Unsurprisingly, back with yet another big new tune is the scalding Norris Man, this time linking with DJ Johnson from out of Denmark who was at work behind the chanter's 2023 set, "Life" (where it would have rivaled 'Folly Deeds' as the album's biggest tune, in my opinion. Another stellar tune coming from Norris Man in what I'm expecting to be another big year from him as well.
Ascending. Fortunately, no one is perfect and the concept of what it means to be 'perfect' would be absolutely lost on us, as a species, in my opinion. If you walk enough eventually you will stumble and if you talk enough eventually... you'll say something really stupid. So although it's certainly possible to do something for a very long time at a very high level, to do it fantastically each and every time out is NOT. I think that it is at least partially because of that, that I try to do the best hat I can in highlighting when someone --especially a familiar someone-- is enjoying a very good spell in their career because you do not know how long it will last and, when it does end, if you will EVER hear it again. This is even the case with some of the most consistent of outliers such as Luciano, Bushman (whose time is a prime example of the hills and valleys artists demonstrate throughout their careers, despite being super consistent for the most part) (if that makes any sense at all) and others. If you follow them closely enough, you're likely to observe them during certain stretches where they seem to hit higher points even than usual. In some of these cases, especially given the level of talents we're talking about, what results is downright CLASSIC material surrounded by work of a nearly equal caliber (if you think about it, you may be able to think of a song or a full album that is universally well regarded by an artist and then think of another around the same time which may not be as celebrated but you adore). This is timeless work that will exist beyond them and the rest of us and will be amongst the first things to come to mind not only for that individual, especially, but often for the genre, as a whole. This is the greatest of the great. On the other hand, you might also have someone who, though they may not reach those loftiest of levels, can go about showing that they've made adjustments or just generally improved to a point where their music has hit that proverbial (and downright mythical) "next level" [dramatic music and pause!...]. They've found A VIBE. You know who's found a vibe as of late, at least for me? Norris Man. I've been trying to stress the point across the past year and a half or so but either something has changed in his work or something has changed in my appreciation of it because the Trenchtown native has been dealing in recent times and he's made himself into an artist (like Mark Wonder, Perfect Giddimani, Reemah and Skinny Fabulous these days, specifically) who I'll just find myself seeking out new material from every few weeks or so just to see if I may've missed anything and when I have, what I have missed is almost always at least solid (and even when it isn't very good, it's interesting or it's leading into something else that I may be interested in). It's gotten to the point where were I to begin naming my current favourite artists... I'd have to put Norris Man's name somewhere in the top ten or so and that most certainly was not always the case.
I had a thought/theory about Norris Man's career over the past decade-ish, but it's one which I'm entirely too lazy at this point to flesh out to any thorough degree (but I'm still going to let it fly) (because why not??): Does it seem like it to anyone else that, one day all of a sudden.... Norris Man just started releasing tons and tons of albums??? While I can't actually call him "inactive" for any decent sized stretch of his career in terms of putting out albums, for me it seemed as if he experienced a BOOM once upon a time and as someone whose interest in his work has historically gone through hills and valleys, I feel like I may have missed one or two of them entirely. These days, however, I'm experiencing no such wavering at all and if Norris Man is putting out new music, he has my attention.
2023
Most recently, this was the case in May of 2022 when the artist teamed up with Train Line Records for the solid "Deep Conversations" set. It was very strong and has aged well and and currently sits somewhere in my top... maybe eight-ish or so favourite albums Norris Man has ever done. Also, it was just very well presented and carried through showing that someone had cared for it both inside and outside of the studio, seemingly knowing that they had a winner on their hands (we've basically passed the age of digital media, certainly when it comes to music, but I would have LOVED to have "Deep Conversations" on disc). Just ahead of that was 2000's unique "Emerge", in continuing the prolificacy, Norris Man was back at work throughout 2023 for one special outfit, in particular. We have covered Reggae coming from out of Denmark a couple of times over the years, most notably, probably, with the well underrated and talented Jah Turban and, when I found out that the source of some of Norris Man's output (or one giant tune, in particular) was a Danish label that I don't think I had ever come across by the name of E.Turn.A.T. Records. The Copenhagen based imprint released an interesting track/project by the name of Rhythm of the Ocean (more on that in a minute) over the summer or so and it carried one of the finest tunes from Norris Man that I'd heard in quite awhile.... maybe four or five years or so and it definitely got my attention. It would not take long for another Norris Man/ETAT collaboration to materialize (which I wasn't crazy about) (more on that later too) and, before we knew it, what we had just heard were the first and second singles from a forthcoming full length release by the name of "Life", in late 2023. A new Norris Man album?! BOOM! In retrospect, 2023 was a fairly delightful year for Reggae albums and had you told me ahead of it that Norris Man would also be making an appearance (along with Queen Omega, Chezidek, Anthony B, Chuck Fenda, Buju Banton, Beenie Man (even though they didn't turn out too well), Burning Spear, Tiwony and others) he would have gone to near the top of my most anticipated, even with "Deep Conversations" still being quite fresh in mind. Not being very much (if at all) familiar with the producers actually made me even more curious to hear "Life". By comparison, what they do at Stingray, who backed the aforementioned "Emerge", is no mystery to me at all and I can fully recall being curious as to how that union would ultimately work out; in this instance I was just fully captivated in hearing how the style I heard on the first couple of tunes wouid play out through a full listen (and how much fun it would be to review. It's been a minute since I've done one of these). Also, looking over the tracklist presented, along with what I already knew of, one potentially MAMMOTH moment during this 'lifetime' that I was damn eager to hear. So how did it go?? If you aren't doing anything better (and you aren't) (life isn't treating you too good these days) I'd really like to tell you about it.
As it turns out, although far from perfect, "Life" definitely has far more peaks than nadirs. In terms of the sound and the quality of the music, it is nothing You (experienced and passionate fan of Roots Reggae music) have yet to hear or will have a problem with and, by its end, the album is fairly straight forward and finely put together and while I cannot say that it finds the artist at his zenith (used "peak" and "zenith" in the same paragraph. That has to count for a few points??) for the most part, Norris Man is near the same form which has turned me into such an enthralled listener in recent years. Now with that being said, however, I am not a fan of the opener, 'Doors Are Open'. I've gone back and forth on this one but I don't think I've ever gotten to the point where I would actually say that I necessarily like it. 'Doors Are Open' certainly isn't bad, but it comes off as.... kinda.... maybe CURSORY is the best word? It sounds like they went into the studio to make a song (or an album) and they had a chorus (which is nice and probably the best part of the song) and 'Doors Are Open' is what emerged. It isn't bad, it isn't even close to it, but there is absolutely nothing remarkable about it either. It is an average love song. Skipping ahead just a bit, compare 'Doors Are Open' to 'Get To Know You', which is another love-ish song and considerably better to my opinion. This is another one which feels very open (even more so than 'Doors Are Open') and I wouldn't be at all surprised if it were vibed and improvised to some degree, but it has such a SWEET vibes to it that, regardless of how it was constructed originally, 'Get To Know You' works for me. It works all over. Dropped right between the album's first two love song is Norris Man's afore-alluded to cut of the Rhythm Of The Ocean and my choice as the single biggest track on the whole of "Life".
'Folly Deeds' is the type of song I would point to were I attempting to sell some new listener on the work of Norris Man altogether as the spiritually themed social commentary finds him in not only a fine form but also demonstrating his somewhat unusual style of chanting near its colourful best as well. Norris Man does what he does best on a song like 'Folly Deeds' and it DAZZLES. He continues to impress in rounding out the project's opening lot of selections with the also fairly sizable 'Lesson To Learn'.
"All man shall see and know yeah
You've got to believe it yeah
We all have a lesson to learn
Dem can't deny it"
As its title would suggest, 'Lesson To Learn' is about growth and gaining wisdom and life experience. It's also very skeletal. That passage that I just quoted is the lead-in to pretty much every mini verse and that isn't necessarily a bad thing (though I wouldn't call this one of the better written songs on the album and that is largely due to that) but what develops around it is very well done and it features this very HEAVY level of humbleness and humility which you'll typically get from Norris Man's music but it plays even more into the theme around 'Lesson To Learn'.
I mentioned that I wasn't in love with the second single from "Life", which just happened to be the song for which it is named and that still is the case but I do have more of a general appreciation for 'Life', the song. It's both sort of bright as well as laidback but somewhere in between both exists a very nice and infectious (and I mean that in very non typical way. It's just pleasing to listen to is what I'm saying here). It doesn't accomplish much in its time (shortest song on the album by fifteen seconds), which is probably the biggest reason why I, initially, didn't enjoy it; but 'Life' has grown on me just a bit, I will admit. The same could be said for 'Never See This Coming', the first of two tracks featuring Norris Man alongside Danish songstress, Cisillia: It also took some time and I still wouldn't say that I LOVE it right now. This track, another love-ish one has some Pop/R&B elements to it which I won't say drags it down to any degree, but it definitely places it into a different light and makes it THE changeup on "Life". The next time we hear from Cisillia is on the slightly better terms as she brightens up the more Reggae-centric and decent 'Worthwhile'. Another one which is more on the open side 'Worthwhile' quickly discovers its groove and settles in (literally by the time the first verse begins, it's THERE) and it is just NICE although nothing special. It is a solid love song and, going forward, while I don't think my usual listening routes are likely to run me back into the work of Cisillia, hers might be a talent worthy of a detour. We'll see. Check 'Live It Up' which sits clearly as one of the set's finest offerings altogether. There is a palpable and FILLING simplicity in this song which, when linked with a very slow and lumbering pace, makes for a LOVELY tune and, for his part, Norris Man definitely makes the most of the moment on a tune which I'm even more confident in saying was just a VIBE... this time turning out in a wonderful way. The other tune here in the middle portion is PROBLEMS! 'Red In Babylon' features Norris Man alongside longtime favourite of ours (who it would be really nice to get a new album from in 2024), the brilliant Lutan Fyah. This isn't the first time the two have linked as they've previously worked on at least two separate pieces that I know of. A few years ago was 'Live There' on which Legal also displayed his talents (biggup Legal) and, prior to that (and most notably) was 'After All' which was carried on Norris' very strong "Home & Away" album, ridiculously, nearing two decades old at this point. 'After All' was outstanding and, to my opinion, 'Red In Babylon' is nearly just as strong. The tune begins, arguably, the single finest stretch of music on the whole of "Life". This includes what is my choice as the album's clear finest love[ish] song, 'I Will Remember'. This one, as opposed to several that I've mentioned thus far, comes off as far more detailed and planned out, although it does retain a sweet, rugged charm about it (a quality ever-present in virtually all of Norris Man's good work) and musically speaking, 'I Will Remember' is somewhere in the clouds. With a horn, delightfully, refusing to sit its ass down, the riddim on this song is mighty and, as it nears its conclusion in particular, the song hits a groove where it could have SAT DOWN and I remained for hours and not gotten a single complaint from me. 'Still Run' continues the winning ways as, EASILY, one of the standouts here.
"No focus pon di tings you si ah gwan, yes
And all di devil deeds dem ah perform
Rastaman forever will chant, yes
Dem folly comes to light what's inna di dark, yes
Yuh si dem dutty remarks and their thoughts-
Trying to sop wi from di righteous path
Then si di words of Revelation part
Nuff a dem walking in di dark!
TELL DEM A RIGHTEOUSNESS STILL RUN DI EARTH
TELL DEM A LOVE MI AH PROMOTE AND PUT FIRST
Man ahgo bun out dem god weh dem a serve
Dem nah do Jah work"
Norris Man absolutely BLAZES 'Still Run' with a big message of no matter how bleak things may seem, there is a positive force that ultimately is in control. I've said it (and others have) that if you take Norris' voice in pretty much any other capacity, it might not work -- the odd kind of wailing he does -- but if you think his voice is "bad" (and I have seen it described as such), I'd point you to a tune such as this one where he takes not a single poor step in terms of delivery. 'Still Run' is excellent. Lastly, is the not unexpected praising piece, 'Jah Love Me' which also does just fine. If you've listened to more than a few of these things, you aren't jolted at all to see an album like "Life" end with a drum-heavy song about The Almighty. It's what happens. This one, in particular, isn't the greatest of them that I've heard but, again, it has its moments. I would direct your attention, especially, to the last minute or so of 'Jah Love Me' where the artist just... almost seems to start just pouring out his thoughts. He does pay attention to and respect the melody, but this is something else and one of THE most stirring passages on the entire project in my opinion and an explosive not to end on.
Overall, "Life" slots in comfortably on the mid to lower end of Norris Man's GOOD albums. I don't think it's quite what "Deep Conversations" was (which is nothing to be ashamed of. As I said, that one is still getting better and were it not for the love songs here, I would predict a similar fate for "Life"), but it is within that scope of quality for me. Perhaps even more importantly, it continues a winning run of form for him and maintains my piqued interest (and apparently I won't have to wait very long to get back in as I've seen another Norris Man album scheduled for release this summer by Tad's already by the name of "Free Man") (Norris Man with Tad's just sounds fantastic). "Life" also serves as a solid introduction to the work of E.Turn.A.T. Records. Throughout the album, the music is exceptional or very close to it and I'm well looking forward to what they will do in the future. The present is very nice as well: It isn't his finest work to date, but if you do enjoy the work of Norris Man, "Life" you will SURELY find something beautiful within. Well done.
See more. Though one wouldn't necessarily be inclined to call it one of the most technology-conscious genres, historically speaking, I do like the way that Reggae music has managed to evolve with the times in certain ways. Of course, sticking to more tried and tested traditions, in many ways, is for the best but at least noticing what is going on around you can definitely be a good and viable option. Today, where people don't buy even nearly as much music as they did only ten years ago and when they do, it is much less of the physical variety, which has become diminished due to the ultra convenience of the digital medium, we've seen much of the music head in that direction. Of the most notable absences has surely been the riddim album. Not very long ago, as an entire genre, one could well make the case that if you did not include greatest-hits and general mixed compilations, that riddim albums probably occupied the greatest shelf space when it came to Reggae CD's. The biggest labels at the time, VP Records and Greensleeves Records, both had powerful running series and the latter had more than one or two years in which they fed their Rhythm Album Series far, FAR more than they released albums from one of their SIGNED stars. And despite not having its ranks added to in nearly half a decade, VP's once mighty Riddim Driven still remains one of the most easily recognizable series in Reggae music history. But again, times have changed. Along with the deflating of the number of physical albums produced, altogether, one of the other more remarkable digital distinctions we've seen in Reggae music has been the formations of companies who, at least primarily, deal with the genre in its digital form. Certainly the one which most immediately comes to mind is the monstrous Zojak Worldwide who, seemingly so successful digitally, recently evolved on its own and has turned its attention to the physical market in releases from the likes of Tarrus Riley, Bugle and others. There has also been labels such as the downright strange Fox Fuse who… seems to be taking over the entire world (ALL OF IT!), largely in support of Soca music as well as VPAL, a division of the aforementioned VP Records who pays constant attention to both digital and physical sets. Also (in case you needed more) (and you looked like you did) (fix your face), another really nice digital development has been the relatively sudden sprouting of the Reggae EP. From some of the bigger names in the genre including the likes of Chronixx, Midnite, Sizzla Kalonji, Ziggi Recado, Bounty Killer and, soon, Spice, to the up and coming likes of Exco Levi, Kabaka Pyramid, Sara Lugo [WHAT!], Denham Smith and an incredible list of others, over the past five years or so, digital Reggae shelves have been absolutely overflowing with STRONG EP releases.
"Africa Is Our Home" [2010]
One of the burliest of that lot came back in 2010 when a Spanish Town born chanter took his career to the proverbial 'next level' in not-so proverbial and usual terms with a MASSIVE EP. The chanter was Jah Turban, the release was "Africa Is Our Home" and the twist in the conditions of its arrival came largely due to the fact that the set was the fruit of the labour of Turban's work with a Danish based imprint by the name of S.J.P Records (which I am confident stands for Sky Juice Reggae Promotions). And though a big credit goes to the Danish Reggae scene for expanding since, at the time, I didn't know Denmark as one of the more Reggae-centric European spots (I mean… it would have ranked ahead of Macedonia or Kosovo) but a project like this definitely forced a closer look outside of the late and well talented Natasja who (would have turned 40 last week) (biggup Natasja) remains the most identifiable Danish name in the genre more than seven years following her transition. What I heard on "Africa Is Our Home" from both vocalist and producer was a LONG talent and, in both cases, clearly demonstrated someone(s) had either been at work for a long time or had been headed in the proper direction for a very much accomplished period together.
In either case, it made an immediate fan out of me with its kind of 'rough' sound. Jah Turban's style echoed of that of his peers such as Lutan Fyah and Jah Mason and Anthony B (more on him later) and I definitely wanted to hear more. I wanted an album! That wait would be entirely too long but thankfully You and I survived and it is the final quarter of 2014 and here it is! The debut album of mighty Denmark based Jamaican chanter, Jah Turban, "Mama Africa" is in stores now courtesy of S.J.P Records. DAMN! THANK YOU! Recently, Turban and S.J.P had been pushing a few digital singles and, I think, they even re-released the EP last year via the aforementioned VPAL (which is the case for the full album as well). I did notice all of those things at the time and I was just happy to get more new music from Jah Turban and, like what I had heard prior to it, those songs impressed on some levels. Still, I had absolutely no idea that the tunes were released ahead of what was to become one of the more anticipated releases we've seen on these pages, "Mama Africa". I've done it constantly so I will not detail it again but how spectacular has 2014 been for Reggae fans when it comes to albums??? It's getting even sweeter with this one! I do have to say that I was quite hopeful when it came to this one also. While Jah Turban hasn't been the most active vocalist since "Africa Is Our Home", he has managed to establish a range of quality and I was damn expecting to hear, at least, what made me such a admirer of his work four years ago. Can he do that? Let's see!
Something else about Jah Turban's style which greatly interested me was, like his name might suggest, he just went about his business in a very straight forward manner. I did include Jah Mason's name as a point of comparison, and with decent reason (I have previously included Perfect Giddimani but that was… just wrong by me) as a basis but Turban doesn't have nearly as many of the emotional variations that the Mason does. He goes about his business in a very straightforward way and, obviously, it has worked well for him. It has also led us all to his solid debut set, "Mama Africa", which begins with its eponymous selection. This song was, in many ways, what I expected it to be. It is the drum-heavy effort on the album and on it Jah Turban gives a most appropriate praising to Mama Africa. I will say that this song almost comes off like an intro - I don't think that it was very planned out. There was the track and Turban, essentially, went off the top of his head with what he wanted to say. There isn't anything wrong with that in this case and the first piece work well for what it is. Things do, however, go considerably higher on the second song on "Mama Africa" which has to be considered one of its highlights by anyone, the SWEET 'Love Jah & Live'.
"Love Jah and live
Hail HIM and we glorify HIM
Jah bless and sanctify and guide I & I
I see di wickedness going on out there -
It's just evil
World of people rise from di bad to be good - over evil
Be one of The Most High disciple
And you know The Most High Jah will guide you
that's why the Bobo man go bun out dutty bungle
Yow, clean up your heart and stop from fumble
LISTEN TO DI WORD-SOUND AND STOP FROM GRUMBLE
PRAISE RASTAFARI AND EVERYTHING WILL BE HUMBLE"
For me the tune is more than just one the albums "highlights", it is the single best song I hear on "Mama Africa" and a most powerful display of Jah Turban's ample abilities at his best. Charged with following that giant tune is a piece which neither fumbles nor grumbles, the very BRIGHT social commentary 'World Crisis'. This is a very nice composition to listen to - it has a very nice vibes to it and Turban utilizes the circumstances to turn in a big effort about the way that poor people are often mistreated and overlooked in society. I don't think that this song is likely to be one of the more popular from this album but definitely don't walk by it without taking an intense listen because it deserves it. And I will also mention - at the end of the first few songs on the album is one which actually does have a slightly different sound to it, 'Real Real Love'. Obviously this one is something of a love song but it isn't just one in the typical sense of the phrase. Turban gives it both a spiritual and historical type of approach and, in doing so, gives it a very nice 'hue' which makes it shine, particularly across that downright sugary track which carries it.
As I mentioned, ahead of the arrival of "Mama Africa", Jah Turban and S.J.P Records gave us a taste of what was to come with some singles over the past few months or so. The first of these to actually appear on the album is another love song with a vibrant feel, 'She Love Me'. I did not like this song the first time that I heard it and I still won't rank it amongst my favourites from the album but it's probably a bit better than I gave it credit for being, especially in its late stages when Turban adopts an old-school Dancehall approach which is nice to hear. Also likely to be familiar to your eyes is 'Working Man' which is a better song than 'She Love Me' and should develop a nice following. This is a song not just about 'working', basically, it is about moving closer and closer to achieving your goals and aiding others in doing the same for themselves. I really like that aspect of the song because you've heard dozens of songs like this one, theoretically, but the facet of including HELPING SOMEONE as a personal achievement is a unique one and is very welcomed. Later are both 'Life Is' and 'Fiwi Time', which were also previously released singles. The former is a kind of a Dancehall track with a conscious twist to it and the latter isn't wholly dissimilar. HOWEVER, 'Life Is' is decent -- it is a solid track with a nice vibes -- 'Fiwi Time', on the other hand, has a special quality to it. That quality is most evident at its chorus which is sure to keep it firmly in the memories of fans - myself included.
A pair of other songs with which you may be familiar are also brought in on "Mama Africa", 'Gambia' and 'Move Vampire'. 'Gambia' was a piece which reached somewhere between the EP and this album (maybe a year or two ago) and it was probably one of the most highly regarded songs Jah Turban did in that span of time. As for 'Move Vampire', one could well make the case that it is THE most popular song Turban has ever done. This tune actually appeared on "Africa Is Our Home" and I think that it says a lot that, out of six songs, it is the only carryover to "Mama Africa". It was clearly a sizable song and was infectious so I'm not at all surprised to see it here where, just as it was on the EP, it is a standout (and I think that I've even heard a remix to this song as well).
The three remaining selections on "Mama Africa" really do big things in their spaces with two of them, especially, being of definitive note. The other song, 'Summer Time' is an okay song which is virtually unlike anything else on this album or, unless I'm forgetting something, anything else I may have heard Jah Turban ever do. Still, if you listen to it enough (and I have) you're guaranteed to find yourself singing along with portions of it which I think was the likely goal with this one. Unbeknownst to me prior to listening to the album, the aforementioned Anthony B does make an appearance on the album on 'Rebel With A Cause' (and we couldn't find a version of the track list which said "featuring Anthony B" on the song and you would think that would be a nice thing to mention). 'Rebel With A Cause' did take a few spins to grow on me but you can call me a fan of that one now as the duo promote standing up for yourself and for your beliefs when you know are doing right, even when (and especially when) the go against the ways of the system. Lastly is a song which kind of snuck up on me because I didn't at all expect it to be this strong, 'Africa Bless'.
"Mi touch a foot down inna Africa - oh yes
Oh what a bless up inna Africa - oh yes
How powerful Mama Africa - oh yes
A joy mi ah tell yuh inna Mama Africa - oh yes
Mi seh behold Mama Africa
Brightness rise in Mama Africa - what a bless
Stop di war inna Africa - oh yes
Di bloodshed fi stop inna Mama Africa"
The song has an equal at least in 'Move Vampire' but… that's it, aside from 'Love Jah & Live' it is as good as and better than the rest of this album in my opinion. It is THAT good and given SJP's and Jah Turban's proclivity for pushing singles, hopefully it does get its time to shine and I really do think that it will (why not?!).
Jah Turban
Overall, "Mama Africa" is precisely the all-around solid set that I was hoping for and expecting. I would have liked to see another combination with a singer (maybe even one with a female) because I think that style would definitely match well with Jah Turban's and I don't know if I have ever heard a piece like that from him to date. I also would like to mention that despite not having too much variation in terms of sound, this album is very pleasing on the ears and I don't think that changing course too much would be very beneficial given what the chanter does well. "Mama Africa" is ultra straightforward and streamlined modern Roots Reggae music and that is what works best with Jah Turban and, clearly, S.J.P Records. And it goes back to one GIANT EP release in "Africa Is Our Home" which brought up a name, Jah Turban, who I am damn glad that we kept an eye on for the past four years.
Meet Jah Turban! I know what you’re thinking, believe me I do - “Achis you haven’t done an artist of the month in years and years”. And you’re right, I haven’t, but I had a good excuse - I didn’t feel like it. But now, motivation restored, I’m going to tell you about an artist who has to be one of my favourites RIGHT NOW (in terms of his progression), that I’ve covered thus far, Jah Turban. The WICKED Spanish Town born chanter becomes only the second Jamaican born artist that I’ve featured thus far (after Naptali) and with good reason. Although he was born in Jamaica, Jah Turban doesn’t flow inside the same ‘typical’ channels. No. Chances are you may not have even heard of some of the labels and producers which he has voiced for, because like so many acts these days, Turban has found his calling and his audience in the Reggae starving Europe. However, he hasn’t gone to usual places such as the UK, Germany, France or even The Netherlands. No, Jah Turban has made his musical home in Denmark of all places and has made his international name making music for labels such as my good friends at Burton Records for whom he dropped ‘Perseverance’ on their Strike Back Riddim [pictured] late last year.
And perhaps even more notably, Jah Turban recorded the hype herbalist tune, ‘Pass Me The Ganja’ for Juicy Halftone’s HUGE riddim project, the Alis [pictured], earlier this year as well as having reached Food Palace’s popular Colliemonster track from last year as well. The latter composition featured Jah Turban on the riddim alongside such stars as Sizzla Kalonji, Vybz Kartel, Turbulence, Prezident Brown and even the late Natasja.
I’d like to make a connection between the artist’s name and going into his actual style. While certainly he is a dynamic Roots Reggae artist, Jah Turban’s style, as his name might suggest, can definitely be described as ’no frills’. There are no Hip-Hop 'flavours' or ’overtures’ in his style, it’s just straight chanting for His Imperial Majesty and it just so happens that I LOVE that style (obviously). Certainly place Turban in the area of others such as Lutan Fyah, Jah Mason, Anthony B, Perfect etc. and what I think most distinguishes himself from them is his approximation of ENERGY. I really like the way he seems to basically throw himself on the track, with full passion and even when the intensity isn’t SO high, he still really goes after the riddim.
So obviously the next step for Jah Turban, after having dropped quite a few singles and appearing on international compilations, is an album. We’re still waiting on that, however, to hold the vibes high until such time, Jah Turban has linked with yet another Danish imprint, SJP Records which is blessing the masses with a VERY nice six track EP from the artist which is not to be missed, ”Africa Is Our Home”[pictured].
The EP features what is probably Turban’s biggest tune to date and the one for which he has a video, the outstanding (and Lutan Fyah-ish) ‘Babylon U Doom’, as well five other really impressive selections, including ‘Move Vampire’ which sounds VERY promising (you can hear the entire thing on Juno). The EP is set to be internationally released, digitally, on December 3 (and we’ll be picking it up), but if you do not want to wait, you can pick it up right now at SJP’s website, Skyjuice.dk. Despite the fact that he’s apparently fully based in Denmark, I definitely would like to see Turban return to the Caribbean and start mixing amongst some of the more familiar producers, but that’s certainly not to say that he is suffering where he is, because apparently SJP, whoever they may be has been really good to him and he, in turn, has been really good to the fans - Releasing QUALITY material.
So keep an eye and two ears out for Jah Turban. The EP drops worldwide on December 3 and hopefully we can get to know him a bit better (album album album!) in 2011, because a very strong talent like his is just too fucking big for Denmark right??? (biggup Denmark!).
Jah Turban
And perhaps even more notably, Jah Turban recorded the hype herbalist tune, ‘Pass Me The Ganja’ for Juicy Halftone’s HUGE riddim project, the Alis [pictured], earlier this year as well as having reached Food Palace’s popular Colliemonster track from last year as well. The latter composition featured Jah Turban on the riddim alongside such stars as Sizzla Kalonji, Vybz Kartel, Turbulence, Prezident Brown and even the late Natasja.
I’d like to make a connection between the artist’s name and going into his actual style. While certainly he is a dynamic Roots Reggae artist, Jah Turban’s style, as his name might suggest, can definitely be described as ’no frills’. There are no Hip-Hop 'flavours' or ’overtures’ in his style, it’s just straight chanting for His Imperial Majesty and it just so happens that I LOVE that style (obviously). Certainly place Turban in the area of others such as Lutan Fyah, Jah Mason, Anthony B, Perfect etc. and what I think most distinguishes himself from them is his approximation of ENERGY. I really like the way he seems to basically throw himself on the track, with full passion and even when the intensity isn’t SO high, he still really goes after the riddim.
So obviously the next step for Jah Turban, after having dropped quite a few singles and appearing on international compilations, is an album. We’re still waiting on that, however, to hold the vibes high until such time, Jah Turban has linked with yet another Danish imprint, SJP Records which is blessing the masses with a VERY nice six track EP from the artist which is not to be missed, ”Africa Is Our Home” [pictured].
