Structures. Despite all of the blabbering I may do -- and am about to happily do more of -- there is a certain special something at the core of it all when it comes to music, at least in my opinion. It is the most basic of questions we, as fans, subconsciously ask ourselves each and every time we hear a new song: Does it sound good? Of course what exactly qualifies as "good" varies (and vacillates) between individuals, but that is the bottom line. Is it an attractive song? On top of that, depending on the genre, we can get into other things such as themes, meaning, significance and such, but even if you don't go that far, when the music is truly good, you're able to listen to it casually and THOROUGHLY enjoy yourself. To that end (it's no actual end, it NEVER ends, but that's the expression), I try to make a concerted effort to give credit to things when they do come in with a very pleasing nature. A riddim alone, for example, can bring you a great deal of joy playing continuously sans a vocal artist and, perhaps, even an artist who can go on it, despite not being terribly gifted lyrically, can also do the same thing if they're capable of finding a nice melody and pacing of their words. It's music. You should be able to enjoy it and demonstrating that capacity in even the most basic sense is commendable.... sometimes. HOWEVER, if you are to take a next step and go beyond what is basic and begin the process of linking that which is pleasing to the ear to that which is fulfilling and challenging to the mind, there is when you arrive at something potentially special. Even before there, still (and we will there in just a bit) (trust me) (....or don't. I don't care), is the very fascinating case we take a look at today as, within the scope of modern Roots Reggae music, we have a matchup today which brings together undeniably two of the most ENTERTAINING 'structures' that we have ever seen. While one of them brings a flare, dynamicity and an UNRIVALED level of unpredictability for the genre (you may look at a song title and be able to successfully predict what it will about; but you will have NO SHOT at guessing how it will actually sound), the other brings a level of professionalism and attention-to-detail that we have rarely heard. The producer in this instance has made some of the finest Roots Reggae compositions that we have ever heard --and I do think that we have arrived at the point where we can begin to place their work onto some type of historical context-- and they have steadily churned out these beautifully DEEP and refined diamonds of riddims that many fans such as yourself and myself continuously find so much joy in listening to, regardless of the vocalist. So much so is that the fact that this same label has also become CONSISTENTLY one of the most powerful names in modern Dub and, at least for me, have become a personal favourite on that front as well. Now what happens when that firebreather and these scientists link up???
Well, they make sweet, sweet music together. DUHHHH! To put names behind labels, of course I am referring to the most honourable Sir Burnhard Spliffington himself, St. Ann'z native [!], Perfect Giddimani as the artist and the Laurent 'Tippy I' Alfred and the wonderful folks at I Grade Records with the Zion I Kings as the label (I should probably come up with a cool way to call them artists as well) (...so we'd have 'vocal artists' and 'instrumental artists'? That works for me). In the case of the former, it's really gotten to the point where I not only look forward to their work, in general, but I'm always so interested in with whom they end up working in terms of full releases. Besides their usual roster which includes the likes of Akae Beka, Pressure Busspipe, Danny I and other staples from the Virgin Islands Reggae scene; I Grade has also branched out and worked alongside The Nazarenes from Ethiopia ["Meditation"], Yahadanai from out of Guyana ["One Atonement"] (a downright PERFECT release nearing twenty years old from someone who has probably become one of THE most mysterious artists in Reggae history), US born & based Toussaint ["Black Gold"] and most recently, the great Lutan Fyah ["Music Never Dies"]. Within that lot, though the music has been of a similar nature (meaning the same genre), as you can see the backgrounds of the artists have been incredibly diverse and, to my opinion, the label can lay a significant claim to having consistently made THE best Roots Reggae music over the past quarter-century or so.
And the work continues. Unless I'm overlooking something (and I'd be quite disappointed if I am), I don't think that I Grade released a full project in 2022, but they certainly didn't go exactly dormant either. They released a big new tune from longtime collaborator, NiyoRah, by the name of 'Scatter Dem' and they also released a remix of 'Black Carbon', a tune featuring the legendary Akae Beka alongside Jamaican star, Chronixx (how crazy is it to think that, with as long as he's been around, Chronixx is still only thirty years old! He has a birthday coming in a few weeks from this writing, but he's assembled TONS of experience for such a young age, definitely), by Eric Hilton ["My son, your son, mi son"]. Also, WONDERFULLY, IGR has been in the process of reissuing much of the great Vaughn Benjamin's earlier work -- done as Midnite -- under the name Akae Beka, which he assumed later in his career; a practice which they continued in 2022 (and are still at work on this year with "Rule The Time"). They're also the "I" in the Zion I Kings, so anything you've seen from the ZIK also features the handiwork of Alfred and company. For his part, Perfect has been as active and as durable as ever. Just this year, he's released a very steady stream of singles (check out the cool herbalist tune, 'A Little Different', from the recent Sanity Riddim, as well as a couple others in the MASSIVE 'Third Eye' ["Third eye! I ah watch dem through mi bird-eye"]and 'Bless Me', a big combination featuring Ras Attitude, in particular). 2022 would deliver his latest set, in the form of "Wait In Pain", an eight-track EP release. While musically varied, "Wait In Pain" would bring a few nice moments such as 'LiLLY' and 'TGIF' featuring Anthony B. Perfect's last full album, the solid "Live My Life Again", came back in 2017 via the venerable House Of Riddim from out of Austria (and, apparently, "Live My Life Again" was very successful). Perfect also isn't a stranger to the ZIK ecosystem as way back in 2011 he did release "Back For The First Time"with the "Kings", Lustre Kings Productions ["I gotta picture on my wall with Selassie I smiling"] [BOOM!]. That set is probably best known these days for carrying 'Hold On Buju', Perfect's tribute to the then very troubled Reggae great and it featured quite a few very strong other selections ('HIM Smile', 'Eye Wata' and 'Lion Haffi Roar' amongst them) (also had a great interlude called 'Homeless' which just makes you feel good when you hear it) and it stands in fairly good standing in regards to the quality of the chanter's entire catalogue to date. So, perhaps we might look back at "Back For The First Time" as an indication of what might happen were Sir Spliffington ever to return to the ZIK pack to work again. Well it may've taken a dozen years, but Perfect, alongside I Grade Records have given us "Ah Mi Yard"! I tried to illustrate (and I think I wrote it poorly) just how happy I was to see this link. I'm generally excited to see what either is doing alone, but you bring them together and you've DEFINITELY gotten my attention. Ultimately, after this release I'm left thinking one prevailing thing and I'd love to tell you about it if you have a few minutes (or a couple of hours, who's counting).
As is the case with just about everything Perfect releases these days, "Ah Mi Yard" does come as a product of Giddimani Records in association with I Grade Records. You see that more and more these days with artists attempting to take more control of their work and what becomes of it and the case could be made that Perfect has done it better than almost any of his peers as, like I said, damn near EVERYTHING he does either comes exclusively from his label or 'in association' with it (including the aforementioned "Live My Life Again" from six years ago now). Giddimani has also produced full riddims featuring other very talented artists including the usual likes of Lutan Fyah and Norris Man, but also favourites of ours such as the aforementioned Ras Attitude and even Rob Symeonn and Arkaingelle, so Giddimani Records are WELL established at this point in their own right. Perfect's latest project, "Ah Mi Yard" is constructed in a way (not too dissimilar from other recent ZIK records) where it features both original, voiced, tunes along with their dubs and we get seven of each, in full. The first of these is Perfect's pandemic response, 'Never Give In'.
"We were warned by the prophets
These days were coming
I don't know what has happened, but there is something
Wanna stick with a needle
Hurt I for nothing
But I never give up, never give in"
I have to say something about this song and I want to do it in a way that is respectful of the message: During 'Never Give In' Perfect talks about numerous things in regards to COVID, including where he feels its origins truly are and how he feels we should proceed and protect ourselves ["Commune with nature, turn off the smartphone"] and he makes a lot powerful and salient points on what is a very well written track. HOWEVER, the first time I laid ears on 'Never Give In' (and on each subsequent listen including the one I'm having right now), the thing which most stands out for me is just HOW DAMN SWEET IT SOUNDS! The sonics on this one require much more of fitting adjective than the "hypnotic" one which I would typically reserve for it. It is STUNNING and you know what I was thinking: I cannot wait to hear how its dub sounds. Big opener. The unifying title piece is in next and I was very happy when I heard in which direction the focus of it went because in saying, "ah mi yard", Perfect is saying THERE is my home. All of these beautiful, wonderful African places are HOME both literally and figuratively. Perfect goes onto delve into things such as the African Diaspora and where it sits today ["I hear the barbarians calling I & I a alien"] (a most brilliant line!) and it is packaged together in this lovely vibe which doesn't dominate the tune at all but, instead, backs it snugly - making for one of the most outstanding moments on the whole of "Ah Mi Yard". Perfect then goes on to channel the great Akae Beka with 'Same Boat' ["Imagine how significant the sentiment is!"], another lovely selection. This is another piece where one of my most immediate thoughts was to wonder what was going on with that riddim and how much I was looking forward to digging in on its dubbed version. Despite being fairly straight-forward and being and being based around a very serious topic, 'Same Boat' is FUN! It has a very loose vibe behind it and, again, while he does manage to push something that you very well should pay attention to, Perfect also seems to very much have been caught in the moment and here we see his often downright spectacularly free-flowing nature really ignite.
"Travel over land and sea so far -
And yuh caan forget bout who you are
No sell outside fi house nor car
No freak away yuh life a rum bar
BETTA YUH LIGHT UP A SPLIFF YAH STAR
Bless Africa, West Africa The Five Point Star
Marcus Garvey - the man popular
Black People so spectacular
But if we all came on the same boat
Why aren't we on the same note?"
So while it does take itself seriously in an effort, presumably, to maximize its effect, 'Same Boat' is sure to have heaps and heaps of people like me and hopefully You happily singing right along. 'Hard Ears' proved to be a winner, but it took a bit of time to grow on me in order to reach that point. On the surface, it is a solid selection with a nice vibe (and an extremely catchy chorus) but when I began to dig into it more and more, what grew on me, specifically, was the SOUND. Somewhere along during its middle portions 'Hard Ears' LEVELS UP. It goes from being slightly above average to considerably better. You will find better songs on "Ah Mi Yard" without a doubt (already told you about three of them, actually), but 'Hard Ears' is not to go overlooked, in my opinion. Maybe you [I] felt a little odd about enjoying the poignant opener as much as you [I] did, but you'll have no such concerns for 'Woosah' which is more lighthearted and intentionally so. Sometimes you need to stop taking things so damn seriously and kick back and relax and enjoy yourself. That is at the core of 'Woosah' and for your listening pleasure Perfect thought you'd like this nice song which comes complete on another of the standout riddims found on "Ah Mi Yard" and also serves as a more specific ode to music and its effect on us and the role it serves in..... just making us all feel a little better especially when we're a little down ["A likkle bassline nah hurt yuh. I man know dat fi certain"]. Much like what I heard from 'Ah Mi Yard', I delighted by what was waiting on 'Give Me My Flowers'.
"Give me my flowers
Before it is too late
Give me my flowers
Before my glory days
Give me my flowers
If your love for me is rare
And everytime I think about it, that's how I feel"
I'm so big on ideology like this. When someone is dead and gone, we pay a tribute to them and that's fine, but it's also for US and maybe those who didn't know/know of that person; but that individual who is gone can't do anything with it. They're gone. So, if you love someone make sure they know it. If someone does something for you, TELL THEM THANK YOU! You don't want to wait too long to show appreciation when you can show it and make someone who has done good by you feel so good RIGHT NOW! The final vocal on "Ah Mi Yard", 'How Many Mornings', is another slow burner but, in this case, it is a HUGE one. I'll surely give Perfect his credit for what he does here but there is just... something about 'How Many Mornings' that is so damn powerful in its feel. It is a praising piece but it's rather broad and Perfect goes on to eventually kinda/sorta turn it into somewhat of a social commentary as well to some extent ["Say a prayer for the ones in the ghetto, living in the heart of Soweto"] but what I took from it, ultimately, is the idea that giving praise and thanks makes things so much better and the more we do it, the more it could possibly help. With that being said, again, 'How Many Mornings' GLOWS, musically. The thing is hot! Whatever device you use to play it will be warmer when it is on!
And then there are the dubs. As I mentioned (or at least I hope I did), I was REALLY curious about the sound of the dubs of quite a few of the dub versions of these tunes and likely none more than the opener which is now 'Never Give In Dub' and it did not disappoint. What is wholly gorgeous initially hits an even higher peak around two minutes in when this kind of stuttering sound (I am hopeless in attempting to describe this but the song should be right on top of this paragraph, you go to two minutes and you'll hear exactly what I mean) chimes in briefly. It is DEVASTATING! I go back to that part so often when I listen to this track - it is absolute candy! When it does give way, what remains seems to be an ever so slightly more chilled cut of the early stages, making for one dazzling composition - my favourite on "Ah Mi Yard". 'Ah Mi Yard Dub' is built on a foundation best remembered by its lyrical impact for me, but musically it has no difficulty at all standing on its own and, in fact, it thrives. The vibe here is just so delightfully EASY just as you would hope it would be given the familiarity and comfort that was so crucial in backing Perfect's message. 'Same Boat Dub' doesn't do anything too special, for the most part (and that sounds bad, but hear me out) (well it doesn't sound "bad" (it sounds mediocre), but I'll make it better, give me one second) but what it does do is to IMMEDIATELY find its peak and remain there throughout. Even with what comes just ahead of it (and despite the fact that I favour at least one of them, if not both, over it) as soon as 'Same Boat Dub' comes in I get HAPPY. My head starts bobbing and I get this excellent vibe. It does hit such a nice level of consistency that I think its creators knew PRECISELY what they had on their hands so they just allowed it to play and what resulted was a piece over a minute longer than the vocal version! Again, you'll find more dynamic and catchy material here, but 'Same Boat Dub' may hit you in places that even stronger tracks cannot.
A genuine, brilliant and detailed review, commending the artistes/ musicians, and leaving them room for growth. Thank you.
ReplyDeleteThank you! You are ENTIRELY to nice my friend!
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