Discography: Sara Lugo!

Give us a reason to go digging and we will (… and sometimes we will even when you don't give us one). We continue the unofficial but clearly active 'Sara Lugo Week' around here with a look back at what lead us to the current release of a singer who has well proven to be one of our absolute favourites throughout the life of these pages. Armed with a highly intoxicating and truly one-of-a-kind blend of Roots Reggae and Jazz, the tall German singer has also proven to be well durable in such a short period of time and has, already, worked with some of the biggest production talents in all of Reggae music. She has also dazzled with a voice which seems 'created’ to do something in particular, but has found success in every way in which she has applied it to date. So now we take a look at the brief but extremely potent and powerful catalogue of someone who we cannot get enough of. Discography: Sara Lugo

"Sara Lugo" EP [Oneness Records - 2009]

Get familiar. Over the course of the last half decade or so as Reggae music has made its presence well known on the digital medium of music, we have seen a stunning amount of EP's from a variety of names. From the biggest side, with the likes of Bounty Killer, Sizzla Kalonji and Chronixx, to up and comers alike, the genre has produced a healthy amount of them and will seemingly continue to (which is fantastic). With that being said, unsurprisingly, one of my favourites remains this introduction and self-titled set from Sara Lugo and Oneness Records. In just a few tracks, this very straight-forward released managed to compile a pair of the biggest tunes Lugo has ever done in 'Familiar Stranger' and the tranquilly infectious 'Rock Steady'. Also featured was another tune with a grand importance, 'And They Cry' (which may've been the first time I heard Sara Lugo's music, in retrospect) alongside another favourite of ours, Naptali and the EP also carried a somewhat overlooked but glowing vocal display in 'Mother & Child'. Though it would take another two years to arrive, this Umberto Echo produced project would well set the stage for the FULL dosage of funky comfort which was to come next from Sara Lugo. 

"What About Love" [Oneness Records - 2011]

…funky comfort. One of the best EP's I've heard would lead into one of the best debut albums I've heard in 2011 as Lugo would deliver her all kinds of compelling first full release, "What About Love". I've probably written about this album more than anyone and (this CERTAINLY WILL NOT be the last time) with good reason as it ranks as a set which, now three and a half years on, has managed to continue to not only rise in quality but also constantly offer new and interesting aspects to consider. That's a rare quality in an album where I do not find myself relentlessly having to place together concepts and distinguish meanings (not that I'm complaining about that) (biggup Vaughn Benjamin). In this case, "What About Love" STILL catches me with its sound. I hear beautiful things like on 'Nothing To Worry' where, more than three and a half minutes into a song less than five minutes long,  it EXPLODES! I hear a powerful simplicity in a song like 'Soul Chaos' which so vividly accentuates the fact that the vocals there are tremendous and it took me years to realize just how strong they were. A relatively newfound greater appreciation for acoustic cut of 'Familiar Stranger' (a song I could listen to endlessly these days and another one with a sound which detonates at one point). I hear 'Locked Away' and immediately get images in my mind of Sara Lugo rolling around with a cactus plant [OUCH!]. I hear 'If Tears' with a different from my own Grandmother transitioned in January and songs like 'Part of My Life', 'Rock Steady' and 'What Happened' are, like the album in full, personal classics for me. A gem. 

"Hit Me With Music" [Oneness Records - 2014]

The light album. I'm sure there were others (probably quite a few of them) but, in theory, I don't know the last time I would have looked so much forward to a release than I would have to "new Sara Lugo album". And though we had to wait three and a half years (and, at least today, it doesn't seem like a particularly long time, looking back), what eventually would arrive, "Hit Me With Music", would not disappoint and it probably couldn't have even if it tried to. The most immediate (still very developing) response to this one is definitely just how FINE it is to listen to. If "Hit Me With Music" was a person, she'd have flaming red hair, she'd be "kinda grey" and she'd be very, very attractive. This album just makes me smile every time I heard it - and we'll tell you more about that (again) [WHAT!] [BOOM!] on Friday. While you're waiting, you have no reason not to pick up everything on this list.

Discography: Ward 21

In the early 2000's the group, Ward 21, would help to inject a curious brand of much needed FUN in the Dancehall via their risk-taking and downright edgy brand of vibes. Collectively, Suku (who, if it is fair, history should look upon as one of the strongest Dancehall maestros of his era), Kunley, Mean Dog and Rumblood would link for the legendary King Jammy and grow to become one of the biggest names in the genre, both in and outside the studio. Their production credits includes what is simply one of the greatest Dancehall tracks of all time, the Bellyas, as well as several unforgettable others. On their own, they've also assembled a string of hits under their own name as well and have, for the most part, shined now through a quartet of album releases. So, today we take a look back at one of the craziest and darkest catalogues in Dancehall history. Discography: Ward 21!

The music of Ward 21

"Mentally Disturbed" [Greensleeves Records - 2001]

Padded cell. Unsurprisingly, while Ward 21's more saleable and radio-friendly group counterpart, TOK, ended up signing with VP Records to orchestrate their debut album, the Ward would sign with the habitually more grimy Greensleeves Records which would handle their first two albums. THE first of them all was also, arguably, their greatest creation to date. "Mentally Disturbed" was a classic which has only gotten stronger over the years as it has accumulated a ridiculous amount of nostalgia. This set gathered many of the Ward's earliest of hits and while it may not have aged well, as a unit called "Mentally Disturbed", some of the songs on this album feature the group at its infectiously maddening best. It was unnecessarily violent and it was pointlessly dirty, but it was brilliantly so in both cases. Tunes like 'Bloodstain', 'President of Hoochie Land', 'Pain 21st  Century', 'Don't Push It', the fantastic 'Eyes Wide Shut', 'The Illness' and many others really came together what has to be regarded as one of the most fun Dancehall albums in recent memory. Elephant Man, ARP, Wayne Marshall and others featured. 

"U Know How We Roll" [Greensleeves - 2003]

Grrrr! Along with being an extension of its predecessor, the "U Know How We Roll" album was also kind of a streamlined version of it as well. While it was also extremely fun, it seemed as if Ward 21 had decided to put forth a more concerted effort to display SKILL. Ultimately, while I still prefer the first release, I think they may've done that precisely here. Because of that, we saw tunes which just wouldn't have fit well on "Mentally Disturbed", such as 'Reggae Pledge', 'Shotta To A Shotta' and even 'Something About Her' and 'Run Dis Business'. Still, it was a Ward 21 album which means that its biggest of moments usually involved something out of the ordinary. The biggest lasting piece from this album was probably the genius 'Rhyme' which… is really difficult to explain - you just have to hear it for yourself (as well as its sequel 'Crime'). There was also the craziness that was 'Nah Climb' alongside an up and coming Vybz Kartel, the HARD 'Badda Than Dat' with Bounty Killer and my own personal favourite, 'Petrol'.  

"King Of The World" [JVC Japan - 2006/Jamdown Recordings - 2007]

Damn contracts. If I recall correctly (and I almost never do), Ward 21, like several others at the time, such as Kid Kurupt and Predator (neither of whom, even today, have ever released albums to my knowledge) and even Vybz Kartel later (who once threatened to change his name to get out of a recording contract) had grown upset with Greensleeves' release schedule (or lack thereof) and, again like Kartel would later do also, they proceeded to take their business east in doing an album which, initially, was only available in Japan, "King Of  The World". The album was nowhere near their best work and was kind of stale, even when it finally did arrive. Looking back, outside of the title track and 'Food For Thought' (which, coincidentally, chased it on this album) really stood out. "King Of The World" was not horrible, but it was nothing of the same ilk found on the first two albums on this list at all.  

"Genesis" [DHF Records - 2009]

Bloodless. Something very glaring stands out in regards to "Genesis", the Ward's most recent release from back in 2009 (anytime now)… someone was missing! In 2008-09, Rumblood left the group and Suku, Kunley and Mean Dog went forth with the rebirthing "Genesis". Looking back, while it is kind of cliché to say it, the album did kind of represent the next stage of Ward 21's existence. Even today, I'm not at all surprised when I see their work pop up on some random track from out of Europe or that a tour they did in the continent was very successful. It has definitely added another dimension to their career and, to this day, beautifully continues. "Genesis" was near the nascent stages of that and featured work with European producers as well as tracks from the Ward, themselves. While it may not be very popular these days, this album was very strong and pinnacled with the dark 'Funeral Spot’ alongside TOK. Tifa and Timberlee also stopped by, as did Ele. Not quite as good as their early work, but not very far from it either for what it was. 

Discography: Bunji Garlin

2013 has been a magical one for a number of different people and one who has very well played a role of musical magician already, and figures to continue, has been veteran Trini Soca star, Bunji Garlin. Known as being, far and away, the leading craftsman of the art of the spoken word in frenetic genre, Garlin has strung together a showing this year which can be placed as one his best - and if you know what he's been doing up until this point, you know just how grand of a statement that is. Bunji Garlin, consistently, has been one of the most dependable and excitable lights on a 'stage' which has been short on neither in its relatively short history. He's also maintained a relatively consistent album release schedule (particularly for Soca music, where, at least to my knowledge, the only of his contemporaries who has as many is Machel Montano who has released at least one album a year from when he was a small child) and, to date, has already had NINE to his credit. With, potentially, his most lethal (and popular) on the horizon, we take a look back and dive into, quietly, one of the most colourful catalogues in all of music. Discography: Bunji Garlin 

The music of Bunji Garlin

"The Chronicles" [IP Music International - 2000]

Gimme. Despite the fact that it is, by no small margin, the worst album you'll find on this list (and I think your first album should be your worst) and it always takes me a very long time to find it when I am looking for it, Bunji Garlin's debut set, "The Chronicles", is one of the coolest pieces that I have in my collection. It is atrociously difficult to find these days and will almost certainly remain so and having an actual copy of it (and its strange cover, handwritten liners and Bunji's fur hat) is a very nice touch. As for the music here, by comparison to the rest of the releases you'll find here, "The Chronicles" wasn't very good. But on its own merits, it certainly wasn't horrible. The album would carry memorable tunes such as 'Gimme The Brass', the hilarious and infectious 'Chinee Girlfriend' (which followed an even funnier interlude), a live version of 'Sen Dem Riddim Crazy' and 'In The Mood', alongside Soca royalty, Alison Hinds. The album was, essentially, a LOUD Dancehall release and an introduction to Garlin, but it did have its moments. 

CD

"Revelation" [VP Records - 2001]

Crossing. Between albums one and two, Garlin's star was well on the rise. 2002 would not only see him take his very first Soca Monarch crown but he would also return with his sophomore set and, in doing so, it would actually link the Soca star with the biggest Reggae label in the world, VP Records, who would take care of the "Revelation" album. This album is... Just kind of strange, because you can clearly hear that VP packaged Garlin's style for the type of crowd who typically would pay an interest in their music - Reggae fans. The results were just as odd. Again, however, "Revelation" was not a total loss either. The album would feature 'Down In The Ghetto', which would net him the aforementioned Soca Monarch title, and other leaders such as 'Hands Up', underrated Dancehall SMASH, 'Wow' and definitely the album's most recognizable track, the scathing but necessary 'Licks'. 

CD + Digital

"The Black Spaniard" [IP Music International - 2003]

Oily. The "The Black Spaniard" album, wonderfully, has remained quite popular through the years and though it is difficult to find these days (because Bunji Garlin doesn't seem willing to follow the likes of Montano and Destra Garcia and Shurwayne Winchester and empty his entire catalogue on the digital side), more passionate fans still hold it in the high esteem that it deserves. Along with being, in my opinion, the first GOOD Bunji Garlin album, "The Black Spaniard" really just showed the first large level of progression in Garlin and really its music would lay the foundation from who we hear today at his absolute best. It was highlighted by tunes such as 'Soca Bhangra', alongside Shammi, 'By De Bar' with 3Sun, the brilliant 'No Apology', a song which was one of the first of many standing up for Trinidad music and its stars from Garlin, 'Wishful Encounters' and 'Dread Presidents' (on the Tempted To Touch Riddim). Still, "The Black Spaniard" should be best known as having carried the MAMMOTH 'Snake Oil' which is still one of Bunji Garlin's BEST and most popular songs - a decade later. 

CD

"Graceful Vengeance" [IP Music International - 2004]

Get on mad. "Graceful Vengeance" (great name) is an album which, along with "The Black Spaniard", really would lead into some of the biggest material of Bunji Garlin's and where he made a great deal of his reputation. It was also just a lot of FUN! This album was a bit less rigid than all of the pieces ahead of it and, even in its more serious spots (like the lyrical devastation that was 'God D Mid-Point') ["Pestilence is like a turbulence under the wings of my ascent. Like a bacterial nuisance, with a dark incense. With 100% offense"] [BOOM!] the intensity and the colours were still high and unforgettable. At its head, literally, was 'Warrior Cry', which would earn Garlin his second Soca Monarch title (and his first solo piece, after sharing the first with Iwer George) and more big songs such as the ridiculous "baddest combination since gunpowder and matches", 'Big 3', which featured Bunji alongside Iwer George… and a refusing to be forgotten Saucy Wow. The captivating 'Carnival Country' with Lil Bitts was also present as was the immortal 'Get On Bad' with the late Onika Bostic. All of that and more was far more than enough to make up for the sequel to 'Snake Oil' and then some. 

CD

"Flame Storm" [IP Music International - 2005]

Where the thing must go. Like "The Black Spaniard", the "Flame Storm" album was another monster. Arguably overloaded with tunes, the album is one of a few here which lay a legitimate claim as being THE single best album on this entire list to my opinion. It also happens to feature several of my favourite songs Garlin has done through the years as well. The well underrated album opener, 'Return of The King', was a HUGE song and it was the first of many. Also on board were 'The Islands' which was a combination featuring Garlin alongside his cousin, major future star Patrice Roberts. Things remained in the family with 'Send Dem' with Fay-Ann Lyons and appearances were also made by Shurwayne Winchester and even El-A-Kru front, the DELIGHTFUL Tizzy, who guested on 'Doctor' (on which his verse is, easily, one of the best I've ever heard from anyone). Other big tunes included 'Put In The Thing' [where the thing must go], 'Doh Play With Me' and bonafide hits 'Right Now' and 'Blaze It Up' (Soca Monarch #3).

CD

"Next Direction" [IP Music International - 2006]

Attention! In retrospect, the "Next Direction" set, as its title would indicate, was from a year where Garlin took things in a bit of a different direction. It wasn't the kind of high-tech performance of his two previous years and was focused in a different way. The biggest indication of this was DEFINITELY 'Yuh Mad Or What' which was a slap at, of all people, Reggae singer I Wayne who once referred to Soca as "the devil's music". Again, it was Garlin standing up for Trinidad and Soca music and, if I recall correctly (and I usually do not), no one else responded this way, in song. There were fifteen other songs as well, two of them featuring Fay-Ann Lyons and 'Move With Us' was another 'Big 3', this one featuring Shurwayne Winchester and Machel Montano. The very popular 'Bomb Song' was also present as was the lyrically STUNNING 'Whatever' ["make blood cells re-configurate, if you wanna try pirate or confiscate"]. The solid social commentary 'Lick Down' was also found in this direction as were features from David Rudder and even the man from Moruga, Prophet Benjamin. Probably would have been a great album for VP Records to do (even though they also signed I Wayne that same year) but clearly it got their attention.

CD

"Global" [VP Records - 2007]

Brrrt! Bunji Garlin's seventh studio album, "Global", was also his second for VP Records and, arguably, his most high profile album to date as well. With what is about to occur likely being a standing occurrence, "Global" was easily his best promoted release and with good reason - it was excellent. Though VP would certain obviously familiar moves in terms of the music on the album, like a combination alongside Reggae great, Freddie McGregor, the vibes on this album were a far cry from what was heard on "Revelation". They did not try to de-fun Garlin this time around and the results were gorgeous. 'No Super Hero', 'Pan and Soca', 'We Maniac', 'Globally' and 'Brrrt' were amongst the album-specific standouts here. And "Global" would also include previous releases such as 'Put In The Thing' and, fittingly, 'Get Up, Stand Up', a combination with TOK.

CD + Digital

"Fiery" [IP Music International - 2008]

The maestro. 2008 was a very significant year for Bunji Garlin. It was (amazingly) the last time he took Soca Monarch (the year he ROBBED his own wife, who would get her own title, two of them and the road, twelve months later) and he did it doing a song which, indirectly would pay a huge homage to Trinidadian music. The song would lead to an album, "Fiery", with the same name, and was a remake of a classic by the late Maestro. In his Monarch performance, Garlin would thrill by calling on relatives of Maestro and doing pieces specifically for his memory as well as in appreciation of Trinidad culture. All of that was behind what was a MASSIVE song and although this album wasn't my favourite, it's hard not to like it after that. It did have the easy, but nice 'Feeling', the thrilling 'Bad So' ["ME ALONE VERSUS THEM!"] ["ALL OF THEM"], 'Bad and Famous' on the Leggo Me Riddim and the Super Sonic (who has, wonderfully, consistently taken an interest in Garlin's music and even Fay-Ann's recently as well) produced 'Mr. Murder'. Again, definitely not the best album, but one EXTREMELY hard to forget. 

CD

"iSpaniard" [Bunji Garlin - 2012]

A shift. During Garlin's 2012 season he would actually offer a glimpse of what was to come in the form of enough great music to pack an album such as "iSpaniard". The record was his first in four years and had been at least two seasons in the making I believe (a couple of years ahead of it, he spoke of his next album being called "I Am") and really just involved a few different, electric type of vibes and even a new haircut. Not missing, however, was still an unrivaled level of lyrical proficiency which shone throughout. There were also moments where CLASS took over on tunes such as 'Gift Of Soca' and the stone BRILLIANT 'iRagga', which, again, gave a real tribute to the music, itself. Another, more abstract, tribute was just how much FUN this one as well. Tunes like 'Tun Up', 'Born Ready', the Reggaefy 'Bam Bam', 'So and So', 'Go Hard', 'Runaway' with Kerwin Du Bois and DEFINITELY 'Mash Up' were exceptional (and the last of them was another song which really stood up for Soca music as well). The vibes here were intense, colourful and futuristic: With a light leaning towards the MAMMOTH sciences of 'different' which were to come in 2013. Probably my favourite Bunji Garlin album ever. 

CD + Digital

Discography: Chuck Fenda

Like many of his peers, veteran Reggae Chuck Fenda chanter is someone who experienced a rather large shift in focus during the middle of his career. In his case the once talented hardcore Dancehall DJ went from drawing comparisons to Bounty Killer and the likes with tunes such as 'War Dem Come Fi Start', 'Badman Talking', 'Rougher Than This' (which was mad) and others, to spending a significant stretch of time which saw him become, easily, one of the most in-demand and dependable hitmakers in Roots Reggae. Following the link with Fifth Element Records, Fenda would see a rise to prominence, along with Richie Spice, which has extended to this day. It also see him do a bit of damage in terms of releasing albums and now we take a look at exactly how much as we dive into the career of, arguably, one of the most significant Roots stars from the turn of the century. Discography: Chuck Fenda

The music of Chuck Fenda

"Better Days" [Fifth Element - 2004]

Swear  it. In terms of consistency and just being a big album (as if there were any other possible criteria at all), to my opinion Chuck Fenda's debut album, the Fifth Element produced "Better Days", remains his finest piece of work. The songs on this album still represent some of the most well known of his entire career and when you tuned them in, you saw that it wasn't by chance or coincidence. 'Ruff Out Deh', the title track (grrrr!) and 'Haffi Win' just started off the set and they weren't alone. Also on "Better Days" were songs like 'Serious Time', 'The Prayer', 'See Love', 'Hurt My Soul' alongside Richie Spice, 'Poor People Cry' and, of course, the MAMMOTH 'I Swear' - still the single biggest hit of Fenda's entire career. 

"The Living Fire" [Greensleeves - 2007]

'Coming Over' w/Cherine Anderson

Light dem. Along with his previous one, 'The Poor People's Defender', between albums #1 and 2, Fenda would also, basically, take on the moniker of 'The Living Fire' which would, unsurprisingly and wonderfully go on to be the name of his sophomore set (retrospectively, it may be one of the better named albums of its era). Another change between the two was that Fenda had officially left Fifth Element, if I recall correctly, and was still doing big things. The album would also find the chanter making his big time debut as it would appear on the once mighty Greensleeves imprint and if you recall what he was doing at the time, it came as no surprise. Not only were there the big tunes from the first album, but the leading into "The Living Fire", Fenda had also been hitting as well. Most notably were the giant pair in 'Coming Over' alongside Cherine Anderson and definitely the biggest winner here, 'Gash Dem [and Light Dem]'. Though this album's popularity hasn't seen it age well and it is largely remembered for only having carried those two songs, there was other nice material present such as 'Freedom of Speech', 'Judgment', the obligatory ganja song, 'Gwaan Plant' and the TOWERING 'I'm Praying' over Bob Marley's Redemption Song Riddim. Richie Spice once again guested, as did the brilliant Tanya Stephens.

"Live In San Francisco" [2B1 Records - 2009]

Witness. Before they closed their doors, the very useful 2B1 Records made a name for themselves as, primarily, a label which was geared towards doing live albums and they several of them which, in retrospect, have become very useful in a genre which, most unfortunately, was and still is (especially now that they're gone) lacking in that specific arena. Along with the likes of Capleton, Everton Blender, Luciano, Junior Kelly, Lady Saw, Lutan Fyah and other modern names, they also did a piece with Chuck Fenda, the very decent "Live In San Francisco". The crowd response on this one was some of the better on the releases during the latter stages of 2B1's existence and  they had good reason to react as Fenda really covered most of his biggest material with renditions of 'Gash Dem', 'I Swear', 'Rough Out Deh' and more being included. 

"Fulfillment" [VP Records - 2009]

Reach out. Later in 2009, Fenda would release what remains his latest LP (although his next, for John John, is apparently on its way), "Fulfillment", for VP Records, produced by Kemar 'Flava' McGregor (… a lot can change in just four years). Though the set received a similar fate as its direct predecessor, "The Living Fire", it was also a very good album and probably the better of the two, in full, as well. "Fulfillment" wasn't as flashy as either of the first two albums, but it was a fine lyrical performance which pinnacled on its three combinations which featured Fenda alongside Sammy Dread, the Bushman and I Wayne (who also had a 2B1 live album). If you kept up with Flava's output (whether you knew it or not), this album also featured Fenda voicing some of the ace producer's biggest tracks of the time.

Discography: Elephant Man

It's probably because he's able to generate an interest in so many different ways that we tend to forget just how talented longtime Dancehall staple, Elephant Man can be when at his best. When it comes to combining the element of theatre and histrionics and physical pyrotechnics with a very powerful command of the spoken word, Elephant Man has very little in the way of equals and probably all of them come from the arena of Soca. It is and has been his always been his specialty and the 'Energy God', has perfected in his time. So we take a look at how exactly he arrived at this point and take a trip through one of the eccentric and colourful catalogs in Dancehall music. Discography: Elephant Man

The music of Elephant Man

"Comin' 4 You" [Greensleeves Records - 2000]

One. Ele's debut album, "Comin' 4 You", also began what would turn out to be a vary fruitful and successful working relationship with the once mighty Greensleeves Records which would turn out an album a year for three years, including some of the DJ's finest work. This album was also very likely one of the strongest hardcore Dancehall debut albums of its time. "Comin' 4 You was BIG… literally. Checking in at a ridiculous twenty-four track with nearly seventy-five minutes of playing time, the album, in retrospect, virtually went out of its way to introduce Ele. He would also have serious help in the way of Beenie Man, Mr. Vegas [twice] (including the madness that was 'Bun It'), Delly Ranx, Ward 21 and Wayne Marshall. Highlights were plentiful and included such tunes as the extremely clever 'Caan Trick Me', '$1000 Bill', 'One More [Start A War]' and the MASSIVE 'Replacement Killer'. The album also featured an impressive bag of riddims from some of the genre's finest maestros of the time. 

"Log On" [Greensleeves Records - 2001]

Offline. Arguably the second most well known album on this list - the ultra-controversial and well worn title track of Elephant Man's sophomore set, "Log On" has become a bit of an infamous song in the dozen or so years of its life, but these days it barely registers on an album which was, like its predecessor, well stocked. Though a solid case could be made that the first album was even better (and I think that I would make that case these days), "Log On" was definitely something special and when, again, you looked at the talent which joined Ele here, it isn't surprising at all. Ward 21, Buju Banton (speaking of controversy), Spragga Benz, Ce'Cile and even Ky-Mani Marley would turn up on another monster - this one being twenty-two tracks long (interesting fact - Ele's first four albums all had at least twenty songs and nearly NINETY in full). So many songs here probably got overlooked by the title piece, but songs such as 'Bad Gal, Bad Man' w/Ce'Cile, the WICKED 'Su Wi Tan', 'Showdown' w/Marley, his response to Ce'Cile's huge hit, 'Changez' on the same Chiney Gal Riddim and just a few others, including 'Living In Hell' with Bling Dawg, still have shelf-life remaining. An album existing in strange circumstances these days (and fittingly so), but not one without total interest musically.  

"Higher Level" [Greensleeves Records - 2002]

Party like this. Ele's third and final album for Greensleeves, "Higher Level", looking back, was probably the best and… probably his best album altogether as well. Interestingly, unlike its two predecessors, this album had very little in the way of guests with only Jagwa [twice] and Jarvis Church & Esthero lending a hand between three selections. The other TWENTY featured nothing but Ele, officially. But "Higher Level" was, for its day, Dancehall musical theatre of the highest order. It was a FUN album and one which put on the full and colourful display of its star when motivated. Though the vocal help was definitely lacking, the musical aide was present in full with the likes of Stephen 'Lenky' Marsden, Don Corleon, Scatta, John John, Shams and others providing tracks over which Ele would deliver pieces such as 'Elephant Message', 'Krazy', 'Egyptian Dance', the unfortunate followup to 'Log On', 'Online' and a trio of hysterical efforts in 'Bad Man A Bad Man', the title track (good luck getting that out of your head) and the Xmas inspired high level lunacy that was 'Tall Up Tall Up'. A RIDICULOUS album, but I mean that in a good way for the most part as "Higher Level" was so much FUN to listen to.

"Good 2 Go" [VP/Atlantic - 2003]

The signal. The Elephant Man would later set his sights onto superstardom of an international kind which would take his next two albums to the major label circuit. At the time of the first of the pair, "Good 2 Go", the DJ would take advantage of the wave ridden by the likes of Sean Paul and Wayne Wonder and catch a global fire with a hit of his own, 'Pon Di River, Pon Di Bank'. I don't love this album. I liken it quite close to its predecessor and it is not that good, but there were nice moments here. Along with the title track, its most well known pieces were songs like 'Signal Di Plane', the ridiculous 'Fan Dem Off', 'Cock Up Yuh Bumper', 'Blasé' and maybe a couple of others. Definitely the most well known album on this list, but not the worst… that comes next. 

"Let's Get Physical" [Bad Boy Records - 2007]

Let's not. One may've figured that following "Good 2 Go", Ele would have been heading for another set for VP/Atlantic, but while he didn't go that route, he would ultimately head in a very popular direction for album #5, "Let's Get Physical", this time teaming up with Puff Daddy and company at Bad Boy Records. Ultimately there was just way too much going on with this one, which says a lot for an Elephant Man album, in general, and one, in particular, which was easily his shortest ever by that time. Combinations from a variety of different artists abounded, including appearances from Rihanna, Busta Rhymes and Wyclef (and about four-hundred other people). Standouts were few and far between on two editions of the album, but one of them did include 'Willie Bounce' (which I used to REALLY like) and 'Gully Creepa'. 

"Dance & Sweep: Adventures of The Energy God" [VP Records - 2011]

Back in shape. And most recently, following 'Let's Get Physical", Elephant Man apparently needed more familiar terrain and he found it in the form of his debut set for VP Records alone, the all kinds of fascinating "Dance & Sweep: Too Lazy to Type Subtitle". This album headed back in the direction of "Higher Level" and "Good 2 Go", where it was all about having an uncomplicated level of fun. Not my favourite album here, but credit goes to where it was due as the album became a perfect musical embodiment of its cover art. Songs such as 'Sweep', 'Swing', 'Step Ova', 'Nuh Linga' and 'Shake It', pretty much told you what you were dealing with, but still it was the ear crack-ish 'In Jamaica' which lead the way. Bounty Killer, Ding Dong and Kardinal Offishall featured.

Discography: Natural Black

Natural Black

The fact that every man and woman must find and follow their own road has been perfectly demonstrated in the remarkable career of Natural Black. Having one of the most captivating rises to prominence that we've ever seen in Reggae music, the extremely talented and fiery Guyanese born chanter went from the very definition of 'obscure Reggae singer' to being an undeniable star in slightly more than a decade's worth of work, which put him in the ranks of some of Roots Reggae's most well known stars. He's found a very unique blend of combining passion and personality and intelligence and the results, when at their best, have been absolutely spectacular. Of course, he's also not been shy of speaking his mind outside of the studio, however, today we look back at the albums (wonderfully, all of which were released prior to his 'shift') (though he does have another on the way) of someone who has definitely done things his own way and was an utter joy to listen to when he was at his best. Discography: Natural Black

The music of Natural Black

"World War" [Lion Roots Records - 2003]

Hands up. Though there is actually some question regarding which of his first two was actually Natural Black's debut album, I've always given the mark to "World War" because both albums were produced by the same person, Black’s manager at the time, Roger Grant, on his Organic Records label and this album actually makes mention of qualities of a forthcoming "second album" which would prove accurate for the next album on this list. In terms of quality they also fit. "World War" certainly didn't feature the artist at his best but, looking back at it now, it did a very fine job in terms of setting some type of stage for what was to come. The album wasn't exactly useless either and as the title track (basically, it was called 'Third World War') is probably the best known piece from the album, there were just a few others from the eleven-track set which stood out as well. 'Strong Woman' was my favourite song from the album but also check tunes like 'Weh Dem Ago Pass', 'Hands Up' and one or two more. Though production didn't enlist a great deal of big names, tracks were supplied by the likes of Bulpus and even Black Scorpio. Also, much in the way of debut albums from the likes of Jah Mason, Pressure Busspipe and others, "World War" has faded. It's nearly impossible to find and, unlike the second album on this list, it never made its way to the digital format (which makes the fact that I own a SMOOTH physical copy (it still has that 'new CD case' feel to it) (you know what I'm talking about) a very nice one).  

"Spiritual Food" [Patate Records - 2003]

'Songs With Feeling'

Songs with feelings. Natural Black's aforementioned second album, "Spiritual Food" is one of those albums which I probably enjoy A LOT more than most other people, but who cares! I will acknowledge that it is clearly lesser of an album than three, and maybe four, other albums on this list, but I thought that it was some kind of exceptional. Why? Surely the fact that it contained a pair of the chanter's early hits in 'Songs With Feeling' and 'To My Bonafide' didn't hurt. It also helped that the album carried several really nice other songs such as 'Rising Up', 'Bad Mind' ["You nah go mek it if yuh bad mind no! Betta yuh lef because a fulltime now - UNUH FI STOP LIVE LIKE HUMAN SWINE, AND LEAVE UNTO ME WHAT IS MINE!"] [BOOM!] and the title track. HOWEVER, a significant part of my interest in the "Spiritual Food" album comes in during track #11, 'Free Again', which… is probably one of the best songs I've ever heard in my entire life and one which has helped through many fucked up moments of life over time. TEARS! 

"My life is filled with heartaches

My whole world is filled with lots of pain

My heart has been broken

Here comes the sunlight through the dark clouds of rain

Now I am free again

Like the birds in the tree again

Once I was blind, but now I can see again

Now I am free again

Like the birds in the tree again

All my bad habits I have gotten rid of them

First my life was far away driven

Mi neva get a chance fi express mi vision 

MI LIFE WAS UNDER BONDAGE AND IT DARK LIKE PRISON

Is like the frustration has begun

Di responsibility was all upon mi

Fi elevate myself out of this life of poverty

And stay focused and maintain my sanity -

Fi di less fortunate a my priority

I read and chant a prayer

And ask Jah to fulfill my heart desire

So He take I much higher and higher

Take I so high, I feel inspired!"  

"Far From Reality" [Greensleeves Records - 2006]

'Life Be The Same Way'

Think big. Though it was only three years between Natural Black's second and third albums, it was an entire career of what had happened in between the two sets. Most notably, he had scored with his first deafening hit which would, subsequently, go on to be the title track for the third album, which would also see a step forward, coming via the once mighty Greensleeves Records, "Far From Reality". Propelled by a tune which made a devastating usage of the equally destructive Seasons Riddim from master demolisher, Don Corleon (still one of his finest creations in my opinion), Black would see a general rise in profile, one which he, arguably, still enjoys to this day. But the album, as a whole, wasn't merely a bed for a giant tune (and it was giant), it would also feature other top notch tunes which would go on to have successes of their own, respectively. Songs like 'Never Hurt You', his cut of the big Istanbul Riddim (also produced by Corleon) 'Life Be The Same Way', the WICKED 'Can't Mix Intelligence' ["with negligence"], 'Born Inna Struggle', the beautiful 'Beautiful Place' and a song which has caught flames with me lately, 'Conquer Dem' on the old I Swear Riddim. Probably my choice as Natural Black's best album and a borderline modern classic. 

"WI CONQUER DI BEST A DEM

DISMANTLE DI REST A DEM 

BECAUSE, DEM AH OCCUPY DI YOUTH DEM SPACE

FROM JAH JAH SEH SO DEN -

LOCK OFF DEM OXYGEN -

NO MORE WICKEDNESS COULD EVER TAKE PLACE!"

BOOM!

"Cool Nuh Black" [Vizion Sounds Records - 2007]

Link up. Unsurprisingly, still basking in the gleam of 'Far From Reality', Natural Black would enjoy a few very productive years around the time and none would find him more prolific, as far as albums, than 2007 which would bring a trio of very nice sets. The first of them (if my order is correct and there is no way that it is) would carry the most fitting and beautiful set of circumstances as Guyana's most popular Reggae star, Natural Black, would link with the country's most popular Reggae label, Vizion Sounds Records to create "Cool Nuh Black". Years from now, should Guyana continue to prove to be a fruitful resource for top notch Reggae artists, we'll look back at the work Vizion Sounds did in developing the likes of First Born and others as some king of pioneering, but until then or unless then, definitely 'Cool Nuh Black' was substantial and that was just on paper. Musically, it ranks as one of the three best albums he’s ever done (and I know some people who would send it straight to the head and, if I recall correctly, the great Dale Cooper is one of them) with big tunes such as the SUCCULENT 'Found My Roots', 'Jah Blessings' alongside First Born, 'Any Means Necessary', 'Exalt His Name' and the conquering 'High Grade' being the biggest standouts.  

"Jah Guide" [Greensleeves Records - 2007]

Over & under. Looking back, what would ultimately become of the "Jah Guide" album is very fascinating. Though I wouldn't call it one of Natural Black's best releases (it would be either fourth or fifth on my list… maybe even sixth now that I think about it), it was a good album. Unsurprisingly it saw him return to Greensleeves following the, presumed, commercial success of "Far From Reality" and it also saw Black link with King Jammy as well. Such circumstances simply do not make sense with an album which, essentially, went overlooked. In retrospect, I'd like to say that it was because "Far From Reality" simply hadn't ran its course, but it didn't matter in the case of the next album I'm going to tell you about, which was quite popular. This album would carry a very nice old school charm as you might imagine and, again, though it wasn't his best work, with tunes such as 'Selassie & Marcus', the GORGEOUS 'Give Thanks & Praise', 'Jah Jah Bless, 'Jah Knows' and 'Love Of Rasta' (SURELY you just noticed what I did there), it's rather difficult to see why it didn't make more of an impact in its day.

"Love Gonna Conquer Evil" [Cousins Records - 2007]

A nice picture. Natural Black's final album of 2007, "Love Gonna Conquer Evil" was big and is one of his three best in my opinion and if you wanted to say that it was the best he ever did, while I would disagree with you, I wouldn't carry it very far. This album would come via two labels who had an outstanding run at the time as far as releasing albums. First was In The Streetz who would do albums around the same time for the likes of Luciano, Turbulence, Lutan Fyah, Sizzla Kalonji, Jah Mason and Norris Man. There was some very solid material in there and, to my opinion, a good case could be made that with the exception of Sizzla's album, "I-Space", Black's work for the label at the time was on the level of anyone else's at least. There was also the very briefly mighty Cousins Records who would do one or two of those aforementioned releases and make their name in also pushing work for Lloyd Brown, Peter Spence and other impressive UK acts for awhile. When they linked together for "Love Gonna Conquer Evil", they nearly caught something special and actually did as I'll likely always remember this album fondly for carrying the MAMMOTH tune, 'Love Rastafari'. A very nice album which has aged well also. 

"Naturally Black" [Rad's Records - 2008]

Business as usual. Natural Black would link with yet another UK label, Rad's Records, for his first album of 2008 and though this is an album which has basically faded away, it may be one of the most consistent representations of his work that he's ever done. What "Naturally Black" may've lacked as far as wholly spectacular moments, it did make up for in stringing together very nice vibes, free of any bad songs. I recall having a great deal of fun when I first dealt with this one and now, listening to it back, some of that remains - okay a lot of that remains. The best song on this album was and still is the divine 'Nubian Business', but it was backed by the excellent Al.Ta.Fa.An. drawn 'Why Can't We', 'Every Time I Hear The News', 'Gideon', of course 'Continent For An Island' and others. Though being just half a decade old, it does carry some nostalgia for me (it may've been a couple of years from the last time I fully listened to this album) and while it isn't very popular and never was, "Naturally Black" is definitely worth tracking down and would probably be a rather solid choice for the fourth or fifth best album on this list were I not so infatuated with 'Spiritual Food'. 

"Guardian Angel" [Zion Roots Music - 2009]

Back home. "Guardian Angel" would be the second Guyanese album that Natural Black did in his career and, unlike "Cool Nuh Black", it hasn't had some type of longer-lasting impression that has seen it become a very well respected project. Literally, I think most people familiar with it would probably rank "Guardian Angel" as one of his least impressive pieces to date and that's fine. However, what I will say about this album is that it only stands in such a place for the sake of comparison (obviously). This wasn't a bad album at all and, in fact, it was rather strong sonically, with so many different styles checked. So, I guess that the best I can say is that it's better than you remember it being, but there was good material here, some of which remains so to this day such as 'The Prayer' and other tunes. 

"Mortima Hardly" [Rippa Blaxxx & Grillaras Productions - 2010]

Mr. Softley. Natural Black's most recent album release, 2010's slightly eponymous "Mortima Hardly", is one which exists in somewhat of an unusual time. I don't think that the album, which was fairly popular in its day, has quite gotten old enough to get the proverbial 'second-wind' enjoyed by some of the older releases here and this is the case despite the fact that, musically I think it is better now than I did maybe a couple of years ago now. It was a very strong lyrical effort from Natural Black, arguably one of his better to date, and though varied, the music he had to work with courtesy of Rippa Blaxxx and Grillaras, definitely made for an interesting release. It never got more interesting, on paper, than it did on 'Sufferation' which was, oddly enough, a combination with Reggae legend, Sizzla Kalonji. The album would also bring one of my own favourites of Black's, 'Straight With' ["mind who you ah walk through di gate with"]. 'Ethiopia Awaits', and the LUSH 'Who Selassie I Bless' also still come in powerful these days.

Discography: Sean Paul

One could very easily make the point that, over the past decade+, with the possible exceptions of Damian Marley and Shaggy, Sean Paul has been the single most popular living Reggae artist in the entire world. Having becoming the Dancehall's most recent crossover star in the very early 2000's, the DJ's popularity continued to grow at a ridiculously fast rate to the point where his is now, functionally, an international household name in music and although, presumably, at age forty Sean Paul's most fruitful period has now ended, what he did manage to do was unrivaled in his era. However, as his fan base increased, so did his number of detractors, particularly amongst more intense Dancehall fans which has made him, unfairly in my opinion, one of the most polarizing figures in Dancehall as well. At his best in terms of skills, Sean Paul was not the best that the Dancehall had to offer (and I think he, himself, would tell you that), but what he best demonstrated, even prior to his power surge, was a full on DOMINANT command of melody - making for a very entertaining brand of the music. Today we take a quick look back at how he's arrived to such a lofty position in the past thirteen years and how was constructed one of the brightest stars in the history of the music. Discography: Sean Paul

The music of Sean Paul

"Stage One" [VP Records - 2000]

Strategy. Sean Paul's debut set , "Stage One ", reportedly was one of the best selling albums ever on VP Records and that was even before his rise to superstardom. If you've really tuned in this album you know exactly why that was. Despite a preponderance of skits which would send the number of tracks on the album soaring to an absurd TWENTY-FIVE (and the disc also featured a video) and more than an hour in length, "Stage One" was huge in other ways as well. Essentially a compilation of early hits, largely steered by Paul's longtime producer and mentor, Jeremy Harding of 2 Hard Records, the album was as Dancehall albums should have been at the time - extremely fun. Hits such as 'Infiltrate', 'Check It Deeply', 'Mek It Go So Den', 'Strategy', 'No Bligh', 'Next Generation', of course 'Haffi Get Di Gal' alongside Mr. Vegas and my personal favourite, the Tony Kelly produced 'Deport Dem' highlighted as did several others. "Stage One" was excellent and remains Sean Paul's opus and it is an album which has gone somewhat overlooked by his later successes - none of which, although very popular, have yet to match this bonafide classic.

"Dutty Rock" [VP/Atlantic - 2002]

Light it. Yes, "Dutty Rock" is best remembered as 'that album with 'Gimmi Di Light' on it' and yes, again, that is pretty much all you need to know about it, but there was a little more going on here. Originally scheduled to be released just a year after its predecessor, when the rest of the world grabbed and gobbled up Sean Paul's cut of Black Shadow's Buzz Riddim (or what was left of it after Mad Cobra laid it to ruins), Paul and VP Records would subsequently align themselves with the major label, Atlantic and the rest is history. Though this album was very popular and sold millions of copies, it's kind of become vilified amongst hardcore Dancehall heads and that's unfortunate because, although not the greatest piece of work, it isn't this ugly monster that we've all become to think of it as either. Along with the big single, "Dutty Rock" also brought hits in 'Like Glue', 'Get Busy' on the Diwali Riddim and it also featured a pair of hit combinations, 'I'm Still In Love With You' and 'Can U Do The Work' alongside Sasha and Ce'Cile, respectively. It also had a few other moments (on another huge album, this one carrying twenty-two songs), which actually make the Grammy winning album very easy choice as the third best album on this list in my opinion although, obviously, it was in another galaxy of quality than it is predecessor and probably its successor too.

"The Trinity" [VP/Atlantic - 2005]

Never gonna be the same. To my opinion, "The Trinity" was not only the last REALLY GOOD album that Sean Paul did, but it was also to the point where the gap between it and "Stage One" -- very wide -- was just as large as the gap between it and everything else you'll see here. It was clearly his second best piece of work and it has actually aged fairly well in my opinion. Though not as ostensibly FUN as the first two albums on this list (though, obviously, much better than the second) "The Trinity" was this kind intense and heavier vibe which actually brought out a very good version of the DJ. Tunes like 'We Be Burnin', 'Ever Blazin' on the Masterpiece, the Don Corleon (who was the man of the moment (and still is) at the time and was everywhere on this album) produced 'Never Gonna Be The Same', 'Eye Deh A Mi Knee', 'Temperature' and others stood out. Though personally the best tune here, for me was the MASSIVE title track. Tami Chynn, Wayne Marshall, Nina Sky and Dutty Cup Crew alums, Looga Man and Kid Kurrupt guested.

"Imperial Blaze" [VP/Atlantic - 2009]

Wildfire. Looking back, "Imperial Blaze" (EASILY one of the greatest album titles of all time) always had something about it which I just didn't receive too well and these days I kind of think I know what that was. It was a project which sounded straight out of the FWI scene from just a few years ago where everything seemed to be almost intentionally overdone and crazy and while that could work in some cases, when it didn't work what happened is that you ended up with an album which took awhile to get through because so many songs tended to blend into one another making for one giant, uncontrollable vibe - especially when so many of the songs had basically the same topic anyway. This blaze got out of hand and you couldn't manage it. This was so with being largely produced by the brilliant Stephen McGregor (and when it wasn't him, it was the likes of Harding, Don Corleon and Arif Cooper), who also had a very intense style at the time and perhaps what became of "Imperial Blaze" wasn't so shocking after all. Of course, the album wasn't totally forgettable, however. Along with the great title and just being a big venture, "Imperial Blaze" had a few nice tunes such as 'Pepperpot', 'Running Out of Time' and 'Straight From My Heart'.  

"Tomahawk Technique" [VP/Atlantic - 2012]

Throwback, throw forward. Okay - fine you're entitled to break the rules once. I don't know what exactly to call Sean Paul's most recent album release, "Tomahawk Technique". It certainly wasn't Dancehall… maybe we can call it Pop, but even with "Imperial Blaze" being what it was, "Tomahawk Technique" was still the changeup from this group. It did share something with that album, however, it was very loud and intense and, again, some of the tunes kind of faded into one another as well. Obviously this one was my least favourite from this lot and, listening back to it now, it kind of seems like a continuation of the previous album with a bit more colour thrown in to switch up the genres. Nothing really stands out too much, with the exception of 'Wedding Crashers' alongside Fambo. R&B star, Kelly Rowland also featured.