"Special Lady" by Junior Kelly [Muzick Vibes Records - 2023]
It has definitely been awhile from since we've last talked about Junior Kelly, at least in regards to any project he had around, so I was well pleased to not only see that he was back with a new EP, but also that it.... was actually pretty decent. "Special Lady" comes courtesy of Muzick Vibes Records from out of Argentina and features some very solid material which is what the chanter should be making. At his best, Junior Kelly is a mark of consistency in Reggae, but he... has his moods. In particular check 'Them Nah Know' and 'Stand Up' alongside Blessed and just generally give "Special Lady" a try. You might find a big tune or two.
The Slow Motion Riddim [Madhouse Records - 2023]
Partially due to their infrequency and largely due to.... him being a complete and utter genius, there will always be a very rare air reserved for the work of Dave Kelly and his Madhouse Records label. The very reclusive ace is arguably THE finest creator the Dancehall has ever produced (off the top of my head, he has my vote right now based on strictly how BEAUTIFUL his tracks are) and he's blessed 2023 with his work on his latest creation, the Slow Motion Riddim. As you might suspect, the kind of slower detailed track makes for a very snug fit for most of its artists, but it is, surprisingly, TOK who takes top honours with their very clever 'Sexy Time'. Blakkmann also registers as does Busy Signal and a trio featuring Bounty Killer, Dexta Daps and, of course, Baby Cham.
"Island Hopping" by General Degree [Size 8 Records]
Of course I will always have room for General Degree and that extends to his latest creation, a four-tracked EP release by the name of "Island Hopping" on his very own Size 8 imprint (like most of Degree's work). This set won't change lives at all anywhere, but it does serve its purpose of providing a bit of light amongst the very DARK landscape of what is considered Dancehall these days (and I got that from a review General Degree did for The Gleaner). While the title track here is fun, the main attraction is definitely the hilarious 'Di Bwoy Oral' which follows a career length line of very clever such tunes from the deejay ["She waaaaan di pianist"] (these days apparently she wants something else as well). Fun times are to be had as they always are with the General.
"Dancehall Gift" by I-Octane [I-Octane]
TRASH
"Moodiraw" by Féfé Typical [DJ Kaprisson - 2021]
And for our blast from the past, we don't go too far back as also on my radars as of late has been the latest release -- just a couple of years old now -- from someone who I should definitely be listening to more, the brutally consistent Féfé Typical, "Moodiraw". The former sparring partner of longtime Achis Reggae favourite, Tiwony (big new album of his own, "Frequency", out now), from out of Martinique would deliver an absolute GEM of a set here which most certainly did not receive the attention it deserved but I'm doing my best these days to make sure anyone within earshot of my players has an AMPLE opportunity to right their previous wrongs if they overlooked it. "Moodiraw" was just outstanding. Reaching the furthest amongst the pack were winners such as 'Le pater', 'Un Bon Sound' with DJ Kaprisson, 'Ecoute-moi', 'L'emuélanine', the big BIG closer 'Corona' and the KNOCKING 'Reprends Tes Priéres'. You couldn't go wrong with anywhere you dropped in on "Moodiraw", however, and, for what it was, it was definitely one of the best Reggae albums of 2021.
First up this week (and by "first up", I really mean second, because I just did the last listed entry on this post) is the reason I'm doing one of these today as my initial thought was to just do a post featuring the excellent Discern Riddim from PBR Music Productions, alone. THIS THING IS NICE! It's is beautiful! Along with just being a big riddim, in general, something very interesting happens in regards to the songs on the Discern. The tracklist is front-loaded with the biggest names featured here, Mykal Rose, Lutan Fyah, Turbulence, Chuck Fenda, Anthony B and Teflon and.... pretty much all of them do very well. Of particular notes are definitely Lutan Fyah who THRILL with 'Stay Deh' and 'Pump Blood', respectively.
"Di dutty water inna di gully, dat inna yuh bloodstream
Pumping to a heart, that slimy, wicked swamp fiend
Vampires waan fi taste yuh flesh, a mussi cantine
Mi gotta spear yah weh sharper than di proper pants seam
Nuffi will seh dem love, but it's only a scheme
SMILE LIKE A HUMAN, MORE LIKE MACHINE
Grudge yuh fi yah car, yah house, yah land even ya queen
How man can so mean? A laser beam
Fi dem heart a ongle fi pump blood
Dem no got no conscience and dem no show no love
Fi dem heart a ongle fi pump blood
With a mind fulla hatred, driven by grudge
Fi dem heart a ongle fi pump blood
Smile inna yuh face a while yuh drown inna di flood
Fi dem heart a ongle fi pump blood
Dem no mind man shoot ya like bug
Dem si yah career ah rise and go a di Obeah an fi stuck it
Laugh and rejoice when another kick di bucket
Tell dem fi avoid I, still dem ah chuck it
Si another yute ah rise, no interrupt it
CAN'T TELL DEM FI FOLLOW DEM HEART
FOR THEY HAVE NONE
Heartless and cold, yeah dem whole body numb
Dem waan blood fi drink, that's why dem waan blood fi run
That's why the Rastaman keep saying 'fire bun' "
I mean.... Turbulence DAZZLES lyrically in a way that.... yeah, it's been a minute But when this man is on top of his game, he has nary an equal in Reggae or any other genre anywhere either! The second half of the Discern Riddim is full of un/under known artists and a few of them such as G-Boss, Classical Eska and definitely the well gifted Nadg, manage to standout from the rest as well. The Discern Riddim is well worth your time; One of the best riddim albums of 2022, without a doubt.
The Midnight Oil Riddim [Full Blown Entertainment & Monk Music]
Given the fact that it only has a quarter the number of tunes spread across only ten and a half minutes or so, you probably won't get as much usage out of the Midnight Oil Riddim as you do from the first entry on this post, but it's likely to go down (at least in my opinion) as one of the finer Soca riddims of the year, for its part. Constructed by [I THINK] Back Ah Yard Records from out of Grenada, the Midnight Oil (I've been writing about Vaughn Benjamin for SO damn long that writing 'midnight' just feels odd) just pulls such a powerful vibes, but does so in a very subtle way. While it isn't necessarily what I'd call 'reserved', it also doesn't leap out at the listener too much, but when you FULLY tune it in, there're so many nice sounds which form one golden track. Handling the vocal duties are Sekon Sta with the decent 'Tech Rum a Lesson', the legendary Machel Montano who links with former Spicemas Road March champion, Runi Jay ["Si mi, I gone! Si mi, I gone!"] for the MAMMOTH 'Mad House' and, taking top honours, Mical Teja alongside the inimitable Boyzie (if you kind of loosely follow Soca music you may not have paid much attention, but Boyzie has been making some of the finest music in the entire genre over the past seven or eight seasons or so) who destroy every thing and every one, living and dead, with their 'Lash Up'.
"Lift My Voice" by M. Pres [Big Bus Records - 2022]
I'm just mentioning this one briefly, because I'm thinking about reviewing it (and if I don't, I will probably mention it again at some point with more detail). But check a nice album from someone who I've never heard of it, M. Pres, "Lift My Voice". [she sounds absolutely delightful]
The New English Riddim [Music Signal Records - 2021]
A big credit, once again, can be given to Turbulence who dropped a big tune on the New English Riddim via one Music Signal Records, the scathing 'One Bobo', which has driven me back in the direction of the rest of the tunes on the track. I don't love this one, actually. It's somewhat Hip-Hoppish and kind of simple to my ears, but that doesn't stop it from pulling out a nice tune or two as, along with 'The Future', Shane-O and Zamunda also come with decent efforts, especially the former.
The Rusty Cann Riddim [Kirkledove Records - 2013]
And then there's the Rusty Cann Riddim.... I don't have much to say in regards to this one as, between its nine vocal tracks, only two or three of them really decent in my opinion. General Degree does well (he always does), so did Power Man and... yep, that's about it. HOWEVER, with that being said this random, nearly decade old riddim from Kirkledove was absolutely FILTHY! It has downright hypnotic KNOCK to it that I cannot stop listening to it and, having now dug it up, it isn't likely leaving my players anytime soon - at least until I find another one just like it. Beautiful actual not ancient Dancehall riddim.
"The Journey: The Very Best Of Sizzla Kalonji" [Greensleeves Records - 2008]
And lastly (I say "and lastly", despite the fact that I'm writing this one first), I wish I had a good explanation as to what it was, exactly, that led me back to a nearly decade and half old greatest hits compilation, but I do not. Instead, what I can tell you is that, should this end up being what leads you back to "The Journey", then what you will find when you get there is an absolute forgotten gem! Along with just being a well put together project (and, in retrospect, given all the work Sizzla did with Greensleeves, back in the day, this was just a very good idea. VP also did it, as did Jet Star (Reggae Max vols 1 & 2 were solid!) (especially the first one), "The Journey" featured some INCREDIBLE music with somewhat of a Greensleeves twist, if you followed along. I don't know what brought me here in the first place, as I said, but I've happily stuck around for the likes of 'Praise Ye Jah', personal favourite 'Rastafari Teach I Everything', 'Show More Love', 'Really & Truly' and a tune I had forgotten all about and had not heard in years, the MAMMOTH [!] 'Africa Prepare'. As I've said in the past, Sizzla is my favourite of all time so I'm always listening to something he's done (and looking forward to his next set, "Rise Up" which reaches in a week and a half or so as of this writing) (have a really good feeling about that one) and these days, it's definitely been "The Journey".
Character traits. Because of its prevalence within the music that we cover around here, I write far more about Roots Reggae than I write about anything else combined. That has always been the case on these pages, it is now and will likely always be and that's fine. I'm okay with it. It is my favourite music, it is probably the most interesting (and thus, the easiest, given that interest and the seemingly endless amount of research material available on the topic) to write on and it is also very therapeutic most times. With that being said, however, the fact that I don't have more opportunities to dig into my beloved Dancehall has definitely been frustrating. I've been working on covering some important and personally crucial write-ups that we missed during out hiatus (and I'd have to either write at my current pace for another year or so or return to my former breakneck level of output to get to everything we missed) (I used to be a ROBOT!), which lasted for years, but to do the same in Dancehall... well, it's much easier. There hasn't been very much in the way of albums that I find compelling in the genre over the past half-decade or so. There were the two that we did, Beenie Man's "Unstoppable" and the recent "10" from Spice (which doesn't count because it released after we came back) but apart from that, unless I am completely overlooking someone and something (and I hope that I am), I don't recall very much in the way of definitively fascinating, authentic Dancehall albums. There have been four or five or so and we'll get to them fairly soon and that will be that! Looking forward, things do look brighter (because they cannot possibly be any dimmer) with potential sets coming via Beenie and Bounty Killer to join Spice later this year (although, clearly, time is running out on 2021) (but who cares? Even if it is early next year, that's fine) and, of course, you'll continue to have a relatively steady stream of... that stuff people call "Dancehall" but is some bastardized filth (oh and Shenseea, who is certainly not "bastardized filth", is rumoured to soon be releasing an album). If you do enjoy genuine Dancehall music, there hasn't been much of it to choose from in recent times and that is fucked up.
I suppose it's just a matter of times changing and we will all have to accept our increasing antiquity because 'the youth' have a far different definition of things than we do, but that is the way it is. What you would generally recognize as Dancehall now, almost inherently, carries tags such as 'throwback', 'vintage' and 'old-school'. Well, today we, WONDERFULLY, take a look at an artist who has always embraced those labels and this time he's embracing it even greater way. Of course I am referring to the great General Degree. Degree is someone who, although he's been overlooked and underrated in many ways throughout his career, has simply been one of the greatest soldiers the Dancehall has ever produced. Period. And what he has managed to do, he's done almost entirely in the realm of making FUN, true Dancehall music. He has also done it in a way in which has relied heavily on SKILL. There is as much of a natural, inborn talent in Degree as almost anyone in the genre and he's demonstrated that via style which is completely HARMLESS. He doesn't make music about murdering people, literally or lyrically, or while some of it is on the 'adult' side (okay - maybe more than "some of it" is), it's done in a clever and more inventive way than what you hear from the vast majority of his peers - even some of the most talented ones. Flatly: If you like fun Dancehall music (and if you didn't you wouldn't be reading this shit), you're going to have a difficult time not enjoying General Degree's output.
2001
In fact, perhaps the only drawback you could point to as far his music goes is the fact that General Degree hasn't been terribly active over the years. And you could well say the same for some of his more direct peers such as Red Rat, Goofy (or is it Mr. G these days?), Buccaneer and some of the other alumni of the once mighty Main Street Records (biggup Danny Browne). Their prime years definitely belong to an era which has long gone, but when you listen to his work, by no standard of SOUND, has General Degree aged at all. For example, let's take a trip back half a decade to what, unfortunately and unsurprisingly, remains his most recent album release to date, the all kinds of fun "From The 90's". GENERAL DEGREE MAKING AN ALBUM CALLED "FROM THE 90'S" IS A BIG FUCKING DEAL FOR ME! The artist, himself, is "from the nineties", but to specifically do a set which presumed to celebrate the music in its most organic form, from my own personal favourite era, had me extremely excited. The album would come from the always reliable Fox Fuse (who're still around and apparently focusing on Soca these days) (good for them, biggup Fox Fuse), with the artist, himself, taking the executive producer's credit on his own Size 8 Records label. Trying to track it backwards, "From The 90's" would have been Degree's first studio set from 2007's "Generally Speaking" (I actually own physical copies of the two before that, I think, Greensleeves' "Yeah Man" of 2001 (a FANTASTIC album) ["When it comes to Dancehall, please bear this in mind: A FUN WI COME FI HAVE SO LEAVE ALL PROBLEMS BEHIND!"] and "The General" which came three years on) (yay for me!) and while I do not recall it generating a great deal of buzz from the masses, again, personally I was extremely happy to see it arrive and I'll be just as happy if he ever graces us with a followup. In between album releases, Degree chimed in with a self-released compilation, "Snapple Dapple Vol. 1" (which was solid and would have been pretty fresh in its day) and, most notably, Fox Fuse would send on "Bambalam", an EP from the year ahead of "From The 90's". That piece would set the stage for what was to come and what was to come was everything we'd come to expect from the veteran over his career: An entirely impressive and engaging strictly Dancehall release from beginning to end. To no surprise at all, the album would go overlooked and has sense been all but forgotten for the most part, but should You, like me, be in the mood and on the lookout for a excellent chunk of exciting Dancehall, I think I have something you may want to hear about - dealing with that now.
I've always maintained that the music in its unaltered form has such a powerful crossover appeal and we've seen it happen throughout the years. While someone may keep themselves in the international spotlight by changing things up and working with other artists and producers, what originally kicks the door in is genuine Dancehall music. And because of that, though I'm not surprised that an international level of stardom eluded General Degree during his prime, this album like pretty much all of his work should be relatively accessible for any fan of Hip-Hop, R&B or Pop. So if you know someone and you're trying to get the Dancehall bug to bite them, you may want to start with "From The 90's". If you do that at the very start of the album you're running into the first of a HUGE pair of guesting names as Tarrus Riley joins in on the remix for 'Feeling Irie'. Coming in over Degree's (LOVELY) Warm Kingston Riddim (which is at least very similar to Germaica's Replay Riddim from the original track) (it may even be the same damn thing), this one does a fine job in setting course for what is to follow. It is about feeling good (Naw! Really?!) and spreading the feeling around to everyone you can reach - which is precisely what happens in this case. The original version was a sizable hit for the DJ but with Riley on board, as you would expect, it takes things even higher and you do yourself a favour and INTENTLY follow that track because the Warm Kingston begins to do so many beautiful things as it goes along (like developing this sweet stringy sound). And in what is almost surely a first on these pages, the second tune up is another remix, this time for 'A You Mi Come Fah'. I prefer this blended version to the Craigy T produced original (biggup Craigy T) (biggu; TOK) original which had this 'brighter' and almost 'worldly' type of vibe to it. As you would imagine, the remixed version is much more Dancehall-centric and, like I said, a slightly better tune in my opinion. "From The 90's" does feature another remix, this one of the aforementioned 'Bambalam' which features Dancehall superstar Sean Paul who also released an album not too long ago which I may dig into at some point (as did Mr. Williamz). This one was all kinds of infectious, which is what you get from the master of infectious Dancehall, Steven 'Lenky' Marsden, who helmed it (Lenky is appears constantly throughout this album and artist and producer also worked together on an EP by the name of "Body Work"). The redone version sounds as if it may've even turned the intensities up just a touch and the two vocalists absolutely lay it to ruins. General Degree and Sean Paul are quite similar actually in style and although this was the first (and only) combination between the two that I know of, you have to imagine that they'd crossed paths throughout the years and, judging by these results, hopefully they do again at some point. And to round out the opening few selections is the aggressive 'Yuh Betta Cool' which reaches via the WICKED Frequency Riddim courtesy of Jus Eazy Productions. Though he hardly, if ever, goes the route of any type of harsh violence, it doesn't mean that the General can't defend himself or put someone in their place when it is called for.
"Di yappin and di chattin, mi no inna dat deh class
So fi yuh violate, you betta do so leggo fast
Go hide yuhself unda a rock, yuhself yuh betta mask
And tell everybody yuh caan find yuhself, yuh loss
DI LIPPY LIPPY, CHATTY CHATTY TING COME WID A COST
So if yuh want to pay fi dis, continue get yuh cross
WAH MEK YUH NEVA SEH SUMMN WHEN YOU SI MI AH PASS?
YUH WAIT SO TIL MI GONE AND YUH AH YAPPA YAPPA YAPPA YAPPA!
Hey likkle pun, hey likkle fool yuh betta cool
Yu likkle stooge, yu likke dude yuh betta cool
YOU SEH YOU HOT GO DIP YUHSELF INNA DI POOL
Cause anywhere wi seh wi rule a deh wi rule"
You can handle your business in such a way without, essentially, being a serial murderer lyrically, it just takes a bit of intelligence and creativity and Degree has that to spare. And for the record (what record!), I cannot remember anyone throughout the years taking a bit shot at him and, clearly, for good reason. And I should also mention here another destructive offering from the General, which.... I'm going to tentatively call my favourite song on the entire album, 'We Doe Worry'. The wordplay on this one is BRILLIANT. It is complete GENIUS at times and even though I am not crazy about its riddim, it fits the song like a glove!
"Wi doh worry
No wi no worry
When wi do tings, wi no do it inna hurry
Why wi fi worry when everyting curry?
Wi lock Cornwall, Middlesex and Surrey
Di general come back bitterly
Mad and sick-ally
Dem neva know seh mi return-ing
Wi lock di ting from I-taly
Fast and quick-ally
Dem confirm it offic-ally!
Down di street, lane, di alley
Hills and di valley
Dem disappear magic-ally
Then send come and tell mi sorry-
Di place get jitt-ery
Bust it and di whole sky glitt-ery
Man a no gal like Tiffany
No trace like Brittany
DEM AHGO TIRED AND SICK A MI
Dem alla wonda if a mi
Di bad man list-
Guess who fah name dem fi si pon it"
As it forwarded on "From The 90's" didn't really take any unexpected turns and twists and that was a good thing. As its title would suggest, it stays fairly close to center and doing so allows the General to put his best foot forward several times. A pretty good example of that would the Latin tinged vibe of 'Bumpa'. It likely isn't the first time Degree has had a tune with that name (Google says it isnt) and if there is another, at least lyrically it's probably quite similar to this on. But while it doesn't break any new ground (AT ALL) (ever since Dancehall was born, people have been rhyming about ass), 'Bumpa' promises a very fun time and it delivers. The almost Socafied 'Di Bam Bam' for Rush Hour Music doesn't stray very far (it doesn't move at all in any direction) (not even a half a millimeter) from 'Bumpa' at all and it is another very entertaining track. I was kind of expecting a 'jump and wave' to break out at times during it and the Soca head in me would have loved it but what it turned out to be was just fine. Near the middle of "From The 90's" we get involved in a fun of a different type between a trio of songs, 'Betta', 'Kitty Kitty' and 'Drunk Sex'. You know exactly what all three of these share in common (if you do not (shame on you) just look at the title of the third one) and it is probably no coincidence at all that they are situated like this on the album. Fittingly, the very first of these was carried on the FORNICATION RIDDIM from Hitmaker Muzik and it has such a COOL vibes to it. This one, unlike the two which chase it, isn't really dirty, even by Degree's standards (which're different form his peers. It almost seems like Degree comes from the Calypso school of making sexual songs where there do exist kind obvious things, but more often than not it's about clever analogies and straight comparisons) and, for what it is, 'Betta' was one of the best songs on this album in my opinion. The Lenky worked 'Kitty Kitty', although damn strange at times, did have its moments ["Hunting, hunting, hunting fi real. Spragga Benz have a fat gal behind di wheel. Oh yes, mi have summn fi reveal: Mi siddung ya waaaaaiting, pon bad gyal Ce'cile (whey she deh??)"]. The tune isn't a highlight here for me but, like everything else on this release, does have a redeeming value if for no other reason than because of its sound and easy appeal (you will be stuck singing that thing well after having listened to it for the final time). And speaking of interesting sounds, in that regard, 'Drunk Sex' soars (that probably didn't work written out the way I'd envisioned it in my head). While I can't say that I have ever personally experienced the particular subject matter behind this one (I have an overly sensitive nose and..... well drunk people tend to be damn funky), the tune is very catchy in a relaxed and chilled kind of way. It's also fairly easily overlooked in the way of much more 'spectacular' sounding material, but 'Drunk Sex' is probably just as good as most of them.
The good times on "From The 90's" continue rolling along with previous single, 'Have Fun'. This one was, basically, a lyrical party. If a fete could have a soundtrack (or like a narrator maybe), it would be 'Have Fun'. I could go into telling you what to expect from it, but you already know - no frills (that's wrong, there're definitely many frills) (what are frills? I mean REALLY?!), straight-forward and magnetic Dancehall. FRILLS (whatever they may be) absolutely saturate the hilarious Lenky produced 'Dutty Bad Mind', which sees Degree digging back into his legendary bag of tricks and come up with new characters, Mr. and Mrs. Badmind. This one definitely does have a message within its ample comedic value, which is to mind the company that you keep and how you spend your time around the people you do stay around ["SEH FRIEND AH BADMIND FRIEND, DON'T FORGET DAT. When dem offer yuh food, all yuh catch dat. YOU SI WHEN DEM AH COOK MEK SURE YOU GO LOOK. ANYTING AH GO INNA DI POT - CHECK DAT!"] (Damn). An album like "From The 90's" which fully celebrates Dancehall music in it purest form simply would not be complete in my opinion if it didn't contain at least one contribution from the great Suku from Ward 21 who supplies 'Hottaz' with a MONSTER of a riddim, which may just be the finest on this album. It is GRIZZLY! Suku has to be one of the most reliable maestros in all of Dancehall as of late. If you love Dancehall (the real stuff), he has to be one of your favourites (and, mind you, his history includes the Bellyas - EASILY one of the greatest Dancehall riddims ever in my opinion). Suku's track in General Degree's hands produced the expectedly scintillating results on 'Hottaz'. Anything less would have been a damn shame! And finally we actually go back to the eighties with the closer from Manudigital 'Gweh'. The two have created a tremendous of musical chemistry over the years (if you want the biggest example of that, check a tune named 'Bad' from a few years back) ["Dem ah talk loud fi wi hear dem. Wi use one likkle puppy and scare dem"] and it is GLOWING all over 'Gweh' which goes back to the sentiments expressed on 'Dutty Bad Mind', this time in a manner lower on the hilarity, but higher on the flames (and it's just a better song as well).
"Dem ah send friend-request, no it nah alright
When mi si dem coming from di left, mi go far-right
Far, far mi spot dem, mi have a far sight
That's why mi bun a fyah all day, all night
Through yah life ah shine bright like star-light
Dem no happy, dem own ah gwan like
Dem tink seh yuh dunce but yuh born bright
Haffi skilled outta road fi no get no dog bite
Di Devil buck up inna wi and haffi tun back
Him haffi run outta town, caan come back
Old garbage, a rubbish, wi bun dat
NO MI NO INNA LONG TALKING, MI DUN CHAT"
Again, you should definitely check out more of the releases of General Degree with Manudigital and let 'Gweh' be your first step.
Overall, "From The 90's" is sublime! I was so happy to see General Degree take on a project like this and give it the importance that it was due. Much of the material would have been at least some type of new right around the time the album released and though, as I said, it has gone largely forgotten these days, for those who were fans, it's a terribly difficult one to forget. This wasn't some type of a special release as far as styles changing or any type of 'experimentation' at all, it was the General doing what he has spent his entire DELIGHTFUL career doing. And after this review I'll happily go back to write-ups for Roots Reggae albums, but if ever I'm afforded the opportunity (and I'm confident that I will be), a return to the Dancehall on General Degree's account will always get my attention as here, he turned back the clock to a regrettably lost era and produced a gem.
