite artists today and someone whose work I most certainly look forward to hearing (big new single out now, 'State of our Affairs', courtesy of Addis Records).
SO WONDERFUL it was that despite the fact that we took a break, Mark Wonder remained hard at work and would release a trio of albums during our hiatus. The first of which was 2015's "Scrolls Of The Levite", which I told you about not too long ago, and its followup would arrive just a couple of years on in the form of "Dragon Slayer". "Scrolls" came via Nowtime Sound, an American label, but the vast majority of Wonder's albums have been done through European and Jamaican imprints such as Oneness (who gave us "Working Wonders" and its 2020 sequel, which I will tell you about next time) (and a 'wonderful' dubbed EP cut of "Working Wonders" in 2019), Al.Ta.Fa.An., Redbridge and Zola & Zola. "Dragon Slayer" was a return to the norm and in a MAJOR way as it found the singer linking with the well esteemed Irie Ites Records from out of France. The label was a very dependable source of material for us when we were active, releasing projects for the likes of Lorenzo ("Movin' Ahead") and, most notably, Ras Mac Bean wayyyyyyy back in the day (who also did an album while were away, probably should get around to that one as well one of these days) with the outstanding "Pack Up & Leave" - the debut album for the criminally under-recorded Guyanese vocalist ["Time fi reach di borderline, no need fi hesitate - cause I don't really wanna be late!"]. The label was also very consistent in doing big riddim sets once, having made excellent tracks such as the Strange Things, the very popular Rocking Time and others. And were that not enough (it will never be enough) (I will never be satisfied!) (NEVER!) while we were away, Irie Ites would also deliver "Reggae Farm Work" from the always colourful Perfect Giddimani. So, if you had the slightest of reservations of their credits and abilities, you will leave them here, right now before moving forward without them. The idea of Irie Ites doing an album with Mark Wonder was big news to me and I immediately expected something top notch. The album's title has become something of an unofficially official nickname for the vocalist which, I believe, dates back to a mixtape that was released years ahead of this project and is, as far as I know, unrelated. Since then he has fully embraced it (OBVIOUSLY) and, someday we will all either look back on a certain portion of his career as the 'Dragon Slayer Years' or he will write an autobiography, "Mark Wonder: The Dragon Slayer" (look me up in about a decade or so Mark Wonder if you need someone to do a little work on that). Until then, let's take a look back on "Dragon Slayer" from 2017 which, to the surprise of absolutely no one in the world, was another excellent entry into the catalogue of someone who I have definitely missed over the last few years.
2014
There was not a single thing about "Dragon Slayer" which would make it stand out from the pack of Mark Wonder's other releases as far as its sound or direction. While I wouldn't rule it out completely if ever there came the day when he would do some type of changeup release, perhaps more so than almost anyone else that I can think of (.....thinking about it right now.... still thinking - okay maybe Batch would be in that category, but he has flirted with Dancehall a few times, though I would be SHOCKED if he ever did an entire Dancehall album), Mark Wonder makes this GLORIOUS sounding Roots Reggae music. It is what it is and either you enjoy that particular tune at that particular moment, but you should not at all expect any type of deviation here (or anywhere else!). And, I should also say that "Dragon Slayer" is a bit on the DENSER side of Roots music as well. If you do have an ear for the vibes in their more veteran-ed form, you will likely find gold throughout this one. The carats begin to register as early as the very first tune and title track. The declarative 'Dragon Slayer' might go to shed some light on the origins of the name as Wonder picks up his lyrical shield, armor, spear and.... other dragon-fighting.... paraphernalia and heads to work.
"Ask me my name and from whence I came
I'll tell you Ithiopia, still remains the same
HAILE SELASSIE IS MY CLAIM TO FAME
Rastafari, I've got to praise HIS name
I am the Dragon Slayer!
I am the Dragon Slayer!"
For a song which is quite SIMPLE at its core, 'Dragon Slayer' does manage to strike a heavy blow. It is a call to action and I would even argue that Wonder's idea of a 'dragon slayer' isn't just himself or any single person but is, instead, anyone who chooses to carry the mantle of taking positive and upful action against any DRAGON that her or she may encounter. It is divine and, as is often the case, you're likely to get more out of it with several spins. You should spin even more time on 'Celebrating This Life' (TEARS!) as it is and has always been the single finest thing I hear on "Dragon Slayer". You see this as a title and your mind begins to expect one thing to come forward, but you will not get that BRIGHT and FESTIVE vibes that you're thinking of. Instead, what happens is this OUTSTANDING track which varies in intensity throughout and if you truly tune it in, you see why. This is a song about celebrating ALL of life - the good, the bad and everything in between as well. I think what really made this one cling to me was just how well its presentation links with what is going on. Life isn't all great or horrible and the composition on this one reflects it. It sends the most observant of listener on an emotional trip which you probably cannot afford to miss or overlook. I also have to mention the riddim. Whatever it is, it's fantastic and, again, somewhat understated which is entirely appropriate for the moment and clearly Irie Ites respected it to show it off they way that they did here. Speaking of showing off music, there is an 'Extended Dubwize' mix of a big song called 'Militancy' and it is nearly eight minutes long (BOOM!). Wonder is on the lookout for some soldiers who are willing to stand up and fight for goodness in the face of tremendous evils. This one is kind of odd because on one hand it directly carries the theme of antiviolence but I take from it that what he's saying is that we're wasting our time fighting against one another when a far more dangerous enemy is at work. You also need to pay attention to the vocal performance on this one which is subtle, but stunning at times. He sounds SO GOOD during portions of 'Militancy' and, again, the vibes match the song and Irie Ites put them on a full display with an instrumental which lasts for the better part of two and half minutes. Most interestingly, the other selection on "Dragon Slayer" receiving such treatment is also its most recognizable drop, at least for me. I believe 'Lots of Raging' to be the third version of an older Mark Wonder piece called 'Break The Ice'. It was the title track of an album he did in 2005 for Soundproof Productions and Redbridge Muzik, respectively, and it also appeared on an earlier album by the name of "Signs Of The Time". By the slimmest of margins I do prefer the version from "Break The Ice", but between the one on that album and "Dragon Slayer", they're interchangeable in terms of their quality (the version on "Signs Of The Time" is also good but not as strong as either of these, in my opinion). The sound is a SPECTACULAR one and Mark Wonder utilizes it to put a little heat beneath the feet and hearts of those in power who 'produce' mass injustice against the underprivileged of the world. It is somewhat broad, at times, which I actually think works here and you should probably check all three versions just for the full impact.
"Dragon Slayer" remains at an expectedly very high level almost completely throughout its twelve tracks and fifty-two minutes. The biggest remaining moment (and probably the biggest altogether after 'Celebration This Life') is the MASSIVE 'Break Dem Asundah'.
"Listen how the trade wind blows
Watching the rivers as they flow
All created by Jah, The Almighty
Seasons comes and goes
Even friends and foes
Earth-cycle and all its mysteries
Rise up Israel from yuh sleep and slumber!
Chant and sing, break de asundah!
Acting smart, but dem no clever!
Rastafari live for iver, for iver
Don't stuck in di deeds and propaganda
Neva giving up di fight, no neva
HE gave I di victory!
How I long to be on the eastern side, where peace and love abide-
And the sun just glows and glows!
Rise up Israel from yuh sleep and slumber!
Chant and sing, break de asundah!
Acting smart, but dem no clever!
Rastafari live for iver, for iver
Yadding away to the promised land
Soldier on with di banner in our hands
MANS CONFUSED BUT EARTH REMAINS IN ORDER
SHOW RESPECT TO ONE ANOTHER - IN TUNE WITH MOTHER NATURE"
BOOM! Over what just may be the single finest riddim on the entire album, 'Break Dem Asundah' mines gold and may just be one of Wonder's best songs.... period, like ever. Later is the stirring 'Freedom Fighters' (biggup Chezidek). Chiming in on a similar sentiment to 'Militancy', this one may even be just a bit stronger in full. It is certain to get your head nodding and fingers tapping with that lively track underpinning it. As I said, this one is another call for more fellow potential slayers of dragons wherever they may be and it is a GORGEOUS one ["Rasta-cal resistance to your policies. And the immunization and their disease"]. If 'Freedom Fighters' doesn't get you moving (then I'm sorry to inform you, but you may actually be dead), then perhaps the heavier 'Hol' Yuh Kulcha' is more for you. It probably won't get you in the same way with its more crawling vibes, but if you love more old-school centric Roots Reggae, here you will find gold! Mark Wonder speaks to the importance of preserving traditions and concepts which are passed on through generations of people. I think even he would say that we all must change with the times (evolution or extinction), but we must be wise in what type of influence we receive ["Everyday a new world is forming a and the times are changing. People say the world is ending, can you imagine?"] and what we reject. The DRUM on this one is intoxicating. Once upon a time having at least a single track on a Roots album featuring this heavy drum was every bit as obligatory as having songs about ganja and mama and because, at least from my experience, those days are unfortunately gone, every time I do notice it, it stands out. 'Hol' Yuh Kulcha' stands out, mightily. That same sound persists through the next tune in, the all kinds of delightful 'Iyainghi Rebel'.
"Now as the people's vision fades
Pure miseries and heartaches
Broken dreams and tragedies
Jealousy all the rage
And as we turn another page
It will be going round and round in circles
I'm a rebel!
Revolutionary rebel!
Fighting for a cause
NAH LOOK NO APPLAUSE
Rebel!
Iyainghi rebel!
Black and comely is HE
Haile Selassie!
Militantly as we trod this battlefield, with Rastafari as our guide and shield
Nah take part inna dem crooked deal
I, as The Rastaman, keep it real!
Down in here inna babylon yard, survival we know is the key
And there's no justice for you and me
STILL GIVE PRAISES TO THE ALMIGHTY"
It almost sounds as if they made a dub version first and then went back to it and added vocals, which is something I do not often say, but I do consistently find myself thinking. Regardless of the process, however, it was an excellent composition on one of the biggest tunes on "Dragon Slayer". Things do lighten up, ever so slightly, on the exalting 'Solomonic Dynasty'. This is very interesting because, sure, it is giving praise to His Majesty, but that is largely reserved to the chorus (which is amongst the very best on this project, at worst. It may be THE best) the verses are more tangible and socially focused. For me, it makes for a piece which is 'sophisticated' (been awhile since I've used that word, I'm sure) (just searched it, apparently I've NEVER used it on these pages, so there you go!) that you will find. 'Solomonic Dynasty' was another one which began to glow brighter and brighter the more you listened to it, so keep that in mind before moving on. I was fairly certain that I was familiar with 'True Patriots' from somewhere before it appeared on "Dragon Slayer" and while that may or may not be accurate (starting to think that it is not), its origins have no bearing on its quality - and it is lovely! Like 'Solomonic Dynasty' before it, 'True Patriots' is just SMART work. It is situated in a way which isn't shocking, but is unexpected as Mark Wonder says that your loyalty isn't only to the land where you reside and/or were born, but to a higher place as well. Taken more tangibly and literally, I think that you can say that 'True Patriots' is about leading a more upstanding life and at least trying to do better for ourselves and others.
You might recall 'People Need Security', which was Wonder's cut of Irie Ites' damn catchy Billie Jean Riddim, way back in. Here, the singer was, essentially, trying to keep the piece saying that if you're not going to treat people properly and with respect, they're probably going to react in a way which.... isn't very "proper" or "respectful" and you cannot blame them. It's interesting that, if you followed Irie Ites' releases around that time of the early 2010's, Mark Wonder wasn't a constant name that you would run into voicing their tracks, as were the likes of Spectacular, Lutan Fyah, Sizzla and the aforementioned Lorenzo and Ras Mac Bean, so the existence of "Dragon Slayer" (and only its existence, not any other aspect about it) would have come as a bit of a surprise but obviously artist and label heard something from one another that made them think that they could 'make sweet music together' and maybe whatever it was - they found it on 'People Need Security - they were right. And lastly check 'Uprising' which is a much better song than I think I (and probably a lot of people) have given it credit for being over the years. If you take it in totally, 'Uprising' features great vocals (duh! It's a Mark Wonder song), the riddim is very nice and fun to hear and it is well written. So while it may be fairly basic and not something which leaps out at you, it walks over to you and stays with you instead - or at least it did for me. Both a call to action and an antiviolence piece, 'Uprising' was damn good, whether you realized it or not.
Overall, as I was going through for the sake of this review, something about "Dragon Slayer" started to become clearer and clearer. There was once a well ran phrase called 'concept album' which, basically, referred to an album where all of the songs were of the same unique style or theme. You didn't hear it thrown around very often in Reggae music and, really, the only time I recall it being used was by the aforementioned always innovative Perfect Giddimani who had one back in 2008 with "Born Dead With Life" but we've seen them, here and there, without the term actually being referenced. Basically Sizzla had one just last year with "Million Times" - an album completely filled with love songs. I bring up 'concept album' because I now think "Dragon Slayer" may've been one, really. The vast majority of these tunes are either fully or at least partially about calling people to action. Mark Wonder calls himself now 'The Dragon Slayer' but he is obviously not comfortable being the only one and he's taking applications for others! "Dragon Slayer" is an album about LOOKING for people who are interested in making a change and then beginning to make that change. Knowing that and listening back to it, a few years on, puts it in a bit of a different light and even adds to songs that may have slipped beneath the proverbial radar (like 'Uprising') and it was already QUALITY before that as Mark Wonder and Irie Ites Records created magic together and you knew they would. Three years later he'd go even higher and I'm sure I will get around to telling you about that pretty soon.... I kinda can't help myself, it's what I do. Well done.
Back to work. If ever there was a direct benefit from us having taken so much time off over the last few years it is definitely the preponderance of the material that we missed. I find myself sitting around trying to figure out what to write about next and, unlike it was in the past when I was struggling at times to find things that I was passionate about to write a big review for, I now have the opposite issue. There has been five or six years that we missed of consistent activity and, as time waits for no one, I am doing my best to catch up (and I won't. I never will because something has already certainly slipped between the proverbial cracks and I will never return to it) to what we missed. Because of that and because it was always my desire for these pages to at least somewhat focus on some of the more obscure or less covered pieces, giving them what may be their only comprehensive attention online, I have soooooo much stuff that I am looking at doing and, for someone like me, those prospects are DELICIOUS! Still, as it is amongst the traits of my species - I am a creature of habit and a few years away may break some of them, but clearly not all of them. So, as you will clearly be able to see, in our brief time back to writing 'fulltime', I've already shown quite a few of my habits. I write about Sara Lugo (she's a part of my life) (she's "a part of yoooooooours!"). Doing so in October 2020 was the very first post on this blog in over three and half years and, nearly nine months later I was damn happy to do it again in taking a look at her new album, "Flowaz" (which is fantastic and you should have a listen to it if you have not already.... and even if you have, you should have another). She is one of the most delightful and wholly interesting individuals that I have ever encountered in music and not only is writing about her fun, in general, I also love the fact that we've been able to keep some type of 'historical' account of her work from so early in career. So maybe someone, a hundred years from now, might mistakenly stumble across these pages and hear one of the most amazing voices that has ever existed (you're welcome! With your flying cars and stuff). Another undeniable pattern of mine (probably the clearest) is that I write reviews for Vaughn Benjamin albums. I've explained it ad nauseum by this point - it is something which I find both refreshingly challenging and therapeutic for me, personally. And while the historical aspect, in his case, isn't as significant giving just how popular he has been for SO long, my dealing with his work is as much about me writing about him, as myself. I've written at least five of them already since we've been back and, following this review, I'll write one for someone else, then it's another release from Akae Beka. You'll also find various methods of analysis for a variety of our favourites in the short term and, going forward, of course that will remain the same. Some of them - I LOVE!
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