The Vault Reviews: The Unity Riddim

Principles. If I were to tell you that I heard a song which had the words "pickup truck", "old dog" and maybe "shotgun", chances are pretty good that you'd predict that what I was listening to was Country music and you'd probably be correct. Though you're unlikely to find a genre of music which doesn't mention those things in some way or another, they're almost universally known to be extremely prevalent (whether or not it's accurate or outdated (or just flat-out wrong) doesn't even matter and I couldn't tell you) topics of focus in that genre, so that's probably where your mind would go. Similarly, if I told you I heard lyrics which aggressively told me to "JUMP", "WAVE" AND "MISBEHAVE", and there was some type of sweating involved, you would guess Soca. Although probably underrated lyrically in a few ways, those are (well earned) hallmark traits of Soca music.... and I kinda love it. And again, while you won't find any style of music that uses words which does not mention those things, when you glue them all together, it equals Soca. I hesitate to use the word 'foundational' or 'fundamental' at the risk of sounding overly dramatic about jumping, waving and a pickup truck, but they are as ingrained in those genres as anything else that may come out of someone's mouth. In Dancehall music things are also extremely simple. When it comes to topics of Dancehall songs we have the 'Three G's' -- Girls, Guns and Ganja -- and then everything else revolves around them. If I asked you to think of a Dancehall tune which didn't fall into one of those categories, you might struggle quite a bit really (particularly if you think of 'Dancehall' in the genuine sense and not... that stuff they do nowadays) to come up with something which fully ignored them all. It is just the nature of the genre, earned through years and years of output. And while I'm completely less familiar with other styles of music, I'm sure fans of Hip-Hop, Pop, R&B, Rock and everything else could say the same about those (and I'm sitting here thinking that Gospel music may, in fact, be the easiest to recognize). Of course, while it's a wider array of topics than the three G's, Roots Reggae music is also the same. Roots is interesting because, as I've said in the past, you can take ideology and themes which're most often associated with Roots and put it into Dancehall, Soca or some other geographically related sound and people will often either, full on, call that song Roots or say something like 'it has Roots overtones' or 'textures' - things like that. Unlike most others (and I think I know why) (we can go ahead and call that the 'Marley effect'), the message behind Roots Reggae music is so durable that it can transcend genres if put into certain hands. It is truly an artform which is inspired by and held to the ideas which form it - 'message music'.

And we know those messages very well. Like Gospel, the centering theme of Roots Reggae music is a spiritual one, but I have to say that one of the best things about the philosophies behind and surrounding Roots music is just how wonderfully they're made concrete and tangible. How something can go from 'Hail The King' and 'Praise His Imperial Majesty' (which is only meaningful to people who follow that path in life), to something like 'treat your bother and sister better' and 'BE SURE TO THANK PEOPLE WHEN THEY DO SOMETHING FOR YOU' (that's very important and is applicable to everyone) is one of the most beautiful transitions I know of in music. It makes something which is limited to a very small sector of the population --those who either are Rastafari or have similar beliefs -- and opens to pretty much anyone with a good head on their shoulders. We also, directly, see ideas such as, peace, perseverance, respecting our elders, doing better at raising children, respecting nature, being sure to point out corruption, standing up for marginalized people and SELF ESTEEM constantly explored in Roots music. Even if you take that from someone who does not enjoy the sound (those poor, poor souls) or maybe doesn't even know it exists, you're going to find people who would think that such a sound, at worst, would be quite helpful to a lot of people (and I feel the need to mention here, perhaps the greatest EXAMINATION of unity in the history of Reggae music as, in 2014, Vaughn Benjamin dissected the term on his downright brilliant "Beauty For Ashes" album).

Another central theme which is found prevalently in Roots Reggae music is that of unity and bringing people together figuratively and literally (I digress here, but for a genre which is frequently (particularly in the past) criticized for being judgmental, Roots brings up unity SO often that it's hard to believe that such a judgment exists (even though it surely does) because when you pull in so many people, you're sure to have people who come from different backgrounds and lead a wide array of different lives). You could argue that unification of people is THE most important tangible idea of Roots Reggae music because it, alone, can lead into so many of the others as we make a peace amongst ourselves. Because of that, I was very much drawn to this particular project from back in 2018 which not only seemed to, figuratively, lift up the theme of unity, but did so as directly as any project like it has ever done, the Unity Riddim. Delivered by one May.B Unity from out of France for Culture Studio-Maxy Production (with Livity Records distributing) (and Zojak Worldwide handling the digital side), the Unity Riddim would take things up several notches as it LITERALLY brought people (and great minds) amongst each other, as each and every one of its fourteen vocal tracks were combinations.... and they weren't just Random Artist A alongside Random Artist B, the Unity Riddim brought together some serious talents and did so in a way that may've never been done previously in most of those cases. For nerds like You and me, this was some dream matchup type of stuff in a few instances! So many times we judge riddims for the vocal talents that're featured on them and here was no different as, had you separated this (and made twenty-eight different songs instead of fourteen), you still would have had one of the most impressive rosters of artists in recent times, but placing them with one another was incredible to pull off (even more so if you stop and consider what it must've taken, in terms of effort and money, to bring all these individuals to the same place either physically or remotely). Prior to this, May.B Unity and Maxy Productions had done at least a trio of releases in the form of the Danger (2012), Bounce (2013) and Love U (2014) Riddims, respectively. All three releases were at least some form of solid (the Love U and Danger were very good, actually, with the Bounce not being too far behind) and featured colourful lineups of vocal talents. The Unity, however, took things up not only in their ambitions, but the track itself was LOVELY and their finest composition to date in my opinion. It likely wouldn't have taken much (you could've made the 'Vacant Riddim' -- literally no riddim at all -- and likely had some big results, with some of these parings), but fortunately the riddim, as the stage presented, was well crafted for such a large moment (it is exquisite) and absolutely no one disappointed! Let's take a listen.

Although very rarely, such things have been done by others in making certain specifications as far as who voiced a particular riddim or how they went about doing it. In 2019 Achis Reggae favourite, Oneness Records released the sterling Lioness Order Riddim, which only featured female artists (such as another couple of our favourites, Queen Omega and Sara Lugo and even Queen Ifrica) and, just last year, Swick B did the same thing in Soca music with the Queendom Riddim which featured the likes of Alison Hinds, Patrice Roberts and Nadia Batson. And speaking of females, let us deal with the critiques right now - the main one being that there're fourteen vocal tracks on the Destiny with two artists each on both. Twenty-eight artists appear altogether and not a single one of them is a female. That ain't right! We're better than that. Hopefully if such a release is every given a sequel (I would be very surprised if were), that would be remedied (given what the label shows themselves capable here, asking for an Etana/Queen Ifrica combination isn't being greedy) (you'll see what I mean in a second). While I do have a problem with there not being the presence of a woman's voice present on the Unity Riddim, I have no complaints AT ALL with its opener, 'Bless My Life' which, ridiculously (and I mean that in a good way) carried both Chezidek & Warrior King! WHAT! Never have ever said that I would want to hear these two make a song together and I wouldn't think that the call would have been great to make it happen with both being singers of the higher pitch (and you generally see them paired with chanters/DJ's for the contrast), but just because it may not have been in high demand doesn't mean that what resulted was not MAMMOTH - because it was. This one just made me smile as it hits on a topic that I'm always well attracted to: The idea of being thankful for whatever it is that you do have going for you. Many people have very hard lives but NO ONE has NOTHING to be thankful for, if even for the air you breathe (or the air that someone that you love breathes if you don't give a damn about yourself) (that's your business) and that is at the heart of 'Bless My Life' ["Jah bless my life. And it's alright. Mi nah complain, whether sun or rain, you know I'm satisfied"]. These two have a lot more to show gratitude to The Almighty for and so do the rest of us after listening to such a lovely track. A favourite of mine checks in on the next tune up, 'Life', which gives us the incomparable Mark Wonder alongside Jah Rain. If you've spent pretty much any time at all around these parts then you know how highly I rate Wonder, his work is constantly discussed on these pages and, going forward, it will continue to be if I have anything to do with it (.... and I do because I write all this stuff). For his part, Jah Rain is and has been for some time, an artist who I have always found compelling. I listen to his work and I think I hear someone very familiar in a distinctly unfamiliar form. If Vybz Kartel came up as Roots artist, I would think he would sound quite a lot like Rain. The St. Andrew native is brimming with lyrics ["The limit is a state of mind. Dung deh and wise up from di age of nine. Fight against yah brother is  a waste of time. Think The Creator blind? But HIM seeth all things, just live in love"] and has a very strange timing with his delivery, reminiscent of the once mighty Portmore lyrics prodigy (should you require more, you may want to check out his 2021 EP, "Guidance & Protection"). This would have been another case where I wasn't dying for a combination between Rain and Mark Wonder but I'm better off for having heard it as the two deliver a GOLDEN piece which says that we are not all doomed and have choices to make within our own destiny. 

Along with two or three more contenders, 'World Peace' is in the discussion of being my single favourite song on the Unity Riddim, this time we see a meeting of the minds between the legendary Capleton & the always flaming Elijah Prophet.

"You come and tell mi world peace when a you same one create di war

Yes, my brothers are dying, don't know what dem fighting for

You come and tell mi world peace when a you same one start di war

Yes, my brothers are dying, don't know what they fighting for

Some ah think over with dem

You si dem alla kill all dem owna friend

Well nuttin neva real nor sober wid dem 

Ova di cliff, wi nah go ova wid dem 

Alright, so why you want fi tek a life?

And you neva mek a life?

Rasta is di Ultimate, di youths dem want a betta life

Si dem now, every man waan fi live di best of life

BUT BABYLON DEM HAVE A PHOBIA FI DI BREATH OF LIFE"

This antiviolence selection features both artists in an outstanding form and, while this is another situation where I was so excited to hear these two together, given their styles, I'm not at all surprised at how strong the eventual tune was. 'World Peace' is fantastic! 'Can't Hide' actually features a pair of talents which're relatively close to one another as big voiced chanters Chuck Fenda & Perfect  Giddimani find common ground in hunting down oppressors and creators of corruption anywhere they may hole up. I sat here thinking that I never realized just how similar the two are as, for his part, Perfect (with his unpredictable bursts and singing and.... everything else he does) (and I'm not complaining) is difficult to compare at times. But if you were to chip away a lot of his idiosyncrasies, what remained might sound a lot like (a higher pitched version of-) the far more straight-forward but no less talented Chuck Fenda. Similar artists teaming up on a song doesn't sound like the greatest of ideas as there may be very little contrast to appreciate but.... this is Perfect we're talking about and he has usually has enough diversity to provide contrast with HIMSELF, so Chuck Fenda is no problem at all and they turn in one of the finest tunes on the Unity. And rounding out of the first third of tunes here are Natural Black & Omar Perry, on 'These are the Days'. I mean.... you know.... sure, why not! Though entirely unexpected, I'm not complaining about this one either as these two produce a fairly broad, but beautiful social commentary whose core is all about infusing more necessary love throughout the globe.

The next five songs on the Unity Riddim feature links which are downright shocking and, as I said, the type of stuff I would have only dreamt about prior to it. Obviously, the biggest draw here on paper would be 'Why Sacrifice', a track we mentioned not very long ago (it was actually the last review I wrote, but I don't know when these things get posted or in what order) (I just write them) in taking a look at "Rebellution", the outstanding new album from St. Thomas singer, Natty King. Here, 'The Man from The East' found a balance with one of his idols, the the legendary Luciano. You get these two on a song and you're going to get the attentions of a whole heap of people and I'm one of them! 'Why Sacrifice' was every bit the selection you would have hoped would materialize from such a union and major credit goes to May.B Unity for making something happen that people had been waiting to see for.... probably about a decade and a half at that point. Three of the other four songs in the middle portion of the Unity Riddim are STUNNING combinations on paper, but I'd also want to point out 'Jah Saved Me' which had underrated veteran Pampi Judah & talented Judgment Yard alum, King David ["No haters, no gaters, no traitors, no fakers - dem caan stop mi from mek mi paper. Mama seh 'son go out and earn, a money haffi run. Never you wait fi later. FLY DI SPACESHIP BECAH MI A DI NAVIGATOR. I came to save Israel. I'm the Black Liberator. Black Motivator. Bun out all di hater. Bun out all di spies and then go bun out all di traitor"]. Given what surrounds it, it's easy to get lost on this tune. It doesn't carry the star power as any of its 'neighbours', but this SWEET praiser more than holds its amongst the giants. And then there is the matter of those "giants". Check 'All I See Is War'. I don't know if they've made a song in the past (I doubt it, but I could be wrong) (usually am when I'm think I'm right) (I just spelled that 'right' as 'write') (....damn) but given the sure amount of time they've spent around one another and the amount of riddims and stageshows they've touched all around the world, a musical union of Sizzla Kalonji & Junior Kelly seems like a long overdue natural team-up (even if they have done it before, it was time to do it again). This is a social commentary which is quite expansive with the two looking at a variety of different topics. It also comes off like a vibe. It doesn't seem as if they did a great deal of planning  to it and, instead, just went into the studio with a light topic and allowed everything  to develop organically. Perhaps that is the reason why I come away from a set like this and the main thing that sticks with me is that, despite its direction, 'All I See Is War' makes me feel good! It probably wasn't the intent and is more of a 'side effect' and maybe I'm just too damn lost in the moment to appreciate the sentiments behind this one, but this song put a very large smile on my face.

 

Easily one of the biggest combinations on the Unity Riddim, 'My People' then came up: Pulling in Jah Mason and placing him next to Turbulence! HEAVY!

"No more mi nah go stand up and watch

Bangarang ah treat mi people like trash 

Everyday our life is like wi been on di war patch

Mau mau warrior, real battle locks

When mi a battlefield, mi nah have time fi relax

NO time fi slumber, mi nah go nap

Wi nah get caught inna dem boobytrap

Mi going, mi going, mi going, mi caan stop

Check dat 

My people need justice and quality

WORLD LEADERS, DEM LOSE DEM SANITY

Some ah pree material things a just vanity

And I hate to si my people die

My people need justice and quality

WORLD LEADERS, DEM LOSE DEM SANITY

Some ah pree material things a just vanity

And I hate to si my people die

That's why we'll fight for our equal rights

That's all wi know

Together wi will grow

What is peace without justice?

When poor people dem facing so much things

And di dutty system - wi cannot trust this

And if dem violate Jah Mason ahgo bust dis

Wi no really like di way they roll

The reapers of soul

Divide and control

You know wi belong in Africa-

More food fi di sufferah"

These two absolutely DISMANTLE the Unity Riddim and produce what I'm calling my favourite song on the riddim (although I reserve the right to change my mind at any point before you end up reading this) (.... which is what I just did behind the scenes, but never mind that). Also adding to the big names here is 'Word, Sound & Power', which is where you'll find both Fantan Mojah & Lutan Fyah making their mighty contributions. Unsurprisingly (biggup Lutan Fyah), this one features, arguably, the best wordplay on the riddim (which is saying a lot when you consider the caliber of lyricists present) ["Dem ah preach but dem no practice. Dem no love one another. Dem evil, mi hear seh dem ah swear gainst dem mother"] as the Fyah and Mojah step things up from an already soaring level and do so in a way which isn't 'AGAINST' the riddim. What I mean is that the song plays out in a very easily digestible way and you end up with a large message that is also nice to listen to.

The final combination on the Unity Riddim which sorta/kinda made my eyes pop was definitely 'Don't Shoot' which linked VI superstar Pressure Busspipe with Dominican firebrand, the criminally overlooked Aima Moses. Again [!], never would have thought there would have been a track to unite these two, but I ain't complaining at all about it! It almost seems kind of random planning but Moses did previously appear on both the aforementioned Love U and Danger Riddims, respectively, so he's been on May.B Unity's radar for some time and Pressure's is one everyone's radar. These two perform as high as you would expect them to as they examine those in power who ABUSE that power on a certain group of people in particular.

"Hey, di shooting of Black people, officer you betta stop

You should another unarmed citizen, for what?

And then your laws and legislation support di act

Dutty babylon system only made fi set trap

Protect and serve di people is what you have not 

Everytime di ghetto youth touch di road, you keep track

No find no evidence, and still di youth dem pon lock

Jailhouse 95% Black

Tell dem relax: Fyah nah cease pon bad cop

Relax: I nah sign no devil contract

Relax: Big tree - I man have di small axe

Di fyah weh wi bun ah come blazing hot

Relax: Nuff ah tek coke and crack

Mi seh relax: Wicked man fi clean out dem earwax

Relax: Stop tell lie and speak facts!

Babylon ah bun up, red hot"

It isn't looking good, but I'm still holding out hope that someone, somewhere, someday might give us a full album from Moses, but in the meantime, he's given us dozens of big singles to enjoy and 'Don't Shoot' is among his very best. Keke I & Ras Zacharri talk to us about violence gone overboard on 'Gang War'. What these two turn in is just well SOLID all-around and, though it has basically faded away in the time from its release, you can take a listen right now and thoroughly enjoy it. Go ahead. Give it a shot. Then there was the biggest surprise on the Unity Riddim as Spectacular & I Marley smash things great and small with their 'Raw Reggae Look'. I want you to do me a favour: Try listening to this one without putting some type of smirk on your face or something. I'm convinced that it's kind of impossible unless you're really hard of hearing. 'Raw Reggae Look' was a gritty and grimy ode to Reggae music and it was catchy as hell. It also had some flames on it (as you would suspect with the Burning Spectacular being onboard) which is always nice. And lastly (not really though), was a nice changeup on the vibes as French/Afro-French talents Fatogoma Keita & Big Desal brought forth 'Wacé Way Cé'. I wouldn't have thought twice if such a track was not present on the Unity Riddim, but the fact that it is definitely adds to things. You'd think a French label should be giving light to French talents and surely being present on a project like this gave more shine to Keita and Big Desal than they would have had otherwise. Nothing wrong with that. And speaking of nice additions: I most certainly WOULD have "though twice" had they not given us a clean instrumental cut of the Unity Riddim (just a necessity in my opinion) (if you are proud of what you have made, give it some spotlight of its own). In the in version of the riddim you tend to notice things that you do not when it is dominated by vocals and, here, I notice subtle horns and DRUMS - just beautiful little touches which you certainly take in when you hear the songs and they do add to the full experience, but you're unable to really tune into them and notice just how BEAUTIFUL of a composition Maxy had put together with this one.

Overall, what do we do with this one??? Maybe I'm overdoing it a bit were I to call the Unity Riddim one of the best riddim albums I have EVER head, but I'm certainly not going too far by saying it is one of the finest of the past decade or so - it was. Along with the track, itself, being so nice, it supported a whole heap of outstanding vocal performances (which is quality a track must have. You can have a beautifully done piece of music which is so complex or different that artists can't really find a vibe or a melody on it) (or you can also just place it in the care of the wrong type of vocalists and have the same awkward at best results) and then there's the matter of those performers, isn't it. Not only does it bring in many big names (that isn't very rare, really), with the likes of Sizzla, Capleton, Luciano, Junior Kelly and others (Turbulence, Jah Mason , Lutan Fyah, Perfect Giddimani, Pressure Busspipe, Mark Wonder, Chuck Fenda....) (DAMN!), but the Unity Riddim takes that magical next step in fulfilling its name and placing them together. When they do that - it assures that a decade from now, I'll still be referencing this riddim in talking about something else (if I'm still up and ticking). That is the largest chunk of its legacy and, again, a full credit goes to May.B Unity for making it happen and Culture Studio-Maxy Production for getting it going. Roots Reggae music has long prided itself on being a vehicle used to unite people and the genre has rarely seen a more direct and tangible piece of evidence of this than the Unity Riddim. Exceptional.

Rated: 4.85/5

May. B Unity

2018

Vinyl + Digital

While We Were Sleeping!

Okay so, while we're still working to catch up on so much of the fine STUFF we missed out on while on hiatus, I have come to the conclusion that I cannot possibly get to them all... and I have also come to the conclusion that I don't.... really want to. So, I thought that we'd bundle some of them together and slap some quick thoughts on some things that we would have surely looked at around their release date, but I don't have plans to do a full review for today for one reason or another... laziness or.... something like that, you get the picture. While We Were Sleeping

 

{Note: Wouldn't be surprised if I did a second volume of this list at some point

"Ten Of Hearts" by Alaine [Juke Boxx Productions - 2015]

I very hesitatingly start this list with a release which I am most likely to get around reviewing someday but I'm only including it here because I had forgotten (and was, subsequently embarrassed by the fact that-) that I had never gotten around to writing it up already. "Ten Of Hearts" was Alaine's third album (I THINK) and it was her first which wasn't exclusive to the east (both "Sacrifice" and "Luv A Dub" were Japanese albums). It was also the first which found her outside of the helm of legendary producer, Don Corleon. The angellic singer would move 'from strength to strength', however, and find herself with a brand new album courtesy of Shane Brown and his well esteemed Juke Boxx imprint (with Zojak Worldwide on distribution). Check.... well this would be the point where I would recommend my favourite songs on the album, but you can listen to almost anything on "Ten Of Hearts" and run into a winner (like, for example, 'Suzanna'). Guesting were the likes of Tarrus Riley, J Boog, Dre Island and other.... yeah, I'll probably review this one, never mind. 

CD [not too hard to find] + Digital

"Eyes Ah Look" by Natural Black [Vizion Sounds Records - 2018]

Natural Black is someone who released multiple projects during our time away and I am planning to get around to at least one of them (maybe even this one, actually), and because it's been quite awhile since we did anything on him (and he's become even more interesting since then), I thought it a good idea to put something from him in here. This set, "Eyes Ah Look" from Achis Reggae favourite Vizion Sounds Records -- from out of Guyana, just like Natural Black -- is close to an earlier release from the chanter, "My Life" in its quality (though I do tend to lean to "My Life" and I'll probably end up reviewing that one). Both were typical, melodically pleasing Roots-ish material (minus one GIANT element, of course) and you couldn't go wrong with either. Standouts for various reasons included 'Flat Theory', 'Praises'...., 'Too Much Back Stabbing' and 'Foreigna'. 

Digital

"Amsterdam Revival" by Miriam Revival [Dredda Records - 2020]

I can recall really looking forward to the debut album from Surinamese/Dutch singer, Miriam Simone and, back in 2015, she would deliver it and do so fantastically in "Mount Zion" and, at some point this year, I'm planning on telling you about that one in detail. Five years later, she would come back with her sophomore effort, "Amsterdam Revival" and do so, on paper, with FLAMES. Sizzla Kalonji, Capleton, Queen Omega and Dammie (who is Miriam Simone's son, I believe) all would feature in its ranks and the album was pretty solid (though the single best song was still a solo effort in 'Freedom'). That being said, however, I still favoured (and still do to this day), "Mount Zion" and, as I said, someday soon I hope to tell you why. 

Digital

"Rebirth" by Marlon Asher [VAS Productions LLC - 2019]

Trini Reggae star, Marlon Asher, also gave us a pair of albums and I am planning to get around to the first of them, 2015's "Illusion", but by all means you should also check out what remains his most recent set to date, "Rebirth", from a few years back. For me, I look back at this one as being a very subtly COLOURFUL Roots album. I hear so many different styles wrapped up in this one and music which you don't regularly associate with the genre. Of course that isn't a bad thing and certain areas of "Rebirth" shined! Take a listen to the likes of 'Healing', 'King Of Kings', 'Reggae Music' with Anthony B and the MAMMOTH 'Through My Window'. Also appearing besides Anthony B (twice) were Pressure Buspipe, Meleku, Slightly Stoopid (twice), King David and Fluid Foundation.

Digital

"Mozaïka" by Admiral T [Elite Base - 2019]

Gwada supernova, Admiral T, was wonderfully ultra-active during our time away, releasing more projects than I... feel like counting right now. I'll surely get around to doing up an entire review for at least one of them this year, but arguably the most interesting of the lot was this GOLDEN eight-tracked EP from 2019, "Mozaïka". Featuring more traditionally vibed music to the FWI, the set would show yet another side to the remarkably talented Admiral T with tunes such as the title track (try listening to that song and NOT moving, I dare you!), the resounding 'Sèt Ritm' and 'Chat ka Tété Rat' alongside the immortal Jacob Desvarieux highlighting. Probably one of the better EP's of recent years. 

Digital

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.

'A Sound For Sore Ears': A Review of "Mortima Hardly" by Natural Black

2010. While just about two months away from being able to look at the year as a whole, I think it’s pretty safe to say that in terms of Reggae albums, those of us who REALLY pay attention (all thirty of us or so) don’t have too much to complain about. For some reason, however, it does look a little bleak when compared to last year, but it clearly hasn’t been. I’m definitely going to point to a very recent period of time which just saw full blown albums released from a trio of Dancehall/Reggae legends, Buju Banton, Lady Saw and Spragga Benz and the fact that not a single one of those albums came via industry leader, VP Records, is probably a pretty good sign to the testament of the strength of another portion of the genre, not just at the top. We’ve also seen powerful debuts from big named artists such as Romain Virgo and Gappy Ranks and returns from the likes of a long LONG overdue Capleton, Luciano, Junior Kelly, Admiral T, Natty King (and you can’t really grumble at all when Natty King pushes an album) and Chezidek. Really, I don’t want to go too far, but in mentioning even more releases from the likes of Sizzla Kalonji (more on him later), NiyoRah, Toussaint and there’s always Naptali, 2010 has been pretty good to us, hasn’t it? Still, like I said, for some reason if you hold it up to what 2009 turned out to be (even though, after all of that, I’m probably leaning towards calling 2010 even stronger come December), it doesn’t seem as strong, ostensibly, at least not to me. You know - It almost seems like something is missing. But what could it be??? Something that certainly could’ve helped would have been an apparently postponed until next year sophomore release from Etana. Another thing could have been if [Lady] Spice’s reported debut album had actually come through, that’s an album I think could have even garnered slight mainstream interest and while we’re on the ladies for the moment - Lady Sweety . . . Whenever you’re ready. And there’re a few other things in the works and a few other people who’ve just been quiet as of late and we’ll surely get all of those in due time and most likely a whole lot more (just not this year), but even apart from them does it seem like it to anyone else that 2010 is just missing something?

Ooooh! I know and I think you’re going to LOVE this. Although it isn’t accurate at all, it just seems like, at least to me it does, that it’s been AGES since last we’ve heard from outstanding Guyanese chanter, Natural Black, on an album. Of course it hasn’t that long since his last album, the decent but all but forgotten ”Guardian Angel” (what happened was that album released at the beginning of 2009 and here we are at 2010’s end), but I get accustomed to and comfortable with having certain things jump up and a Natural Black album is such a thing which can make all of that heat I just mentioned a little less than steamy. Well, I’ve just gotten word that my time to complain is quickly running short as now, approximately halfway through October (closer when it was released), we now have a NEW NATURAL BLACK ALBUM and all things are sunny again. Said album, ”Mortima Hardly”, is Black’s ninth studio release (by my count) and comes, most interestingly, courtesy of Rippa Blaxxx Productions and the same Grillaras Productions who had hands in album releases from Norris Man (”Captura”) and the exciting UT Ras ("Tha Bitter Stretch”) from just a few years back (and the album also reaches us, digitally, via the most magical place on earth, Zojak Worldwide). Rippa Blaxxx is interesting because, as far as I can tell, it is the new label from Dancehall veteran producer Daniel ‘Blaxxx’ Lewis who is one of dozens and dozens of unfortunately underknown and underrated producers and players of instrument in Reggae and Dancehall without whom the genres could not function as they do. Lewis, to my knowledge, has previously worked with labels such as Blaxxx Records and Black House Records and his is a name which, although predominately only known amongst hardcore heads, does have some really strong material behind it. Fans of Greensleeves’ once mighty Rhythm Album Series can credit Lewis for delivering both the #62 Middle East Riddim and #71 (one of my personal favourites) Slingshot Riddim. So, while you still may not be too familiar, it is clear that we aren’t dealing with a rookie, in either case, manning the controls for Natural Black’s latest release. For his part, the chanter is a mighty fine form. I have developed a very nice method for listening to things for the various first time: Should I find that I don’t actually like a riddim or if it is just kind of ‘different’ to my ears and not so easily digestible, what I do is IMMEDIATELY focus on the lyrics of the song. So, I don’t know if it is because of that (even though I started to like most of the riddims here after not too long) or because I would have been easily impressed in some instances, having gone through Natural Black withdrawal for the better part of a year and a half or so, but I’m inclined to say that ”Mortima Hardly” has to be considered one of Natural Black’s better lyrical efforts as an album to date. He handles a healthy variety of subjects on the album and he doesn’t take them in the typical or clichéd directions (at least not usually), which is always so refreshing. On top of that (speaking of refreshing), what I think generally tends to be the dominant quality of Black’s music - His ability to so finely implement his personality into any given song - is on full and vibrant display throughout this set as well. And when you take that and combine with ‘uniqueness’ of the feel of this album (more on that in just a moment), in my humble estimation, I’d say the album proves to be an upper echelon release, at least, from Natural Black.

Shame on you if you don’t catch the title of the album. The star here was born in Guyana in 1975 and given the name Mortimer Softley. Apparently the album’s title marks some sort of ‘alter-ego’ or simply a different approach and that’s evident because it does show itself to have a bit of a different sort of edge to the vibes, particularly given the varied nature of the production at times. ”Mortima Hardly” by Natural Black from Rippa Blaxxx Productions and Grillaras Productions gets up and going with a tune with a bit of a subtle edge to it, but an edge nonetheless. ‘Running’. The riddim here is very strange and it took awhile to grow on me definitely, but if you start to quickly listen to what Black is saying, it proves to be the kind of tune I absolutely RELISH because it is such an interesting concept.

“Stop running away from problems
Running away from pain
And when you think it’s over
Here comes the rain again”

Next in is the very truly GREAT tune on the album, ‘Ethiopia Awaits’. This tune is beautiful on the lyrical aspect, the riddim (which is so nice that you barely even notice at times) and it also features Black mixing things up a bit in terms of adding more colour to the tune just from his style and I ALWAYS love to hear him do that. I’d think this tune, given the opportunity, could do a major damage. The song poised to do damage, however, is ‘Beautiful Lady’, which is next and I believe is the song tapped as the first single from ”Mortima Hardly”. Play with this song for a bit, it is one WEIRD sounding piece and should you just kind of pass it over, you’ll probably be missing out on something very fascinating and not only that, but if you can actually find something you like in the tune, it literally starts to blossom right in front of your . . . Ears - It is very catchy and after a bit of close inspection, probably a pretty good choice for a single.

The tune which is certain to attract the lion’s share of attention on ”Mortima Hardly” is also a tune which is one of the more DIFFERENT tunes on the album. Of course said song is ‘Sufferation’, which just so happens to feature Natural Black alongside the aforementioned Reggae legend, Sizzla Kalonji. To my knowledge, this was an original Black House produced set from last year or so and it is very very strong. When you put together two such big names, the results HAVE to be there and even if the vibes of the song aren’t what you would like, like I said, listen to it strictly lyrically and you’ll hear something nearly special. The tune which precedes it, ‘Open Your Ears’, is just as unique. It is, essentially, a Hip-Hop song (incidentally, apparently Rippa Blaxxx also has offices or studios in Philadelphia, so that may also explain the sound in some respects), which isn’t a quality which generally resonates with me, but this one alike and hopefully I don’t need to tell you WHY at this point. The obligatory Mama song on the album, ‘Mamma Love’ is another somewhat similarly vibed piece. This one isn’t amongst my favourites (at least not yet), but I’m well still working on it. And I’d also place a few later tunes in this line as well - ’All Over You’, ’Money Money’ and ’Distance Yourself’. I’m not particularly fond of the middle tune, but the first and third are very nice (‘All Over You’, in particular). And just to speak on the nature of such tunes in full - Natural Black is an artist, unlike someone like a Lutan Fyah (see the ”African Be Proud” album), who can take on a variety of different styles and still REALLY find something golden within, so if you are that kind of hardcore Reggae head (and if you’ve managed to read yourself this far into this review, then clearly you are), don’t be so quick to scurry past this album or such tunes.

However, with all of that being said, I too am such a lover of all things strictly Reggae-ish, so for me the most impressive portion of ”Mortima Hardly” comes near the middle of the album with four absolutely HUGE tunes. The first of this quartet is ‘Ready Your Mind’ which is call to action, in the general sense, for people to simply step themselves up and become better as people.

“Some mek the glory and the honours pass dem
Now you haffi si what it ah cost dem
Dem shoulda listen to Mortima Hardly
Wouldn’t know fi tek mi broadly”

The next tune, the Nyah drum backed ‘Straight With’ is absolutely the best tune I hear on the whole of this album. The song, much like the one which precedes it, is somewhat inspirational and a piece is just calling on the masses to try to become ‘better’ and more fulfilling as people. The difference here is that it takes things in more of a spiritual manner and the delivery on this song is just so unforced and natural that it sounds like Black just vibed the tune a one time through and immediately came up with the lyrics. BRILLIANT! Next in that same stretch is ‘Dog Nyammings’ which has a riddim which is familiar (it sounds just a bit like the riddim from Peter Broggs’ classic ‘International Farmer’ tune) and is a nearly special social commentary which my overactive brain instantly began to take in so many different directions. And the last of the four big tunes is my second favourite, ‘Sunshine Glory’. MAMMOTH! The song is one about knowing where one is from and seeking pride and JOY within it and not denying it. The vibes here, ostensibly, may just be the most impressive in a ‘traditional’ Reggae style on the whole of the album. I begin to think about the Afrikan Diaspora and other such events, but even if you just vibe to the tune on the most superficial of levels, I’m convinced that most will still love it.

The final 'new' track on ”Mortima Hardly” is an odd one because It’s one of the most unusually vibed on the album, but the subjectry is full on Reggae music - the melancholy ‘Who Selassie I Bless’. I really liked this song after about three spins or so and it isn’t (just) from a lyrical aspect, I liked the entire thing and actually it is one of the album’s best moments. And while the album’s final moment is marked as ‘Beautiful Lady Version’ it isn’t the instrumental that you’re thinking about. Instead, it is basically a kind of a Jazzy remix to the original and I don’t have a problem with it. Moreover, the album ends with another decidedly DIFFERENT, but solid, set which is characteristic of it, in full, indeed.

Overall, I think it goes without saying that ”Mortima Hardly” more than simply satisfies an itch of mine for 2010, it’s also a very good album. I’m going to recommend it, specifically, to two very opposite type of fans: The first being the new listener who either hasn’t heard much of Natural Black or hasn’t heard much Reggae at all. This is a very good introductory album in my opinion. The other type of fan who I think would have a very good shot at enjoying this album is the WELL indoctrinated Reggae fan who can kind of listen to it in a different way. While you may not like the fact that every tune isn’t on a one-drop, what you will like, as I said, is the fact that it is very strong lyrically. And either it is so strong lyrically that I didn’t notice or something else is at work because as someone who, myself, has a slight aversion to Hip-Hop, I really didn’t mind it in this instance and, in some cases, I did like it just on the vibes. As a whole, while Natural Black does have better albums, I’m very secure in calling ”Mortima Hardly” one of his better efforts to date. Lyrically, it is arguably THE best he’s done and the fact that it comes through so varied is certainly going to make it a standout for many fans, I’m sure. And now maybe I can sit back and enjoy the fact that 2010 has probably been a MASSIVE year - Nothing’s missing anymore.

Rated: 4.15/5
Rippa Blaxxx Productions/Grillaras Productions/Zojak Worldwide
2010
Digital {CD reportedly soon to come}

The Vault Reviews: World War by Natural Black

Speaking from a strictly musical standpoint here and far away from the business shenanigans which go on behind the scenes, the art of dealing with debut albums can be tricky dealings. Besides deciding how to get the thing up and running and with whom to do it with, the actual music and vibes themselves often can be another beast of their own and, depending on what happens to a particular artist, downright strange at times. I would say that this is true in almost all genres of music but in Reggae, where obscurity can dominate and, ESPECIALLY in the case of debut albums, sometimes when you come across a debut album from an artist who ended up doing something relatively decent in their career, what you’ll find might not be the best thing they’ve ever done and, again, it may just be strange as hell or an exercise in finding the real artist. Probably the strangest of them all would be Beenie Man whose debut album, The Ten Year Old DJ Wonder for Bunny Lee arrived in 1982 or so and found a BARELY post infantile Beenie (spelled ‘Beany’ on the cover) espousing on such inspirational subjects as Bony Punany and Sleep With A Gal at the ripe experienced age of around eight or so. That album has gone on to become one of the hardest to find pieces in Dancehall history in hard form and while many a collector may be right now trying to track it down, I don’t know and can’t imagine that there is ANYONE who would argue to it’s quality AT ALL. Beenie’s archrival, Bounty Killer, for his part, had far more pedestrian (and BETTER) beginnings more than a decade later with the Roots, Reality & Culture album. Bounty, still however, doesn’t manage to elude any type of strange nostalgia as the RR&C album doesn’t even begin to shed light on the eventual ‘digitally dominant’ evil version of Rodney Pryce which would later emerge and instead positions the Killer as an every so SLIGHTLY updated version of former mentor Ninja Man. Even Lady Saw’s own debut, 1994’s (same year as Bounty’s on VP Records, the same label) Lover Girl, although arguably more loaded than both Bounty’s and Beenie’s first efforts, as it finds her in an era of production in which she thrived, still pales in comparison in most of her earlier work. And those are the SUPERSTARS of the business. Similar digs into the debut albums of other big names like (ESPECIALLY) Buju Banton and Capleton reveal even more kind of awkward and not very ‘telling’ in terms of what was to come in the future and the trend extends with very few exceptions (like Spragga Benz).

With all of those artists, Beenie Man, Bounty Killer, Lady Saw, Buju, Capleton and even Spragga being of such big status and having been from almost as soon as they began their careers, even if you can’t actually find their debut (and you can in all of those cases except for Beenie Man and if you’re willing to pay for it, you can find that also) readily available, they are very well known. On the HARDCORE Roots side, however, you tend to have artist after artist have debut albums come and go and even second and third efforts which find them, for the most part, in some state of development which may or may not be exactly indicative of what is to come. Recently (within the last decade or so) we’ve seen quite a few debut albums from artists finding them at (obviously) such an early stage in their development and on the Roots side, MANY of these albums are quite obscure and all but forgotten. Jah Mason’s Keep Your Joy is an EXCELLENT example of this as that album, which was pretty good actually, showed the Mason before he had seemingly gotten a control of his ‘moods’ which now highlight his music and go to aid an overall package of talent which make up one of the most talented artists in the game today. It’s also basically damn near impossible to find as its producers, Ghetto Technology are seemingly gone and didn’t leave a forwarding address. And, fittingly, there’s also Guyanese chanter Natural Black who also has a debut album, World War, which is along those same levels (as is Turbulence’s self titled debut) as he emerged in that same group which included the Mason as the next wave of well powerful Roots Reggae artists. There is a bit of confusion as to if World War is actually his debut album or not as the other album in question, Spiritual War, was apparently not released too far away (of course, you wouldn’t know it as neither have a year or anything ANYWHERE on them) in terms of time, however, I maintain that WW was first because qualities attributed to his forthcoming next album in the liners of the album fit what goes on with Spiritual War (it even says “second album“). In quality, also, things are a bit telling to my ears as the Spiritual War album features a version of Natural Black who is slightly a more ‘finished product’ instead of the ruggedly pleasing version who appears on World War. This album was released on Frenchie label Lion Roots (which I THINK is still around today in some form or another but I don’t think they ever released another album besides World War), ran by the one Steflion (Stephane Puleo) and he and Black’s now former manager (I THINK) Roger Grant from Organic Records serve as the album’s executive producers. As in Jah Mason’s case on Keep Your Joy with not being in total command of where he would take a tune or the once SUPREMELY talented Turbulence on his debut not using his underrated vocals enough or Lutan Fyah not being as lyrically proficient or just generally as SKILLED on his debut, Dem No Know Demself, World War features a Natural Black NO WHERE NEAR the heights of his powers also. The artist you’ll hear here sounds like a pretty ‘frustrated ‘ (actually I’m thinking ‘agitated’ but I think I use that word too much) version of Buju Banton for the most part. You do, however, definitely see the beginnings of what would turn into be a mighty artist in Natural Black and it is well worth mentioning that he is just enough of ‘himself’, or as we know him to be now, to push World War overall and make it a winner ultimately.

Definitely helping Natural Black in making World War a world winner (did you see that? Did you see what I did there?) is the ridiculous level of producers and musicians he works with on it. He was definitely not a big name at the time but some of the names and places credited in the album’s liner notes as working on it are seemingly those reserved for only the biggest. Perhaps they knew what was to come later. What was to come first on Natural Black’s (I THINK) debut album World War from Lion Roots was one of the better tunes you’ll find on the album and what has become one of the underground signature pieces from it, Mad Crazy. This tune is also ‘Exhibit A’ of what I mean when I say that Black hadn’t developed fully as it’s kind of out of control at times and you just KNOW it would be a big tune if he voiced it now. Not that it was bad back then because it wasn’t and it was full of lyrical niceness as well across Bullpuss’ lick of the famed Real Rock riddim. Stirring start. What amounts to the album’s title track, Third World War, is up next and the first thing you’ll notice is that it, again, is ‘gifted’ in the way of utilizing the riddim from Dennis Brown’s famed The World Is Troubled. Natural Black doesn’t go to those LEGENDARY bounds with Third World War but he definitely gives a nice effort and one which reigns as another of the highlights here in my opinion speaking on how we need to be careful in this day and age. Closing out the opening on World War is the antiviolence piece, Guns Nuh Mek Ya (or, as the album cover calls it, Guns Nuh Mekj Ya). This tune is WELL solid and one of the best written tunes here altogether and, yep, you guessed it; It benefits from coasting wickedly across the old Tonight riddim (Keith & Tex style baby). Big opening.

With an intro like such I almost found it weird that my favourite tune didn’t come amongst the first lot and almost inherently excluded from the mix is the final song (more on that in a minute), which makes the high point of Natural Black’s World War somewhere in the middle. Particularly look at the three OUTSTANDING tunes for Black woman in the middle of the album. First up is the SWEET Woman Like You over Black Scorpio’s cut of the Tribal War riddim. This song’s effect is almost purely from an entertainment point of view (at least for me) but it DEFINITELY sounds so nice indeed, even if it isn’t the best delivered tune here (and it isn’t). the mundanely titled Black Woman is up next and its actually a stronger tune than its immediate predecessor on World War. It comes with more of a foundationally strong and appreciable message than Woman Like You and you could probably even call it more of a social commentary, attempting to uplift the Afrikan woman in general rather than just “oh baby I love you”, (biggup Peter Tosh). That being said, the best of the three and my favourite tune on the album is SHOCKINGLY the infectious Strong Woman. The song comes over some zany ass techno Dancehall riddim which I just can’t get out of my head and then Natural Black himself, rough around the edges and all, goes after it with a flow (ESPECIALLY on the chorus) that really stays with you long after it and the entire album are over. You won’t find it on any ‘best of Natural Black’ list and rightly so but I love that song. Four of the other five tunes find Black in a far more typical role which fill out World War quite nicely. Check Weh Dem Ago Pass (aka Can’t Pass on the CD back) which is probably the best of the remaining lot. This one doesn’t even sound like Natural Black at times but it’s still well solid and you’ll notice the CRAZY flow Black gives to the verses on the tune which is something. . . I don’t know he may want to revive that one and give it another go these days. Mi Do Mi Best is a little different sounding but still well on a ‘normal’ vibes. This one used to be one of my favourites on World War a few years back, I still have a nice appreciation for it, however The tune finds Natural Black stating just how prepared he is for the challenge of the oppressive world and I like the usage of BIG sounding backing singers throughout (they almost sound like a chorus in a church choir). Mi Do Mi Best leads into the very interesting final two tracks on World War which are “very interesting” for even more very DIFFERENT reasons. First is the damn near DAZZLING Hands Up. Now, you wouldn’t know it by looking at the tracklist for the album anywhere but the tune is a combination for the album as it features Black alongside US Reggae band Big Mountain. The group would also return (I THINK) on the Spiritual Food album with the WAY BETTER effort No Bada (and I believe Black has also appeared on one of their projects as well). Hands Up is, still, a pretty nice vibes with an excellent chorus but it’s kind of odd to deal with knowing that this combination can be (and has been) so much better. AND THEN THERE’S CHIGUEN. The closing song on World War has pretty much become infamous to a degree as it doesn’t fit the album AT ALL. Chiguen is an Afrikan sounding vibes (I don’t know what language they’re speaking on it however, maybe Spanish or Portuguese, and Natural Black, although he sounds well, sounds just as out of place on the tune and you have to wonder if not why record it in the first place, then why put it on the album. BUT! I do reward Lion Roots and Luzi Shilling for having an adventurous spirit in recording such a tune in the first place but I don’t know that World War was the proper place for it in the end. Still, the tune, whatever it is, is pretty much excusable given the general niceness which precedes it.

Overall, I’ve tried to make it a point to stress the fact that what you’ll find on World War is BY NO MEANS the best Natural Black has to offer. To be even more specific, in terms of quality, it’s probably his worst album to date but, thankfully it was his first (or second), so that’s what you’ll expect. However, that being said, its still not a bad album by any means and although I definitely can’t recommend you tracking it down at any cost but pretty much any within reason. for me, right now Natural Black’s World War kind of serves as a referencing point as far as what he’s become and not what he is/was on the actual album. When you take it and contrast it against his later work you see exactly how nice of a journey it has been for one of Reggae’s most traveled and most compelling stories.

Rated 3/5

Lion Roots

2009

Natural Black @ Myspace