A Matter of Time: A review of Free Man by Norris Man

Snap back. As much as I have belaboured and will, very committedly, continue to belabour the fact that one channel of this amazing music has undergone such a significant shift that it is no longer recognizable as what it is still, ridiculously, being referred to as; another area, delightfully, has remained largely and wonderfully unchanged, by comparison. Dancehall may not be Dancehall anymore but for anyone who is even remotely in looking for it, Roots Reggae music is alive and well and, again, should not sound particularly dissimilar in 2024 from what you've known it for being over the past few decades. That doesn't mean the sound has not involved. I have always been damn curious as to what Bob Marley may've thought about what I consider to be that last giant shift in Roots music which was marked by the arrival of the likes of Capleton, Sizzla Kalonji and Anthony B who would find a stunning common ground between the type of sound Marley and his peers created and what was to be heard in the Dancehall. You could also trace the foundation work of what they did and push it into avenues where the likes of Lutan Fyah is found - someone who, for the most part, makes a brand of Roots not as inherently aggressive as the aforementioned trio, but also not ery different from that sound either. Evolution on that front has been intoxicatingly slow (and I mean that in a good way) and is, at least to my opinion, usually demonstrated by someone adopting a different vocal style as opposed to a glaring shift in actual sound. Going a step further, when you think about what it means to be "throwback' or "old school" in terms of Roots Reggae these days, generally when you hear something like that said, what you're going to expect to hear are older riddims, maybe some direct (or indirect) remakes and that may be it. The themes and ideology are still very much the same and they always will be. There are certain producers and labels who have acquired a reputation for mining an older type of vibes within their work (biggup Irie Ites) but what I'd suggest you to do, for the sake of contrast, is to think about the music made by... the Zion I Kings, for example, and ask yourself if that which is wholly modern is really THAT different.

So, with all of that being said, I was VERY intrigued when I heard the early word on a forthcoming release from a sitting favourite of mine, Norris Man, and not just because... it was a new release... from Norris Man. It was said that Norris had been working on the album for a decade and that it was on an older type of vibes. He was talking about working with the likes of Sly & Robbie, Steven Stanley, Dean Fraser, Dwight Pinkney, Nambo Robinson, Flabba Holt and others. Norris Man was making an old school Roots Reggae album which, although it SURELY took longer than he was anticipating (there is no way he started work on a project with the intent that it was a DECADE away), "Free Man" was set. It had a cover and a tracklist (literally months ago we saw those things) and it was set to go.

2023

Helming the project was Tad Dawkins Jr. for Tad's Records which is always a plus and I was excited as all hell. I've spent quite a bit of time stressing exactly why the Trenchtown native has emerged a recent favourite of mine, so I'll spare you that again, but it hasn't been very much time at all from the last time we heard from him. Just late last year, the artist pushed the well solid "Life" via Danish imprint, E.Turn.A.T. That set did absolutely nothing to douse my appreciation of his work and probably not too long after that (yep. It's been THAT long), I saw that "Free Man" was forthcoming. Norris Man has also made albums covering a variety of different styles. Having been so prolific, his fans have been treated to doses of him attempting several things to, perhaps [CERTAINLY], a mixed bag of success at times, but he's given them a shot and he's done works for labels as un-connected as Stingray on one end, to someone like Knatural on the complete opposite. To my opinion, unsurprisingly, his best material comes on the definitively Roots side. While his most popular drops are tied to his biggest tunes -- "Persistence" and "Home & Away" -- I'd also steer your attention in the direction of other pieces such as "Captura", "Better Your Soul" (which also has a pretty nice following), "Know The Road" ["WHEN YOUR TIME IS UP DON'T CRY TO ME! YOU WERE WARNED ABOUT THIS!"] and a personal favourite of mine, "World Crisis", from way back in 2003 (I'd also mention the fresh "Deep Conversations" from just a couple of years ago now) (really god album). I think that his style which is kind of 'raggedy' (and I mean that with the highest of respect. Norris Man's wail, to my opinion, is PERFECTLY IMPERFECT and, at his best, is GORGEOUS especially for the type of music he makes) is at his highest level of efficacy within that lovely, DUSTY Roots sound and when you put it within the type of themes that he sings about (typical Roots Reggae ideology) it truly makes for, as I said, some of the most captivating music currently being made in the genre in my opinion. But what of this supposedly throwback sound being touted for "Free Man", specifically?? My thought, as I alluded to, was that what the album might be full of redone older tracks and that was FINE BY ME! The song titles and the producer and the form Norris Man had been in all told me that "Free Man" had the potential to be something really strong and it instantly became one of the most anticipated projects of 2024 for me.

You won't get very far at all into the new album before realizing exactly what the talk was all about ahead of "Free Man". It definitely brings in a sound from an older generation. I also, specifically, recall Norris Man saying something along the lines of it being something that you'd come across in the 90's and I think you're more likely to have run into an album like this -- with so many relicked older riddims -- during that time, so while the actual SOUND isn't one which originated in the 90's, it was certainly more prolific during that time so I would also even agree with that. So, on your way through it, "Free Man" will likely deliver a few moments which will hit the memory (and maybe 'the  feels' as well). If you want an example of that, check 'Righteous', the opener of Norris Man's brand new album for Tad's Records, "Free Man". This won't be the first time you've encountered this classic composition and Norris well puts it through its proverbial paces with an EXCELLENT offering which ranks amongst the album's very finest. The tune is a remake (I guess) of another which the artist did (but, given how long this album has been in the planning stages, who knows which one he actually recorded first) by the name of 'Know Jah Law' for one of the many redos of the Police In Helicopter Riddim. It was a winner in that slightly harsher form and, softening the blow just a hair or two, it still rises to the top. Have to give a big credit to the backing singer/s here (credited as Nikki Bolt) (not the first time I've ran into her name) (won't be the last) as well who add a major dimension to the vibes as well and Norris Man, himself who, at times, gives us some of the best vocals you'll find here in dealing with those who have either lost their way or never found it in the first place {"Binghi set a fyah. Apologize to none"]. Despite its title and the absence of the basic aggression it may've lead you to expect (did that for me, at least), 'Burn Babylon' is nearly SWEET.... SWEET in dealing with corruption and, clocking in at an appetizingly album-leading five minutes and twenty-six seconds, it is a TOWER on "Free Man". 

"When I seh burn babylon, I mean seh dun dem to ash

Mi bun dem more than a million times

I seh equal rights and justice for one and all

Babylon mi bun yuh evil device"

The vibes of the tune naturally paint a very serene picture -- even more so than the lyrics at times -- which suggests that once THAT corruption is done (which isn't far off or unattainable), what lingers is far more beautiful and desirable. Again, given the length of the track (more on that later), Norris Man is allowed to do so many different things as is the music and they both shine on a huge tune. I'm a nerd so I'll also mention something that I found really cool: You see the lyrics I typed; that, repeated is the chorus of 'Burn Babylon' and when he says "mi bun dem more than a million times", that number GROWS and by tune's end, it's up to a TRILLION! I'll go into more later, like I said, but what a nice touch that is. 'Ahead A Dem' does bring in the flames that you may have been expecting on 'Burn Babylon' and does so in a very free and almost adventurous way. This is the type of song where, had it not been here, I probably would have said that "Free Man" could have used a drop exactly like it. It would have needed a little more direct KICK and someone to get a little pissed off and here it is. Here, we find Norris Man a little angry that babylon has apparently forgotten the natural order of things and that its rightful place is behind, not at the forefront. Given its title, 'Going Out on You' had me curious about its direction, I was thinking it may've been something of a love song but it proves to be something far more clever. This one finds the artist saying that certain things that you do in your life just don't go away and they catch up to you and things that were once going in your favour (LIGHTS) are now.... going out on you because you've failed to live in a positive way. "SHAME ON YOU!" The album's actual love song is 'Baby's Mom' and it is, far and away, my least favourite tune on "Free Man", though I don't think it's necessarily a bad one (it most certainly is not GOOD, however). About twenty years ago Norris Man released a laidback album which carried several love songs by the name of "Hey Woman".... for whatever it is worth, 'Baby's Mom' is leagues ahead of the absolute best of "Hey Woman", without question (and even it will help me make my concluding critique of this album).

Ridiculously, despite having a glowing birth, "Free Man" only gets stronger as it 'matures'. The eponymous selection plays out much more of a MUSICAL PERFORMANCE than it does a SONG. It's dramatic and layered (there's singing and chanting and almost Spoken Word style poetry at times) with the core of 'Free Man' being a celebration of freedom and liberty and all that goes along with it (such as education and rights). If you're able to go into this one not expecting something that is going to necessarily get you moving with its melody and, instead, going to maybe tap into other types of pleasing senses, You, like Me, will have a very healthy appreciation for 'Free Man'. Even if you approach it in a way which doesn't place in its best position to succeed with you, a patient ear will surely make it grow on you as well. There's something very 'vintage' Norris Man about 'Fighting For My Rights'. Another tune which features more of a bite to it, 'Fighting For My Rights' is also an excellent lyrical performance and something tells me Peter Tosh would have been a fan.

"You see I'm fighting for my rights and my liberty

BLACK IS MY COLOUR AND FORVER WILL BE

Now I'm a slave in my own country

Politician keep on using me

The suffering comes, there is nowhere to turn

Then you pick up a gun and you go shoot yuh brother down

RIGHT THERE: I can see your future drown!

You're so far away from wearing that good crown

Babylon have it set because you're not around

Di system goes on and your days are at waste

If you only know what this life have prepared-

Then you wouldn't be caught in dem snare

Economically, things are so confusing and hard

How wi fi juggle fi food when you know seh nuttin nah gwan

Life is so precious but wah, times are hard

That's why everybody waah straight go abroad

Yes. Too much corruption mi si full up dung a yard

Inna di house of parliament a pure john crow and dog

Mi si di people wid dem pitiful talk

But wi ah build fi wiself now

Set fi wiself yo

Don't you know that we've got to help ourself"

Both 'Free Man' and 'Fighting For My Rights' go to set a nearly perfect 'intro' for the two songs chasing them, representing (at least in my opinion) the absolute pinnacle of "Free Man", 'Jah Is The Almighty' & 'Jah Love'. The former is this gorgeous powerhouse of dedication that is equal parts brains and brawn, carrying bottomless amounts of both. What I appreciated most here was the simple connection Norris Man makes of LOVE and The Almighty.

"There is always love to remind me to show that Jah is The Almighty"

Take that one step further: Think of The Almighty when you feel loved or when you feel GOOD in general. Specifically, you could trace it to, perhaps, the formulation of this tune and maybe even to all of Norris Man's music. When he feels good he feels like writing and singing and telling all who have ears to listen the JOY of knowing His Majesty! It is a LOVELY piece and one hopefully due to find an ample audience amongst the masses. The plainly named 'Jah Love' is my single favourite song here. Building upon the sentiments expressed on 'Jah Is The Almighty', 'Jah Love' uses a paintbrush to get its point across where 'Jah Is The Almighty' was maybe more of a paint-roller (anyone who's ever painted a wall knows that it takes a little more finesse to cover the corners completely than a roller offers) (...'Jah Love' covers the corners FULLY) (TWO COATS!). 'Jah Love' is glorious and, to be fair, Norris Man has probably had several songs with this same title (you will find an excellent one on "Captura") and so have a lot of his contemporaries (like pretty much all of them). What stands this one out from the pack is just how SMOOTH it comes across on that older riddim. On this cut, Norris Man builds His Majesty as not only the HEIGHTS of all things but, specifically, as a refuge from the ills of the world. Again, going further (because that's just what I like to do), you can narrow this down to the point where you can apply it to something as simple having a bad day or being in a bad mood or in getting into an argument with someone.... it is SO APPLICABLE and just a lovely song! 'To Jah I Pray' isn't quite on the level of the four tunes just ahead of it, but it also isn't terribly far behind either. It's a little cluttered, maybe a touch messy and chaotic as well (besides the chorus which is golden), but that rough packaging works for 'To Jah I Pray'. I would presume that not a whole heap of planning went into 'To Jah I Pray' but the benefit of that, tangibly, are these very colourful moments where it almost seems like Norris Man is just giving you the next thing that pops into his mind until arriving at the point where he deems the chorus to be an appropriate next move. In that, 'To Jah I Pray' isn't very acres away from 'Free Man', the song, and is another nice musical performance. Finally is a tune that you may be familiar with directly because 'Gun Hawk', along with that title track was a single released ahead of "Free Man" and it comes out blasting. 

"It's just emptiness, they've got no love for no one

Gun hawk!

Kill yuh owna brother like yourself

I hate to see this every day - corruption

Gangstas inna di street controlled by politicians

Too much a dem everyday samfi

They tell you this and that and promise you with a bag a lies

And all I see: Death and destruction

Vanity put dem inna di bed as corruption

For di cash inna di pocket, dem kill an innocent man

Don't let dem tell yuh bout their confusion

Dem know what ah gwan inna every region

A dem issue di gun and give out di instruction"

A fairly straight-forward social commentary, 'Gun Hawk' was an interesting choice to be a single in my opinion. What it does have going for it, ostensibly, is a very familiar riddim to more familiar fans of the genre, but I would think other selections might have a greater appeal to a more casual listener. That's only speaking in terms of sonics, of course, the quality of 'Gun Hawk' is beyond question. It's a great piece and a more than fine moment to end things on for "Free Man".

OKAY! I had two (technically three, but he second and third went together) points to make in closing but I forgot one of them so I'm going to wait a few minutes and see if I can remember what that was... NOPE! I can't recall, so I'm going to go with what I have which is my biggest point anyway [Note: I tend to write things like that first part to help me remember, but I usually take them out later. Not this time]. "Free Man" is carries eleven tracks and spans just over forty-eight minutes in length. By my [surely incorrect] math, that's an average song length of just over four minutes and twenty seconds and there are none less than four minutes in length. That is VERY IMPRESSIVE! To me, that is a sign that the producers and label were very confident with what they had here musically and, as I said somewhere in here, both Norris Man and the players of instrument are given an appropriate amount of time to display their talents and it really helps the quality of the album, altogether, in my opinion. Too many times Reggae songs can kind of have a 'cookie-cutter' feel to them (even when good), but this is more of an organic feel for me. The songs are played until the desired point is conveyed. FURTHERMORE, were you not convinced of Norris Man's and Tad's confidence in their work here, then you should check back in nine weeks' time when the label is set to release "Freedom Dub" - apparently an IMMEDIATE dubbed out version of this set. That'll be interesting to take a listen to in late September and, going back to the original chat around "Free Man", it makes perfect sense.... as I now recall the other point that I wanted to make here, but I will save that for closing.... here!

27 September, 2024

Overall, something else which struck me about "Free Man" is just how CLOSE the tunes are in terms of how well they're done. There isn't one that is WAYYYY ahead of the others and I would suspect that if you were to ask ten different listeners their favourite tune, you'd get at least eight or nine different responses, if not more (you know there'd be that one guy who'd name like four songs because he just couldn't pick one) (there's always THAT guy). For me, I'm completely happy with "Free Man", in full and I'm going t o place it amongst the better album releases that Norris Man has had to date which is saying a great deal. It is a FINE release and one which we have, apparently, not heard the last of just yet. Musically speaking, they can place it in the 90's or in any era for that matter but where the question of time ends and the question of quality begins, the argument ends as well. WELL DONE! 

Rated: 4.5/5

Tad's Records

2024