Relentless. We often speak on the wonderful ability possessed by many of our wonderful artists to remain consistent and durable in a world so fickle and temporary as music. There exists this powerful select group of individuals who, although they may not dominating the charts and racking up hit after hit, are just as crucial as those who are as, 'day in and day out', they provide the masses with our sustenance and, of course, occasionally they, too, give us the spectacular. The prime example I have in my head is (a bad one and I'll tell you why in just a second) Lutan Fyah. His career is littered with hits of a variety of sizes in various parts of the globe, but most people don't look at his work as being SPECTACULAR. Of course that does not apply to me because I most certainly DO regard what the wizard from Spanish Town has managed to do as being as among the very best that Reggae has had to offer since he arrived on the scene, but you get the point. Now, just as important as it is that we have the likes of Lutan Fyah, Fantan Mojah, Iba Mahr, Natty King and others (in the Dancehall, prior to his explosion, I think Sean Paul would have been a great example of this as well) (back in the days of 'Deport Dem') (and maybe think of someone like Farmer Nappy, Terri Lyons in Soca) doing what they do, we, as fans, also need to bring something to the proverbial table if we are to maximize this joyous experience of listening to and FULLY APPRECIATING their work. Even prior to 'pressing play', we need to be receptive. Especially true in Roots Reggae (ESPECIALLY of the type we're dealing with today and from the person we're dealing with today) where the message is so imperative, it's best if the listener comes with an open mind and is at least relatively welcoming of the subject matter (and that does not mean that you can't ultimately disagree with or entirely reject what you hear. That's healthy, normal behaviour); otherwise you run the risk of the experience being an exercise in total frustration or even anger. And though we all have our favourites and always will, I also think a big aspect of being the best listener that you can be is that you spread it around. It probably happens in an infinite amount of different ways that we encounter someone new to listen to, but whether we realize it or not, that's very important. Again, in an artform largely defined by the messages it attempts to spread, if we're able to take in more voices and perspectives, it's probably going to be a more fulfilling situation for us. You could actually sum all of those things up and say, fully, that it is for the best that we, as listeners, PAY ATTENTION.
Because if we do pay attention, the reward can be so great. For example, if you are a very attentive fan, your listening travels may one day take you the home of one of Reggae music's most curious of talents, the incomparable Vaughn Benjamin. As I've said in the past, the ABILITY TO APPRECIATE the word of wizard-like St. Croix chanter may just be both the largest piece of evidence of my tastes changing as I age and my favourite. It wasn't THAT long ago (although it does seem like it was), that much of his work.... might as well have been done in Japanese because I was, essentially, closed off from it. It wasn't very melodic (still isn't) or pleasing to listen to and although I would come to find that Benjamin dealt with topics that most of his peers (many of whom I was a fan of, even back then) also sang about, he had this incredibly metaphor-heavy and indirect way of doing so that was simply beyond where I was at the time (and it still is, but I think that I have managed to close the gap just a bit. I'll never catch up to him fully and would not want to if I could).These days I don't completely get it, but I am, wonderfully, getting more and more as the years go by. Now, with that being said, one of the things that I have noticed in regards to Benjamin's work is that it is, in some ways (and less so than virtually any of his peers because Benjamin has a tendency to get SO focused on his message that, at times, it does not matter at all what you put behind him), more dependent on who is behind it than I've realized.
Take the work he has done for I Grade Records, for example. If you were to ask me what I would suggest for a first time listener to Vaughn Benjamin's work, with not much reservation I would say that to pick any of the IGR albums as your starting line and branch out from there. Not only are those sets readily available and many of them rank amongst his most popular and well-received they also tend to be 'easier' listens; also I can guarantee you that the music is top notch and more 'terrestrial' for the genre (they don't tend to deal in a whole heap of experimentation at IGR) (thankfully) (biggup IGR). If I Grade's vibes with Benjamin represents one, more accessible and open end of the spectrum when it comes to his output, maybe on the other end would be the material from Higher Bound Productions (Fifth Son Records wouldn't be too far away either) (biggup FSR). As far as albums which are GOOD and that I actually enjoy, the ones that Benjamin has done along with Higher Bound definitely register as some of the least accessible and are, for the most part, pieces I am more likely to recommend to more familiar listeners (who probably don't care what I have to say anyway) (and are less dependent on the recommendations oof anyone). These albums are heavy and skeletal, at times, and they're not typically albums which're likely to immediate grab the senses and retain them. HOWEVER, what they do tend to be are the types which, as I am doing RIGHT NOW, will have you coming back years later and, with a foundation of familiarity intact, your comprehension and ENJOYMENT soar. The very first release in the series, 2007's "Bless Go Roun", in retrospect, may just be the most 'unlocked' of the bunch (again, that's only comparing it to the others), but if that were the very first experience you had with Vaughn Benjamin's music, I couldn't blame you if aren't starving for the second course (although listening to it these days - "Bless Go Roun" is probably far better than any of us gave it credit for being). It was followed by the downright shrouded "Ark A Law" three years on ["How dem done set it a go must ansa fa. How dem done set it a go must ansa fa"]. There was nothing easy at the time about "Ark A Law" and though it has taken some GRINDING (about a dozen years of it now), I can say with a pretty good confidence that "Ark A Law" is one of the fifteen or so best albums that Benjamin has EVER done. It is THAT good (check the FLOORING 'Hunting Demeanour'). Then there was the best piece of work that Benjamin had ever done with HBP, 2013's golden "Free Indeed". Though it will forever be best known by me for carrying one of my favourite songs ever, 'Hemp Scroll' ["If dem know fi cure dem would beat down ganja door"], "Free Indeed" was fantastic from beginning to end. Decourated by other outstanding selections such as 'Perceptual Vortex', 'Is His' ["Who love Jah is HIS"], of course 'Healah' ["...questioning an unconceivable power"] and a track that is destroying me these days, 'Mock Off', "Free Indeed" stood on a higher ground. So why not continue along? Previously going only three years in between releases, it would be a full six before the next time Benjamin and Higher Bound Productions would deliver. By this time, Benjamin had shed Midnite, the first three albums were recorded under, as "Hail The King" would become the initial Akae Beka release from Higher Bound Productions. The album would not only follow its siblings in its sound for the most part -- it may not exactly light things up -- as well as in its quality as, by its end, "Hail The King" sat as yet another mighty product of this collaboration. The examination begins now.
2013
Aside from their work with Benjamin, Higher Bound Productions has also spread the vibes around just a bit. The label has also done works with the likes of Ishence, Sista Kat and Biblical as well as Virgin Islands veterans Ancient King ("Ethiopie"), Abja ("Songs Fa Jah") and Army ("Dreadlocks Time" ["Blood they seek. Oppress the meek. All the spoils, they keep"]). They would also deliver a compilation in 2008 by the name of "New Name". It would feature the work of Benjamin and Ancient King as well as Jah Rubal, Xkaliba and others. So, while most of us will likely always attach HBP to the music of Midnite and Akae Beka, they have also well shown themselves as capable of doing big works, in general ("Dreadlocks Time" was probably the best release they've ever done from anyone. Period) (and if you are looking for Army's music online, try searching for 'Army Occi'). And even if they hadn't, the work they're known for producing with Vaughn Benjamin is enough to make for a fine legacy. That tradition was most recently extended in the form of "Hail The King", which got up and going with a big tune and one its signatures, 'Class Warfare Scorn'. Before you get into the body of this one, I want you to notice how GLORIOUS the riddim on it is. Clearly HBP noticed what they had on their hands with it as well as Benjamin completes his vocals with more than a minute and a half remaining of the four minutes and forty-one seconds long song and that thing is just allowed to PLAY and DAZZLE! It is so nice! For his part, big riddim in hand, the chanter does not waste the stage in doing an examination on the inherent tension that arises ["As many nations stuck in the obsoleted forms. And it's modern innovations people want. And it's uncivil nations pass dem on and heap upon dem - class warfare scorn"] between the haves and the have-nots. He also, wonderfully, delves into the development of the poorer class (unsurprisingly, placing that largely in the spiritual realm) - making for a song that is not only a beauty of an opener, but one whose quality lasts throughout this album and beyond (have I mentioned how GORGEOUS that riddim is on 'Class Warfare Scorn'????). Next in was the somewhat 'jazzy' and extremely interesting, 'One Mind'. While I don't necessarily love the vibes on this one, its message hit me all over as, what I would come to take from it is the idea of, despite everything going on in the world (and I do mean "EVERYTHING" because Benjamin captures a ton) it's still very important to relate to one another and enjoy experiences with other people ["We still will have social time"]. You could take it to the next step (which I love to do) and say that it is a song, at least partially, about being better towards each other, but the importance of interpersonal relationships is at the core of 'One Mind'. Vaughn Benjamin may've singlehandedly been responsible for introducing many people to the story of 'Estevanico' with his tune here, sending many to Google the name of the legendary African explorer. This track is just brilliant! Benjamin simultaneously tells Estevanico's story while speaking on the modern (and historical) impact of storms and hurricanes throughout the Caribbean and he doesn't miss a beat! The two are SO interrelated and I found it so spellbindingly fascinating that this man is lyrically capable of telling a story five-hundred years old and one about five years old.... at the same damn time! A highlight on "Hail The King", easily, and piece that, regardless of whether you LOVE it or not, is sure to find some way to stick with you going forward.
Obviously to go beyond 'Estevanico', you're going to have to do something truly special and I found, at track seven, something "TRULY SPECIAL".
"Found a bright nectar out of life
A place where it's good to reflect on a life
THE GOOD GIFTS OF LIFE THAT NATURE PROVIDE
Over the malice and deceit in time
Well-spent current in the currency of life
NUANCES THAT BEAUTIFY YOUR STRIVE
Forward with a little bit that make the difference outright
That help, that will augment the synergy to sight
Good results and to synchronize
THIS WILL ENLARGE COHESION SIZE
This will ring from oneness i-vine
Deep chestnut leather in the carriage for a ride
As moving through the manifold time
Where they get to reminisce like it's multiple life
MEMORY OF THE CELLS GAVE THE RESONANCE OF VOICE
Why things are familiar when you never in your life-
Been in this location so you unfamiliarized
BUT YOU FEEL LIKE YOU BEEN HERE TWICE?
FEEL LIKE YOU BEEN THERE TWICE
Twice
Feel like you been there twice
Walking through the words and focusing your eyes
Seems that deja vu a improvised
The Sound-barrier bursting into a new rays of light
Benevolence of Jah invite
Invite Jah to bestow favour in life
Bless us King Haile Selassie I: Christ
Turn upon us Your benevolent eyes
Content and satisfied
Turn-ed upon us, Your benevolent eyes
Content and satisfied
It's a multi-nationalistic fusion of a voice
THERE'S A ONE-WORLD SOUND BREAKING OVER THE TIDE
A MOVEMENT TOWARDS SOMETHING NONE CAN VISUALIZE
THE NEW RACE HIS MAJESTY DESCRIBED
Children and grandchildren of your own blood archetype
YOU WILL HAVE TO USE LOVE AND LIGHT
Love and light
Love and light"
'New Race' is STUNNING! It was definitely that 'Hemp Scroll' moment for "Hail The King" in providing it with that instance where I just had to pause and come back OVER AND OVER AND OVER again to this downright hypnotic, rapturous vibe ["Nuances that beautify your strive"]. BOOM! Immediately following 'New Race' is another gem, 'Solid Sense'. The message on this one towers over it (despite the fact that it has a very nice vibe to it): It is about TREATING PEOPLE WITH RESPECT AND DECENCY ["The orphans and the widows and the elderly must be fed. This is why you lead, this is why you led, you said. The pride of the people as the ruler, as the head. Over what is done, over what is said"]. Benjamin also goes on the idea of how crucial it is that we live up to our words in respect to, again, our behaviours and actions towards each other. That, for me, was so powerful and I would point to a tune like 'Solid Sense' to someone who may be struggling, but attempting, to get into the music of Akae Beka as one that, although it is typical Vaughn Benjamin, isn't overly cryptic or mystical in anyway in my opinion. As for the sound here, this one is beautifully plodding and so SWEET to hear in, perhaps, an atypical way (it isn't joyous, but it is delicious HEAVY Roots Reggae music). You may also want to check the title track, a fairly straight forward praiser ("straight forward" only by Benjamin's standards. There's nothing straight forward about it in comparison to anyone else's style). What actually stood out most vividly for me on 'Hail The King' was its delightful simplicity and EASE. Yes, you're going to have pay a great deal of attention to it, you've come to understand that by now, however, but it will not take a superhuman effort for you to understand the heart of it.
"HIS dominion will know no end"
You're going to have to make sure your antennae are back up for the album's MAMMOTH closer, 'Winners on The Ground'. This one - I had SO much fun working with (literally, it was the only tune I listened to for maybe an hour and a half, just for the sake of this review) (and, of course, it's on an old album, I was already well familiar with it. Where I am with it currently is the notion of 'to the victors go the spoils'. They are left with the support of the masses and the ability to tell the story as they see fit. Benjamin illustrates this point via very interesting method, including going as far to show the difference between species ["Words distinguish the humans from the animal kingdom"] and what we end up with is a three-course meal of a tune which, wonderfully, ends with Higher Bound allowing that gorgeous composition (with that horn) to play on well after the vocals are complete.
There is a trio of very strong selections right in the middle of "Hail The King" that you definitely should pay a special amount of attention to as well, 'Fountain', 'Earth Repair' and 'Fe Prominence'. Though all three are at least very good, I have to say that my personal favourite is, by the slimmest of margins, the sublime 'Earth Repair'.
"Don't scorn dem
Don't despise dem
Maybe, nearby, you will see things you haven't seen yet
UNLIKELY CANDIDATES
Used to their comfort and steak
RISING WATER LEVELS EATING LAND LIKE CAKE
Nuff have had to move or face inundate
Sqaure miles reduc-ed
Under water they appear: The cycles of the cosmos
Things that just reappear, unuh know that they were here before
It's just they returned to do earth repair
ALL WHO HAVE GLOBAL-WARMING AS A CAREER
Don't scorn dem
Don't despise dem
Maybe, nearby, you will see things you haven't seen yet
Unlikely candidates
Through expert analysis, you pay your share
All the industries that born out of fear
HOW TO WEAPONIZE A STARE
Eyes that say, 'you know I know, so don't even go there'
They have cyber-weaponized their ears
Listening from satellite, from here to over there
EVERY TECH SECRET IS REVERSE ENGINEERED
The rate of innovation makes things unclear
Paranoia, fighting for their share
Scientific weapons are top secret things you nah fi hear
We're surprised on the battlefield, can't prepare
Leaders of the country will have to hear
Or the whole populace will live in fear"
The underlying message behind this one is a rather simple one -- that we all need to do our part to improve and maintain the planet -- but, as you would expect (and as you can see), it doesn't go as direct as that with the artist taking us in a few different directions before arriving there. One line (probably a dozen of them, actually) really grabbed me as he says, "Unlikely candidates, used to their comfort and steak" because it almost comes off as Benjamin saying that there're people who... just don't give a damn about what happens so long as they're alright and while that goes without saying in some respects, when it comes to THE HEALTH OF THE PLANET, that's an entirely different case in my opinion.... and if it isn't it should be. Not too far behind 'Earth Repair', if at all (literally, it's the very next track), is the lovely 'Fe Prominence'. Easily ranking somewhere amongst the class of "Hail The King", 'Fe Prominence' is a selection which I think has gone overlooked, even in respects to Benjamin's music. It's much better than you've been thinking it was over the past nearly three years. Here, he deals with the atrocious levels some are willing to stoop to in the name of obtaining control ["WAH DEM AHGO DO FI DOMINANCE? WAH DEM AHGO DO FI PROMINENCE?"] over others. He also goes into the effort it takes to rise up against such individuals and, of course, the Source of such effort and courage. 'Fe Prominence' is excellent! And lastly but not leastly (not a word), 'Fountain' was another stellar offering from the album. This one is marked by a really nice vibes - at least as far as the material goes on the rest of the album, it's fairly bright and just generally well done. The composition isn't lost on the artist either (or the producer, who gives it roughly the song's final minute to shine on its own) (which happens a few times on "Hail The King", actually. I haven't mentioned it every time now because it is so frequent), as he steps forth with his typical genius. From 'Fountain' I take (a drink) the idea that we're all to make sure, as best we can, that whatever we do and whatever we HAVE is done/used for the best possible result. It's a song about giving a greater effort and really just making sure your resources are utilized as best as they can be. It's also somewhat short when the vocals finish, I'm almost expecting more of it......
Which bring me to my one real problem with "Hail The King". If you look at its predecessors, "Bless Go Roun", "Ark A Law" and "Free Indeed" (just turned on "Free Indeed", 'Is His' is an AMAZING song), they're all really FULL releases. They all have at least thirteen tunes and are somewhere around an hour in length. "Hail The King" has ten and is almost nineteen minutes shy of the sixty minute mark. I wanted more.....
Overall, ....because what it does offer is VERY strong throughout. While "Hail The King" is an album I can only truly recommend to people who're very likely to have heard it already, if by some chance you are an experienced listener of Vaughn Benjamin's and some way "Hail The King" managed to slip between the proverbial cracks and you forgot to go back to it - now would be a very good time to do that in my opinion. Although it may not be the most full offering, it definitely makes the most of its time. I look back on it as, perhaps, THE most accessible in the line of albums coming from Higher Bound Productions and that is definitely a good thing. I also want to stress just how important those albums are. As I said, they gave me 'Hemp Scroll' and although they may not be (they aren't) for absolutely EVERYONE, for those of us who have ears for that sound, HBP have provided some very memorable moments and I'm looking forward to more, hopefully, in the future. Until then, "Hail The King" was yet another gem courtesy of Akae Beka with a sound which is well rewarding of those who are little more careful and are willing to take a little more time in what they listen to.
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