Reggae On The River with Prezident Brown, Tuff Lion & Lujan

"A PEACEFUL GATHERING"

Okay so, I wanted to make sure I got this one in before the festivities actually began and made you aware of what a few people you probably know are getting into later this week in California in the US. If you are unfamiliar, there is a big festival called "Reggae On The River" that goes off every year and it's set to embark on its 37th [!] installment in 2026 and to celebrate, loooooooooongtime favourite of ours, Tuff Lion has linked up with the equally esteemed Prezident Brown as well as talented Californian veteran, Lujan to produce something of a theme song for the event, also called 'Reggae On The River'. 

Something really interesting happens with this tune to my opinion. Obviously, it's dealing with something very specific but, it just happens that it's speaking (at least to me it is) to something further.

"When the DJ plays your favourite song-

That old time feeling you get cannot be wrong"

...you don't actually need to be THERE for this song to be applicable. YOU DON'T EVEN NEED A DJ TO PLAY YOUR FAVOURITE SONG! YOU CAN PLAY YOUR FAVOURITE SONG! Whenever you want and for as long as you want! So it has legs outside of this event but it's also perfect for what I'm picturing they'll have in its name. 

"AH WHO SEH REGGAE DEAD WHEN IT'S THE LONGEST LIVER??"

Also included in the release is a "Toaster's Version": Got skills?? Try the riddim out for yourself! And we also a lovely Dub track which, as always, does a fine job in highlighting the instrumentation (about a minute into it, the dub literally starts to GLOW) (IT IS BEAUTIFUL!).

Along with his musical contributions (master of the guitar with a Modern Classic, "Ten Strings" being to his credit and everything else he does), I have to say that Tuff Lion was probably one of the very first actual makers of music who got in touch with us as... well over a decade now and probably over fifteen years - he sent me a 'thank you' for a review that I wrote for one his projects which really made me feel good at the time I remember and due to his involvement with I Grade Records and, subsequently, the Zion I Kings, I've probably been writing about the output of the brilliant Cruzan for almost a quarter-century now, whether I realized it at the time or not.

So, if you're getting out this year to ROR (which begins on Friday which is my birthday), here's a look at the LINEUP (on Sunday alone, you get Prezident Brown, Samory I, DEZARIE, Baby Cham and Don Carlos in succession)[BOOM!] do enjoy yourself and if not, you can join the rest of us in enjoying this big tune from Prezident Brown, Tuff Lion and Lujan, courtesy of Rising Love Music. 

 

Black Dillinger: Live In Munich!

"Black Dillinger: Live In Munich" [Jah Muzik Productionz]

1. Intro

2. 'Do Good'

3. 'Burn Dem Up'

4. 'From A Place'

5. 'Hail The Man' featuring Uwe Banton

6. 'Africa'

7. 'Cyaan Run Away'

8. 'America'

9. 'It's Alright'

10. 'Bless My Soul'

11. 'Volcano Erupt'

12. 'Better Tomorrow'

13. 'Everyone'

Check! A really, REALLY nice and most surprising release recently popped up on our radars courtesy of Jah Musik Productionz as longtime Achis Reggae favourite and South African standout, Black Dillinger reaches back with his fourth album to date and his first since... his last one, the downright SHOCKING "Live In Munich"! As I've said in the past, Reggae shelves, both new and digital and old physical, aren't exactly overflowing with Live albums [biggup Soca] [or don't] and it's always nice when a real talent can draw some attention to the most overlooked album subgenre and, along with Jah Muzik, clearly Dillinger is doing his part.

The album is comprised of a show which took place during the Theatron OpenAir Festival in Munich, Germany (DUH!) and came as a total surprise to us, but we always biggup good ideas and here is a GREAT one! WHY NOT!

Musical speaking (which is our language here), the playlist is locked with some big tunes and heavy favourites from Dillinger, including what is probably my single favourite song of his, 'America', his cut of the MAMMOTH Gangstalaw Riddim from a few years back via the vanished IMMusic (looking it up, that track is almost a decade old which is RIDICULOUS!) (I am soooooooooo old) and other tracks which lit my eyes such as 'From A Place' ["Think you have it all, but one day you shall fall. Babylon ah crumble like wall!"] [BOOM!], 'Bless My Soul', 'It's Alright' and 'Cyaan Run Away' as well as 'Do Good' [TEARS!] from Black Dillinger's debut set, "Live & Learn". Also featured on "Black Dillinger: Live In Munich" are more songs, still, with which fans are familiar such as 'Hail The Man' alongside Uwe Banton (biggup Uwe Banton) 'Burn Dem Up' and 'Volcano Erupt' - the latter of which is probably the best performance on this album [BOOM!]. Lastly, also present is a tune new to my ears (according to the press-release, it's new to everyone's), 'Everyone', which is excellent and, is hopefully, a preview of what is to come from Black Dillinger once he reaches back in the studio for a new album.

Until then, however, there is ABSOLUTELY no reason at all not to pick up his latest project, "Black Dillinger: Live In Munich" from Jah Muzik Productionz, which can be found in your favourite digital store today.

{Note: Biggup an Otis from Jah Muzik, we no idea}

"Live & Direct" : The 10 Best Live Reggae Albums

Reggae, being the best music in the entire world, is able to appreciated in a large variety of different ways. You can find a song for almost any situation and find almost any situation and setting in which to enjoy it. Still, I'll maintain that the absolute best way to appreciate and LOVE Reggae is live and direct. The genre is absolutely one of the most 'visual' and 'colourful' in the world and even when the music itself may not appear to be so. We have some of the greatest and most energetic performers to be found anywhere and, simultaneously, some of the most experienced and dazzling as well. Despite this being the case (and obviously so), there has been a great dearth of live recordings to make it to albums over the years from modern artists. While elders such as Bob Marley & The Wailers, Peter Tosh, Burning Spear and others have so many to their credit, today with acts who also have extremely large musical catalogs, that is not the case, but there are some! Thus, I submit for your approval (or disapproval, what do I care?) (is disapproval really a word?) (it is), The Ten Best Live Reggae Albums of the Modern Era - Live & Direct.

{Note: Only modern artists are featured here}

{Note 2: The only albums eligible for consideration feature one main act}

{Note 3: Obviously #1 deserves some type of condition, but I don't feel like wording it}

Live & Direct

#10. "Finally Captured" by Inner Visions [Petrogylph Music - 2008]

It took me quite awhile in putting this list together and I'm happy that it did because had I went on it as it originally existed, it would have been devoid of this very nice set which ranks #10, "Finally Captured" by Inner Visions from out of St, John. In terms of pure performance, this is one of the best entires here, in fact, I would even rank it higher if it weren't for the fact that it was SO good. Ehhh? This album almost sounded like a studio set and although you did hear crowd response and 'movement' and other things typical in a life performance, it almost sounded like a presentation of music, rather than a performance. Still, whatever it was, it was well done and worthy of a spot here.

#9. "Words of Truth" [Disc 2] by Sizzla Kalonji [VP Records - 2000]

By no means was it a great album (or even kind of close to it), but "Words of Truth" is definitely remembered as one of (and maybe the first) the really FUN albums of the obese catalog of Sizzla Kalonji. Packaged with a decent first disc, the main attraction was a very random live set tacked on by VP Records which featured clips of a (very well recorded) performance at Brixton Academy in the UK. It wasn't the greatest but, again, it was just a very good time had as Kalonji rolled through hits such as 'Praise Ye Jah', 'One Away', 'Mek Dem Secure', 'Black Woman & Child' and others. The not too surprising pinnacle came when he presented the then new 'Humble Thought' which mashed up Brixton Academy. A more than enjoyable set more than a decade on.

#8. "Everton Blender: Live At the White River Reggae Bash" [Heartbeat Records - 2000]

The venerable and ultra-classy Everton Blender could have two pieces on this list but ultimately we chose to go with "Live At the White River Reggae Bash" because of just how wonderfully done it was. Along with covering two different shows (one being the title and the other being a stop along the Blender's 1999 Rootsman Credential Tour), the release served up excellent live renditions of favourites such as 'Family Man', 'Create A Sound', 'Blend Dem' and of course, 'Lift Up Your Head'. Top notch sonics also highlighted this delightful album which probably should've gotten a sequel by this point, but as it was - It was nearly golden.

#7. "Lutan Fyah: Live In San Francisco" [2B1 Multimedia - 2008]

I can remember seeing "Lutan Fyah: Live In San Francisco" pop up and just being SO damn pleased by its actual existence. Lutan Fyah wouldn't necessarily be someone you would think to have a live album under his lot, despite him being (at least in my opinion) a very underrated performer, but he's one of my personal favourites and that he did was BIG for me (more on that, exactly, in #6). It also helped when I saw that included were tunes such as 'Mightier Than Them All', 'Bits & Pieces', 'Screaming For the Poor' (guitar solo MAD) and even a cut of 'Rasta Still Deh Bout' (sans Josie Mel). More still, when it was all over, the album carried a complete bonus track, 'People Cry'.

#6. "Capleton: Live In San Francisco" [2B1 Multimedia - 2006]

They're gone now, but definitely credit has to go to 2B1 who made their names largely on the basis of being a company who specialized in doing live Reggae albums and their 'life' extended to the new generation. Besides Lutan Fyah, there were albums from the aforementioned Everton Blender, Junior Kelly (w/Mikey General), Lady Saw, Luciano and even I Wayne and Chuck Fenda when they wrapped up (and if I recall correctly, Ky-Mani Marley and Turbulence were forthcoming). Say what you will about them (and many have), but they were just so USEFUL. Unshockingly they did their finest when they released a set from the devastating Capleton who, even when clearly not at his best, is still leaps ahead of many of his most talented peers.

#5. "Live: Another Rockaz Moment" by Morgan Heritage [VP Records - 2006]

It was somewhere around HERE when I began to take a healthy notice of the Morgan Heritage camp as actual artists. Prior to "Another Rockaz Moment", I held them as definitely an entity to be respected, but someone who really just made this type of 'folk-ish' sounding material which was a few steps out of range of my taste, but listening to this very VIVID album really made me to take another listen to some of their older material and while I'm still not the biggest of MH fans, at all, I do have a healthier opinion of them and it is largely due to this project. They've had other live releases (or at least one), but for me, this was far and away their finest "moment". Excellent.

#4. "Live 94117" by Midnite [Rastafaria Recordings - 2008]

Falling in line with #10 on this list, expectedly in this case, is Midnite who really captured a great deal of their extremely loyal fanbase a few years back (not hard to do for them) when they dropped "Live 94117". The crowd response on the album was very very good, but the star attraction here, for me, was the downright HYPNOTIC vibe they pushed in the process. The energy also steadily picked up (and sometimes did so in the same tune) (hear 'Proceed') and by the end, after nearly eighty minutes, you're almost stuck wondering why they do one of these every year. Also, although it did get quite a bit of reaction - It was probably an even stronger album than most people gave it credit for being.

#3. "Live!" by Luciano [VP Records - 2000]

Luciano also rests on three or four different albums which could have been on this list, but in his case there's not really a comprehensive question to be formed as to which one reigned supreme. "Live!" was every bit as STERLING as you could have imagined on a live set from The Messenjah - increasingly building itself up on big tunes and reaching its heights in its latter stages. It was also very FUN and when you combined that level of class, no matter how expected, with something which kept heads rocking and fans interested throughout, you really couldn't go wrong and had a world class project.

#2. "Live On The Battlefield" by Anthony B [Nocturne - 2001]

Anthony B spent nearly two hours DESTROYING a stage in Toulouse, France and someone (bless them!) was smart enough to record it (audio and visually) and sell it to people like you and me as "Live On The Battlefield" . In doing so, they produced arguably the greatest Live album of the modern era and, from the sound of it, made a great deal of people on hand very happy they went out that night. I don't listen to this one nearly as much as I should, but when the idea for this list struck in, I was sure to include it and do so very highly (duh). If you like this kind of album (shame on you for reading all of this shit if you don't), then it is mandatory listening. He goes through big hits and not so big hits and just has a GREAT time on the stage which really comes through in this LANDMARK release which would have been #1 if I had even the slightest bit of journalistic integrity, AT ALL.

#1. "Da Real Live Thing" by Sizzla Kalonji [VP Records - 2005]

Was there any doubt??? Three years after dropping an album which would go on to mash up anything in its way and take no prisoners, Sizzla Kalonji and VP Records released another album, seemingly almost in CELEBRATION of the original project and gave it a second life which it wasn't even in need of at the time. "Da Real Thing" added two songs and a mix of a hit and became "Da Real Live Thing" in 2005. Also added was a DVD performance featuring Sizzla burning a craterous and cavernous hole in Soca Mo . . . VP's 25th Anniversary show in Miami, Florida. MADNESS!

The Vault Reviews: Everton Blender - Live At The White River Reggae Bash

When the discussion of greatest stage shows in Reggae music comes up, you’re likely to hear the same group names. The first, almost always, is of course Elephant Man. I can’t find an argument against that as, at his best, Ele tends to show no regard at all (and even a bit of disregard at times) for his own physical well being, climbing stage supports and leaping from really large speakers as if it were completely normal. Then you’re likely to hear the name Capleton. Outside of the physical antics of Elephant Man (although, if I do believe correctly, a few years back the Fireman did break a bone in his foot while attempting such a maneuver), Capleton exhibits more palpable ENERGY than probably anyone I know of performing these days (and he’s really to the point where I could literally see him doing what he does on a Soca Monarch stage) and combine that with the several really unique things Capleton does as well, such as the long lyrics and the full on free-styling as well, and his name has to be one in such a discourse. You’ll also hear of others like Beenie Man with his incredible stage COMMAND and even Morgan Heritage who, despite the fact that until very recently (apparently) I maintained a healthy apathetic view of, I (like anyone with semi-functioning eyes and ears) have to give them respect for their wonderful performance also. BUT! That being said, you don’t need to jump up and down and scream your audiences into oblivion like Capleton or Elephant Man; you don’t need to come armed with the lyrics of seemingly the command of EVERY tune you’ve ever done since you were a small child like Beenie; and you also don’t need to this large, encompassing and well-oiled-machine of a unit, like Morgan Heritage to impress on stage. You can just be ON POINT like Assassin or Vaughn Benjamin. You can be very close to being on point and just be pretty as hell like Alaine or, you can be totally and wonderfully ridiculous like Denise Belfon (I digress) or you can even just be pretty amazing and respected as such, like King Yellowman. OR, such as the case with the artist in question here, YOU CAN JUST SOUND SPECTACULAR. Everybody has been in the situation of having one of your favourite artists perform one of your favourite tunes and perform it in a way, seemingly oblivious to the version that you know and love. In Reggae, that occurs generally with the usages of ‘medley’s’ where an artist will go with bits and pieces of various tunes on a single riddim and, while that, in and of itself, doesn’t necessarily bother me, someone just kind of acting LAME and not quite pushing it to levels you’re familiar with and (more importantly) NOT EVEN TRYING TO, is pretty fucked up in my opinion. However, thankfully they’re people like Everton Blender who rather easily has to be one of the best SOUNDING performers I have ever heard in my entire life.

If my memory is accurate, I’ve had the pleasure of seeing the Blender perform twice in my life and even if it isn’t accurate the number itself isn’t as important (although I’m pretty sure it was twice) as the distinct sound is implanted in my memory. You can hear it on form also, pick up an Everton Blender album (like the one I’m about to discuss) and you can definitely hear the attribute which has made itself probably the most reputed addition to his arsenal, THAT VOICE! Somewhere between that wailing type of singing that you hear from the likes of Junior Reid and Mykal Rose (biggup Yami Bolo sameway) and the far more straight forward tones of people like Luciano and even Sanchez), exists the wonder which is the voice of Everton Blender. The man is truly one of a kind and seeing him perform, if you REALLY love the music, it definitely well comes through. Apparently it comes through on an industry level as well as, despite being in this day and age where having a live performance album isn’t necessarily a very popular thing, the Blender (who, in terms of POPULARITY (certainly not in terms of abilities and skill) isn’t amongst the worldwide most well known Roots Reggae artists today) has quietly had two. The most recent of which, Everton Blender: Live In Berkley from a couple of years back, came was very well received and came via the always welcomed 2B1 Multimedia. But the first of which was the better of the two (in my opinion) and a little bit lesser known and came way back in 2000 from the once mighty Heartbeat Records (who did quite a bit of work with Everton Blender, releasing upwards of five or six albums from the Clarendon native), Everton Blender: Live At The White River Reggae Bash. The title is a bit ’deceiving’ as it’s more than just “live at the White River Reggae Bash”. The album actually takes place across (at least) two shows, one being at the WRRB, while the other(s) occurring on the Blender’s 1999 tour in support of his Rootsman Credential album from that year (also from Heartbeat). The listener can assume that the material appearing on the album was from one show, however, the album itself credits these tunes as being recorded “live during the Rootsman Credential Tour, North America, October 1999”, but it ultimately doesn’t matter as the real star of this show, Everton Blender, is in OUTSTANDING form wherever his tour bus stops. Live At The White River Reggae Bash sublimely features some of the biggest hits of the Blender’s entire career up to that point (which would have arguably been his prime years) and in lieu of the fact that Everton Blender DISGUSTINGLY doesn’t that one elevating type of FINAL greatest hits compilation (which is really a damn shame) to his credit at this point, the album is pretty solid (along with Live In Berkeley) as the greatest compilation of his very best material in a single place. Therefore, with its situation of being a live album and with its very nice complete package, Everton Blender: Live At The White River Reggae Bash proves to be a release worthy of both newer and more established fans alike.

So what do you get in an Everton Blender show? Well, besides the aforementioned and well documented spectacular vocals, you’re also going to get quite a bit of CLASS and classy performance and I don’t know who exactly constitutes the ‘Blend Dem Band’, but they’re on point as well and all of that comes through excellently on Everton Blender: Live At The White River Reggae Bash. The way the album is situated is that the first eleven tracks come from said White River Bash and the final six are taken from the Rootsman Credential Tour. After a brief, yet dazzling, ‘Overture’ to get things started (where the riddims from some of the Blender’s biggest tunes are displayed by the band), the first time we actually hear our star of the evening is on the performance of one of the biggest hits of his career. ‘Create A Sound’. Although the vocals (in terms of the volume) may have had problems here (and they may throughout also, but not to a frustrating degree at all, and at times, not at all), the message of just living up fully and truly CRAFTING a joyful noise is full on display and apparently the crowd, energetic throughout the set, were well in tuned to that message. Good for them! Speaking of popular tunes, another of Blender’s two most popular ring through in succession and on the same track (on the CD at least) in ‘Bob Marley’ and the MASSIVE ‘World Corruption’. This is about the time when levels kick in and the MOOD really starts to transfer of the show to the listener at home (or wherever the hell you may be) and you just get downright JEALOUS that you weren’t here and World Corruption, in all of its beauty probably is my favourite performance of either show on the disc. The start of the next tune, ‘Where Do The Children Play’ (a cappella style) is just so nice. This one has never been one of my favourites from the Blender (and I’m probably well in the minority on that sentiment), but the crowd reacts IMMEDIATELY when he and his backing singers jump in on the tune and their energy stays high throughout. I just always LOVE to see and appreciate the INFORMED and EDUCATED audience, apparently even more so than me in this case. The next three tunes ‘False Words’ , ‘Live Up’ and ‘The Man’, three of Blender’s lesser known gems (especially The Man on which he specifically calls for the Baltimore riddim which backs it) all comes in nicely and I’d definitely recommend a fan to check out them all in their original forms as well to become more acquainted. And as the set at the WRRB, Blender draws for some of his more well known material such as ’BLEND DEM’, ’Piece of the Blender’ and ’Family Man’, all of which sound so nice and receive good (if not great) crowd response, before he drops the BOOM and has them in the palm of his hand to end things with the always EPIC ’Lift Up Your Head’. TEARS! I love that song and it’s every bit as strong of a performance as ’World Corruption’ (call them ’1a’ and ’1b’).

As for the second stage of the album from the Rootsman Credential Tour, two (actually three) things stand out in my opinion. The first is quite clear: As is indicated by the tour’s title, you may not be familiar with these five tunes but they’re all from the Rootsman Credential album. Secondly, the band isn’t as strong as it is during the WRRB (but the volume levels are all around better throughout and it literally sounds like they have a different setup instrumentally speaking). After another Overture (this one not as strong as the first), Everton Blender and company dive in on the first selection of the set (and now listening to it even better, I’m all but sure there’re no tricks going on and the music is actually from the same show), ‘I Love Jah Jah’. This tune has never been a favourite of mine necessarily (it doesn’t do much and is VERY elementary), but perhaps I should go back and give it a next listen (I doubt it), because it sounds FINE here and is definitely one of the best of the five tune performances. It is, however, quickly outdone by the SUBLIME ‘Higher High’. This tune (as if you can’t tell already) definitely has been one of my favourite lasting pieces from the Rootsman Credential album/era and I was so happy to hear how the crowd seemed to almost overwhelm the tune to a degree even then. You have to think it would have been almost completely new to them at the time, therefore they would have almost exclusively been responding to the absolute STRENGTH of this MIGHTY praising tune for His Majesty. The very nice ‘We No Fear’ is in next and I also find myself responding to it even more so than I would and have to the studio version of the tune. I always thought this tune could have been HUGE if it had just a bit more in the way of urgency in its vibes and while that doesn’t come to fruition here (at least to what I feel might be the PERFECT degree), it’s a bit more than on the studio version of the tune and to my ears, obviously, that’s a very nice touch (and on the studio version, while definitely nice, it isn’t engineered well, it sounds SO much so like Everton Blender is in the studio and FAR away from actual instrumentation and while that is normally the case, it shouldn’t sound like that). ‘Danger In Your Eyes’ is the penultimate tune of the set and the entire album altogether and I should be completely honest and say that is my least favourite performance on the entire set and the reason is largely fault of the Blender himself. His vocals are just not as sharp as they usually are - as they are on the tune preceding it and as they are on the tune following it - so call it a fluke or whatever you like, but here you can’t call it ‘good’ by any means. And lastly, as I said, he quickly gets things back in order with the closer ‘Why Do We Have To War’, a BIG social commentary. While certainly a rather curious choice on which to finish a set (and with the way things go out, I’d be tempted to say that it wasn’t actually the final tune performed that night) the tune, in any form that I’ve heard, is a big one and its presence here is a plus to an album which definitely sets the table for it in fine style as only Everton Blender can.

Overall, I’ll reiterate the fact that pretty much regardless of what level of fan you may or may not be of Everton Blender’s, this one is well recommended to you. For the newer fan it’s kind of a greatest hits and thus, a wonderful introduction to the Blender and his vibes and you definitely get to see a more colourful side of the artist with him just talking several times and the vibes coming through how much he just generally enjoys singing hi songs. And for the older fans, I’ll use myself as the example: While I’m definitely not the biggest of Everton Blender fans you’ll find in the world, listening to some of the music here and writing this review, I cannot tell you how many times I stopped listening to the music on Live At The White River Reggae Bash and went back to the actual studio CD on which the particular tune appears just to see how the comparison was, or simply because I got caught up in the moment and NEEDED to hear the original and you too (even more so) will definitely enjoy the more colourful side of the Blender. All in all, while not the BEST live album I’ve ever heard, Everton Blender: Live At The White River Reggae Bash is just so enjoyable to listen to as the Blender proves it definitely is possible to entertain and do it greatly, sans the jumping, speaker climbing, million words per minute chatting, fire starting. . .

Rated 4/5

Heartbeat Records

2000

Everton Blender @ Myspace

Filling Da Void: A Review of Chuck Fenda: Live In San Francisco

As much as I obviously love the medium of albums and singles for music, I will always admit and agree that the greatest form of presenting music is live and in person. When you take an artist and give them the platform to deliver music that they slaved hours and hours to make sound so nice that so many people will enjoy it and support it, LIVE, it destroys the rather impersonal nature of vibes that listening to a CD or a radio inherently presents. Also, after that performance, many people (myself DEFINITELY included) gain a fuller appetite for a song which they previously may not have enjoyed at all. In Reggae and Caribbean music specifically this also applies and, and a grander scale, perhaps even more so. Still, as much as I may complain about the title, our music is often deemed ‘exotic’ or the ever-present ‘world’ category, therefore, when you have a performance on any type of larger scale than usual, almost EVERY time out, you’ll make new fans of the music. Case and point, almost any time there’ll be a Reggae artist of any stature performing on any type of international television show, you’ll see a reaction locally due to many people abroad being impressed and such a thing, although commonplace for artists of many other genres, Caribbean music seems to respond differently (for the better) for such unfortunately rare opportunities. So should you want to make a friend previously ‘unaffected’ by Reggae music, check the current tour schedules for some of the bigger artists at any given time. Now, being that the situation, I’ve often made the case that it is STRANGELY unusual that because Reggae music LIVE has such an prevailingly GOOD affect on people and with definitely steady stream in which Reggae albums are released, we have so very few live albums released these days. I’d go as far as to make the case that with, re-issues and just first time projects of new and old shows, today we STILL have more old artists pushing with live albums while modern artists seeking to do the same have so very few options. And don’t get me started on Soca. I think it’s definitely an under utilized piece as can you possibly imagine what type of affect a live album/DVD from someone like Elephant Man might do if given proper promotion? Even Beenie man has yet (to my memory) to have a LARGE live album released, despite the fact that his stage presence is probably about as commanding as anything you’d see on Broadway tonight. The Dancehall live album is pretty much GONE (if it ever was here in the first place) (and it wasn’t) which is a real shame (Ninja Man!), however, for those of us willing to go a bit further, on the Roots side things are stirring and have been for awhile.

Critics will always say things like “good Roots Reggae has left Jamaica and gone to the Virgin Islands” and “good lover’s rock has left Jamaica and gone to England”, both of which aren’t true under the surface but I have FULL confidence in saying that the modern Reggae live album now lives in the state California. 2b1 Multimedia has the Reggae live album on LOCK! Period, the San Francisco based label is definitely not the most active by any means but just in the last year or so have RIDICULOUSLY released live albums for relatively new artists I Wayne and Lutan Fyah. Add to that the fact that within the same period of time, they pushed what was arguably the finest Reggae album of any time in 2008, Africa, from the aforementioned Mr. Fyah. Credentials like that alone would definitely make 2b1 one of the more well reputed labels of the moment but, as Reggae labels tend to come and go, its VERY refreshing know that they have been doing the exact same thing for years; well over a decade at this point. As I believe I said in reviewing another of their releases: They’re ‘threatening’ to become a SERIOUS player in Reggae music (and the case could be made that they are already) but I kind of hope that they stay kind of set in their ‘niche’ releasing predominately live albums with the occasional BIG studio release like Africa. Besides both Lutan Fyah albums and I-Wayne currently bubbling around the time (Africa was reportedly VERY commercially successful) and the rather forgotten detail that they’ve recently gone digital, previously existing as a physical product releasing only company (and hopefully they’ll tap into their back catalogue someday as well, with MANY strong products in the 2b1 vaults, including live albums from Capleton, Luciano, Junior Kelly and a ton of others (including LADY SAW of all people)) the fine people at 2b1 continue their ascent with products like this one. The artist in question here today is someone who two years ago or so you just COULDN’T IMAGINE having a live album as there seemed to be not only a great call for such a thing but no one willing to make the move in doing such a product but this label is apparently going after the hardcore heads. Well they’re doing a GREAT job. Why release a Chuck Fenda live album? He isn’t regarded as having one of the greatest stage shows in the game (although he is very good) but then again neither were Fyah or I-Wayne. Chuck Fenda, like those wonderful artists, is simply one of the most solid artists in the game so to answer the question: Why a Chuck Fenda live album? Why not. Fenda is amongst a group of artist to emerge in the Roots arena (although he is older) who are PROVEN hitmakers in Reggae, year in and year out he brings big tunes and has been doing so at this same level now for the last half decade or so. His stage show also has come along, although, to my opinion, it was never what I would call BAD actually but it now matches the fiery chanter he is on his music. The former Dancehall head born in New York, also retains that hard ‘edge’ to a degree and it most often will come across live and in person. On albums, Fenda currently has two out, the EXCELLENT Better Days from 2004 and 2007’s WICKED and underrated The Living Fire, both of which were received very well and definitely upped his international status. Now, 2b1 brings forth Chuck Fenda: Live In San Francisco, an album definitely different but one befitting one of the most talented and CONSISTENT Roots artists on the modern scene. Just as we’ve come to expect from them.

If you’re a fan of Chuck Fenda’s already, like myself, you’ll definitely recognize quite a few nice and popular tunes as expected. In this performance (like most of his, I would imagine) Fenda covers pretty much most of his hits from recent years and sounds in very fine form throughout which is reflected by the high crowd energy and participation at the venue, Club Six, also (at least at the start). Beginning Chuck Fenda’s Live In San Francisco is just a brief but INTENSE taste of his hit from a couple of years back on Christopher Birch’s Stage Time riddim, Cyan Cool which definitely gets the crowd’s attention and it’ll get yours as well as Fenda just gives a verse or so to get things lit before wheeling it up and heading into the next tune. Chuck Fenda doesn’t wait very long at all to call in the heavy artillery and delivers his MASSIVE hit, the controversial Gash Dem which flattens Club Six. Its always nice when an artist can go somewhere and have the audience really KNOW the song and with Gash Dem, Club Six, at times, threaten to drown out Fenda’s own vocals with their big response to the tune (even on the verses). Gash Dem sounds EXCELLENT here and is performed so well that its definitely my choice as the finest piece you’ll find on Fenda’s Live In San Francisco. Fenda tackles the Blaze riddim (biggup Pow Pow Movements) to close out the wicked opening of his set, with a nice rendition of the BIG Poor People Cry from back in the 5th Elements days of Fenda, Richie Spice and Anthony Cruz from the Poor People’s Defendah. He also ends the tune with a speech throwing it to the next one, which is a performance not to be missed.

From the way its presented if you wanted to say that All About Da Weed is the biggest performance here, I wouldn’t put up too much of a fuss. The tune begins halfway before the previous track runs its course with Fenda relaying a story of how he was pulled over and declared himself a “marijuana tree!”. This is a nice example of what I mean by how a performance can make you like a tune as I had to go back and draw on the Truths & Rights riddim for the nice studio version of the tune (and he even ends things by drawing on a tune from his good friend Richie Spice, Youths So Cold). Chuck Fenda fans will know every lyric on every tune as he just rolls through the hits. Jah Is Worthy over the EPIC Hard Times riddim sounds so nice and it keeps the crowd in nicely (despite a music fumble). I do have to say that the biggest disappointment on the show comes when Fenda reaches arguably his biggest hit to date, I Swear, where both he and the crowd inexplicably so to go into energy defunct. It comes too close to the beginning to be a matter of physical fatigue and both show energy afterwards, so I’m just calling I Swear a bad pull UNFORTUNATELY. Fenda and crowd seem to have things back together on the VERY NEXT TUNE as he dives into Murderer perhaps a little too briefly but things are leveled nicely as he continues to bring the big tunes. Haffi Win was a BIG tune and probably one of his most underrated (Better Days album) definitely and it sounds pretty good here as well but probably not as good as it could’ve or should’ve. Herbalist Farmer, a quite recent effort from Kemar ‘Flava’ McGregor’s WICKED Drop It riddim probably has the best audio on the set and it just comes through so nice, definitely one of the show’s highlights there. Fenda even goes solo on the combination tune Coming Over Tonight (The Living Fire album), sans Cherine Anderson (who might make for a pretty nice live album 2b1) and it comes across quite well also. Of course you would have LOVED if Ms. Anderson made an appearance but Fenda does nicely by himself. Speaking of BY HIMSELF, Fenda’s BIG anthem for the mothers of the world, Oh Mama (Better Days album), comes through on this set with no music, a cappella style and is very nice and it reaches the audience nicely as well. I didn’t too much like chasing that one with Oh My Lord, which comes on an acoustic vibes, I think he should’ve ran the vibes back up and he honestly takes too long to do that for my tastes as neither Freedom Of Speech nor Material Things (STRONG tunes) get that energy back up (although Freedom Of Speech is very well received as it always is, I‘m sure). That role is serviced when the KNOCKING Better Days comes through and begins the final stretch of the show. Better Days is another tune like Haffi Win in that it definitely received its fair share of popularity, but to my ears, its every bit as strong as pretty much ANYTHING you’ll find in Fenda’s catalogue so far. Never Si Dis [Yet] is another strong piece and it resonates well here as it sounds EXCELLENT and you should definitely track down the studio version of that BIG tune which is one of Fenda’s more lyrically impressive outings and the performance features a surprise vibe or two. One of the better pieces right there. The fact that you can slow down and still keep the vibes up is reinforced by the presence of the LOVELY God Is My Witness across the Lava Splash riddim which is very nice in its brevity as is the show closer, Rough Out Deh (Better Days). This one is performed across a different riddim than the studio version and after a bit, it sounds so nice. Fenda himself doesn’t go so hard after the tune (like he should’ve) but I LOVE that song and you couldn’t flop it if you tried. And the same could be said about any Chuck Fenda performance, including this one.

I do have to say that throughout Chuck Fenda: Live In San Francisco and PROBABLY in most of his performances in general (although I’ve seen him perform several times and haven’t noticed it but never with him having as much time as here), he uses the pretty ‘standard’ call and response technique of, “Lemme hear you say whoa!. . . Say yeah. . .” and that definitely wears thin here to the point where later on you’ll feel inclined to skip ahead a bit (luckily almost every time he does it, its not during an actual song, but a wheel.

Overall, like the I-Wayne piece, Live In Oakland, Chuck Fenda: Live In San Francisco is not the BEST you’ll see from the artist, however, it is by no means a bad show. Fenda (nor I-Wayne) do those type of things to my knowledge. And with the rarity (until 2b1 began this ’streak’) of something like this, you’re more appealing to the hardcore heads who just like the idea of such a release and are far more likely to have seen the artist or just know the full range of power of the vibes. I myself have to say that I just LOVE the idea of taking so many modern artists and giving them an opportunity to have a live album in their catalogues. Next up for 2b1 is apparently Turbulence and Ky-mani Marley of all people and Fenda himself may be back later in 2009 with a studio release for genre leading VP Records (and if it happens it will be one of the year’s most anticipated projects definitely). But here, what you have is a nice shout for the loyal fans and I’m enjoying the vibes with the live albums. Now 2b1 just give me Cherine Anderson, Lutan Fyah again, Jah Mason, Spice, Chezidek, Buju, Assassin. . .

Rated 3/5 stars

2b1 Multimedia Inc.

2009

Chuck Fenda @ Myspace

The Official Chuck Fenda Website