"Emancipated" by Spice [Stealth Music Group & Spice Official ENT]
Okay so, unless I'm REALLY forgetting someone, in 2021 the reigning Queen of Dancehall, Spice, delivered her first full length album, "10" (well, that part is clearly true), which would go on to be the finest Dancehall album of the year. If you recall the story behind that project you know it was the offspring of a somewhat tumultuous relationship the DJ and her label, VP Records, with the album having been delayed countless times over.... about two or three hundred years or so. Well, despite the fact that "10" took so long to arrive, Spice readied its followup in about a year and, in 'honour' of her newly free status, she now gives us "Emancipated". The release comes via Stealth Music Group and Spice's own Spice Official ENT label and, though it may lack the fanfare of its predecessor (...then again, it may not actually), "Emancipated" shares one glaring feature with the Grammy nominated "10" that stands out for me: "Emancipated" does carry some actual Dancehall music. Also, with titles such as 'Tape Measure' (which is precisely what you think it is about), 'Big Big' (so is that one) and 'Crop Top', you know the two share a lyrical direction. "Emancipated" is only nine tracks long and clocks in at less than twenty-five minutes, so I can't do it as my typically long-winded feature, but I thought we'd take a quick look at some of the highlights on a release that has already done some considerable damage and is just A LOT of fun (...this is basically going to be me writing a regular review. Yes, I will feel disgusting doing it, but we'll survive) (and even if we don't survive - well, we were always going to die eventually anyway).
2021
If you are at all familiar with Spice (or if you read our opening paragraph), you know that much of her music centers around sex and sexual... stuff and, in that regards, the work that comprises "Emancipated" is not at all a deviation from what you are used to hearing from the artist. With that being said, however, in her case as in the case of just a handful of others (Shenseea being one of them), I always try to stress the point that if you just view them as people who make dirty songs and just that, the mistake will be yours. Spice is INCREDIBLY talented with the spoken word. Regardless of her topic of discussion, when you REALLY tune her in, she is capable of being amazing lyrically. So, as a 'warm-up', we won't hold against you too much if you're dismissive of the opener, 'Clap Clap' ["Bad, look how mi bad. Tell mi who bad like a dis. Mi a di baddest inna dis, watch how mi waistline ah twist. A so mi bend inna S like mi's a contortionist"], as just a party type of song. That is exactly what it is. It's catchy as hell, even if you don't like it, ultimately (and maybe even if it disgusts you a little) (prude), you'll go on to the next tune singing the hook with a virtual certainty. The same can be said for other tunes such as the aforementioned somewhat Hip-Hoppish 'Crop Top' (decent, but not quite as good as 'Clap Clap' in my opinion; and at barely over two minutes long, it never really gives itself a chance to get going). The DENSE 'Pop Off' is another which is sure to stick in the heads of listeners long after its time. Produced by Shaggy and Costi (who were also behind the giant hit that was 'Go Down Deh'), though 'Pop Off' ay have a slight spell of brevity-itis (and I can probably stop saying that because most of these tunes do), I fully expect this one to do a major amount of damage at some point. It has a very heavy vibes to it which're kind of electric and, seemingly, have "HIT" written all over them.
'Tape Measure' is already in the process of creating a stir of a largely controversial nature (be careful on Google for that song. Things seen are difficult to unsee). You have an idea of what that song is about and you are correct. It isn't a favourite of mine here but apparently I may be in the minority on that, unsurprisingly. 'Big Big' shares a focal point with 'Tape Measure' (apparently Spice has a fetish of some sorts) (I'm not judging), but it is a slightly better track, with just a hair of old school Dancehall/Hip-Hop. Ranking even higher is 'Mi Hate Him'. You may also be able to guess what this Shane Hoosong licked set is about as Spice laments the fact that for some reason she just can't let tear away completely from a certain guy in her life (I'll give you one guess) ["Him slap it up in every position. Dick ah mek mi flip like mi a Jackie Chan"]. The undeniable changeup of "Emancipated" is 'Same Mouth'.... it just doesn't fit into what's going on here (literally eight songs about sex or sexual things and 'Same Mouth'). Here, Spice finds time from.... well, you know what she was doing, take a moment to warn us all against negative people who may not appear to be so initially ["The same mouth you feed at yuh table will do to you wah Cain do to Abel"]. It was almost jolting to hear it mixed in here as it comes right between 'Crop Top' and 'Pop Off' but, to its credit, 'Same Mouth' is probably one of the finest efforts on the whole of this release and, musically, it is exquisite for what it is - although it is completely out of place.
The real class on "Emancipated" comes in a pair of downright intoxicating pieces for me, the almost hilariously clever 'Bake A Man' and 'Nuff Man Name'. The former features Spice itemizing the perfect recipe for any potential suitor and doing so with an absolutely GOLDEN old school Dancehall. Her wants? You know exactly what she wants (see 'Big Big' and 'Tape Measure'), but the repetitiveness of it, does not make hearing it any less fun. 'Bake A Man' is delightful and the single best moment on this release. 'Nuff Man Name' is a song sorta/kinda about BEING FAITHFUL..... sexually faithful, of course. Again, 'Nuff Man Name' is a good time of a song. It may not (it won't) cure the world of its many, many ills, but it will make thousands of heads knock with a heavy riddim courtesy of JB and there is a value in that.
I could say the same of "Emancipated", as a whole. This is the [VERY] light version of "10", but if you stuck around long enough to enjoy that album, what you hear on this set will likely leave you quite pleased. Given its length, "Emancipated" does come off as a bit rushed (I was damn near shocked that it features no combinations) and I would say that it doesn't feature Spice at the zenith of her powers -- you will not find her BEST work here -- so I would likely only recommend it for either listeners who are hardened (probably not the best term to use here) fans of hers or someone who has never heard Dancehall music at all before; someone who isn't likely to be reading this, for example. For anyone in between, I'd direct you to "10". "Emancipated" is ultimately a fun, BRIEF, listen which shows, in glimpses, the destructive talents of the reigning Queen of Dancehall music, Spice. If you've paid no attention at all previously, it wouldn't be the worst possible time to jump on but I assure you what is to come will be spectacular.
How things have changed! It wasn't very long ago that, when it came to Reggae music, one of the single biggest awards in all of music, The Grammy's, had been relegated to only giving out their annual trophy in recognition of the genre's best album of a particular year to a very select group of individuals and even potential individuals. First was the group of legends, with Jimmy Cliff, Peter Tosh, Bunny Wailer, Burning Spear and the likes; then was a group of EXTREMELY popular contemporary artists such as Shaggy, Inner Circle, Shabba Ranks and later, Sean Paul, and then there was anyone named Marley... and that was it. On the one or two occasions when someone who did not fit into either of these categories did win within the first three decades of the existence of the award, you could even make the case that it still did as, in 2001, Beenie Man's popularity had, arguably, risen to the levels of the likes of Shabba Ranks (and he had been nominated in the previous two years), as had that of Buju Banton, a decade later when he took home the prize (and he'd been nominated four times before winning) (and I also think he was convicted of a crime and sentenced to US prison in the very next day or two if I recall correctly).
All of that clearly changed in 2015 when, Morgan Heritage shocked everyone by taking home the thirty-second Reggae Grammy award with their album, "Strictly Roots" [pictured]. That entire year was an odd one as the full nominees included the likes of Barrington Levy, Luciano and, jarringly, both Jah Cure and Rocky Dawuni. At the time, there was only a single nomination between them (Luciano, in 2002 for "A New Day") (Damian Marley's "Halfway Tree" won that year and deservedly so in my opinion)... and how cool is it that Rocky Dawuni was nominated for a Grammy! Since then, things have changed SLIGHTLY. US based bands have been honoured more consistently with both SOJA (more on them in a second) and Rebelution charting multiple Grammy nods, each, since 2015. Sweet singing Hawaiian, J Boog, has also had a pair of nominations, the Morgans have been back and we've seen a general push towards younger names who haven't necessarily had the global smashing success as Shabba and Sean Paul before them. Still, amongst the winners, things have returned to form for the most part, with a pair of Marleys, Ziggy in 2017 and Damian the following year, winning the Grammy (Ziggy would also be nominated in 2019 for "Rebellion Rises", as would "As I Am", from Julian Marley in 2020). In 2019 the award would go to "44/876", a collabourative effort between Shaggy and Pop legend, Sting, while last year Toots and The Maytals would win their second Grammy with "Got To Be Tough". But something strange happened in 2019 as well. I have no idea when this will be posted, but I am writing it on the twenty-fifth of March (currently it is 8:04PM, because I know you're wondering). Today is the same day on which one of the biggest Reggae albums of the year releases as the BLAZING Koffee has dealt to us "Gifted", her much anticipated debut full album (listening to it while I write this and writing its review will surely be the next thing I turn my attentions to). In 2020, her debut EP, "Rapture", would net the then ninteen year old Spanish Town native a Grammy, marking the very first time a female had won it (and only the fourth time one had been in the running by my quick search) (have two this year, a wonderful first) and although I typically don't like the idea of an EP winning album of the year, I have to give a big congratulations for the Grammy committee for that selection (the other projects up that year came via the 'usual suspects'), looking back. That was wonderful!
So, as we approach the 2022 Grammy Awards presentation, I though we'd take a quick look at the nominees for Best Reggae Album and make a (sure-to-be-incorrect) prediction (won't have to write one of these for next year, "Gifted" is winning, I assure you) (and Shenseea will also be up next year for her album "ALPHA") (as will, potentially, Beenie Man and, definitely, Sean Paul).
And the nominees are:
"Positive Vibration" by Gramps Morgan [Halo Entertainment Group]
The Morgans are represented once again this year, via Gramps with his third solo release, "Positive Vibration". I can remember listening to this album and thinking that something about it just didn't 'do it' for me (I think it's a little bit too... Country-ish for me), but I think he has a decent shot at winning the award in this, clearly, wide-open year. The heavily Country-ed aspect of his album may, in fact, endear him to voters even further and, of course, they're well familiar with his name.
"Pamoja" by Etana [Freemind Music]
Etana's "Pamoja" being on this list brought the biggest smile to my face as, not only is it the second time the golden voiced singer has received such an accolade ("Reggae Forever" was up three years ago), it's also the single BEST album on this list in my opinion. Her chances of actually winning may not be the "BEST", however (they aren't) but it is a lovely reward given not only how consistent she's been in general, but also for the AMAZING work Etana has managed to string together on albums, specifically.
"Beauty In The Silence" by SOJA [ATO Records]
Would I be surprised to see SOJA win a Grammy? No I would not. Though I put their chances second lowest on this list (which probably means they'll have the second most votes), if persistence is any indication, SOJA's "Beauty In The Silence" has an excellent chance as it marks the band's third run at a Grammy in the last eight awards. I've never gotten too much into their work (have to do something about that), but what I will say for SOJA is that every time I do run into their music, what I do hear is clear QUALITY and SKILL. It's also generally a very catchy and infectious brand of Reggae and "Beauty In The Silence" was definitely no deviation.
"Live And Livin" by Sean Paul [Dutty Rock Productions]
2004's Grammy winner and SIX time nominee (every album he's ever done save for his first, which was his best has been up for a Grammy) (biggup "Stage One", one of the best modern Dancehall albums of all time), Sean Paul, can always win this award and if I were a betting man (I'm not), I would say that amongst this group, on paper, he definitely has the highest odds for his "Live And Livin". Unless I'm forgetting something, I'd call "Live And Livin", SP's best work from "The Trinity" in 2005 (what a fun time "The Trinity" was) and with its followup, "Scorcha", already loaded and ready to go in May, you can well expect his name on this list next year as well (I'm just filling up that group for 2023 Grammy, Koffee, Shenseea, Beenie Man, Sean Paul.... Bounty Killer???) (remove Beenie or Bounty if we get an album from a Marley) (oh and I forgot about Burning Spear!).
"10" by Spice [VP Records]
Despite Spice's popularity and the fact that I was absolutely delighted to see her having been given a look here, I'll be pretty surprised should her looooooooooooong anticipated and delayed debut set, "10", managed to actually win. For as much fun as it undeniably was (and it was), "10" was dirty as hell. It was FILTHY. The album featured the gifted deejay at her animalistic and downright primal best. Such a set might not be the most likely to nab her a Grammy, but Spice probably did deliver the year's most FUN release.
"Royal" by Jesse Royal [Easy Star Records]
Lastly is a bit of a wildcard and a wonderful one as Jesse Royal definitely did the unlikely in grabbing a Grammy look for his "Royal" release. In retrospect. what I really enjoyed about this entry in particular is just how it seemed to grow and Grow and GROW! The attention "Royal" would receive would push it to be, arguably, one of the most talked about releases of the year in Reggae circles, but not very much beyond, which shows you that the Grammy committee, whoever they may be, definitely did their research.
AND THE WINNER IS.......
"Pamoja" by Etana [Freemind Music]
I'm giving whoever is in charge of voting on these things a big credit in this prediction because this year there is a very obvious choice in "Live And Livin". However, I'm going to assume that the people who do make these decisions have changed course in recent times and, if they have, what they will notice is that Etana's "Pamoja" is an EXCELLENT choice for winning this award. Also, in a year where we do have two women candidates, I think it's likely that one of them take home the prize and a previous nominee who dropped such a powerfully progressive and POSITIVE project definitely fits the bill.
Am I right [HELL NO!]? Find out when the 2022 Grammy Awards are announced on Sunday, the 3rd of April, 2022.
Burn off. Gimmicks don't last too long. In all things with even the remotest hint of competition, gimmicks and gadgets will eventually fade and away and we'll get a look under the proverbial hood (probably not the best choice of words today, but I'm leaving it in there). This is even the case in something as wholly conditional, wavering and just banwagon-ed as music. In an arena where tastes tend to shift on a seemingly hourly basis, ploys and flukes will be weeded away. Hell, even actual talent, if it is placed in the wrong 'package' (again, probably not the wisest choice of words this afternoon), isn't guaranteed to either stick around very long at all or, if it is, most certainly isn't sure to attain the level of stardom which it would seem to warrant (thinking about infinitely gifted artists like Madd Anju and Mega Banton). And this is where music seems to go in its own direction. It becomes far less comparable to another form of entertainment like sports, where if you can win, stardom is assured. In music, you can rack up the 'wins' and, one day, for no reason at all, people will just stop giving a shit about what you have to say. SO, when you find someone who can actually manage to grow themselves and develop into someone who the masses gravitate towards, and do this for YEARS, you have a particularly special case, whether you realize it or not. In Reggae, and in Dancehall specifically, this is especially true. For every case of Beenie, Bounty and Buju, there may be a few dozen which're either the absolute polar opposite --being someone who grabbed attention for one reason or another and then lost it almost immediately-- or just someone who, even if they did stick around following some type of hit (or something else which taught us all their names) never really managed to generate that type of flash ever again. And it's so interesting that I mention people like Bounty Killer (new album, "King Of Kingston", coming soon.... at least I hope it is) (any day now with that release date now Bounty), Beenie Man and Buju Banton (and you can put Kartel in there as well if you like), because we have those pillars for soooooo long in the genre, that I think we tend to underrate just how much they have had to grind and how difficult it has been for them to stick around. The previous class of Dancehall royalty did not actively reign as long as they did and the next one, whoever they may be, almost certainly will not either. And amongst all of those Dancehall Kings, there has always been a DANCEHALL QUEEN.
The most recent Empress, the legendary Ms. Marion Hall, was our greatest and most tenured of them all. Lady Saw was someone who, perfectly, illustrated my basis for this review. She absolutely did have a bit of a 'gimmick' or a 'specialty': She was known for her slack and dirty songs and she reveled in it for quite a while. She'd go harder and score hits and pull it back a little and score more. HOWEVER, you (fan who is interested enough in this topic to read this far into a review this long) know she would not have stuck around as long as she did were it not for the fact that, at her absolute best, Lady Saw was an extremely gifted deejay. She had a sense of melody (particularly on kind of slower Dancehall songs) which took a song and transformed it from being this incredibly dirty track into being something which, even if you took out the words and hummed it in her cadence, could be enjoyed. Furthermore, you ("fan who.....") have also likely heard a variety of different female artists take a similar approach to making music and receive not even a fraction of the results that Lady Saw achieved. Having reigned for as long as she did, our queen would abdicate the throne, opting for a musical pursuit of her faith and in doing so she created a vacancy which urgently needed to be filled: There simply has to be a Queen of Dancehall Music.
Enter Ms. Grace Hamilton (hmm, I should probably find a better way to say that as well). I like to think that I have somewhat of a unique perspective when it comes to Spice, the same as I did with Lady Saw, Vybz Kartel and others who tend to make headlines for reasons outside of the studio as much as for reasons inside of it. I'm a music fan. I'm somewhat oblivious and I live in a bubble and I am comfortable saying that I don't pay much attention to many things (I cannot tell you how many things I've learned in doing research for reviews that have absolutely shocked me and turned out to be common-knowledge). Therefore, when it comes to things which are not either directly or indirectly related to music, I'm not the one to look to most times. I don't have a clue what's going on and I'm proud of it. But I think over the time I've accrued the ability to know a good song or two when I hear it. And in her case, specifically, I've been listening to Spice songs for at least twenty years. On one of the earliest (and defnitely most noteworthy) of occasions that I recall linking up the name with the artist would have been during a very public (but ultimately friendly) spat and musical back and forth she had with Elephant Man. That would apex, in her case, with a nineteen year old Spice.... incinerating Sting 2001 stage (literally, twenty years ago) with a rendition of 'Robbery', a tune aimed at Ele, who had been a victim of theft around the time ["Him seh 'shankle my nankle', man seh gimme di chain pon ankle!"] ["Elephant fraid fi fly through dem rob him. Nah go a England again, dem ahgo mob him. Seventeen thousand pounds dem rob him. Lucky dem neva bag him and tag him"]. Even then, way back then, I heard something and I am not AT ALL surprised what became of young Lady Spice. Why exactly? Well, while I certainly couldn't predict her becoming the star she has outside of the realm of music (and, 'when it is all said and done', Spice may be the most well known female the Dancehall has ever produced) (shit, she may already be there), what I heard was TALENT. I heard an undeniable skill which would have, very comfortably placed her in ahead of most of her peers, regardless of gender. Subsequently, as Spice's persona would grow to match her sizable gifts (and there's another one I might regret writing like that) (maybe i should do some editing) (I don't feel like it), she has become a genuine and bona fide superstar in the music. But something was missing. Unless she had attended Aidonia's School of 'I'm Never Making an Official Album and You Can't Make Me', it would have been nice to have come across a definitive release from the artist who turned out to be the heir apparent to Lady Saw's queendom. And though it has taken a decade of twists and turns, the most fitting nommed "10" is here and it was not easy.
"So Mi Like It" EP [2014]
I'm old enough to remember (so are you most likely) the days of VP Records and Greensleeves Records kind of having a competition (I miss those days) when it came to artists and albums. While there was some go-between (namely Sizzla Kalonji, who would release yearly sets on both labels for several years) (and, in retrospect, that may've been the most glaring source of competition, wondering each year which label would produce the finer Sizzla release), the two labels seemed to have a different approach. VP carried big names, almost exclusively. Beenie Man, Lady Saw, Beres Hammond, Sanchez and the likes (Sean Paul would have been another at the time) were all official VP acts at one point or another. For their part, however, Greensleeves was a bit more ambitious and would, seemingly, keep an eye on who was coming up. Because of that, much of the early work from the likes of Vybz Kartel (who has never released a studio project via VP Records), the aforementioned Ele, Red Rat, Busy Signal and even super producer Don Corleon, could be found in the sizable vault of Greensleeves Records (if I recall correctly, they had even done a deal with the once IMMENSLEY popular Predator, but such a project never materialized). I'm thinking of which group Spice would have fallen into had VP not put an end to that question by swooping in and purchasing their closest competitor back in 2008. NOW, ridiculously, that deal would close just a single year prior to VP closing the deal which just now has finally bore fruits as they signed a twenty-sevenish year old Spice to an album deal. At that time, she would have been riding high on the success of 'Ramping Shop', that infamous combination with Kartel, and it would seem like a good idea for both parties. So it would have taken a Nostradamus-like level of prognostication at the time to know that the deal's very first album would not actually arrive until Spice's thirty-ninth birthday! DAMN! Following years and years of.... a bunch of shit that I don't know very well and even if I did I probably wouldn't feel like talking about (but it would include the artist once mentioning that signing the deal was "the worst mistake I've ever made in my life" and making a tune (and, subsequently, an entire mixtape named after it) called 'Captured' which, allegedly detailed the arduous relationship she had with the label. 'Captured' was a ballad sang with all the emotion of someone suffering from a MASSIVELY broken heart or in the full mourning of the death of a loved one) (and I should also mention that back in late 2014, which was five years after initially signing with the label, VP would release "So Mi Like It", an EP from Spice which seemed to signal a forthcoming album, but here we are, more than six and a half years later), Spice and VP have kissed and made up and we are all better off because of it. Let's talk about it.
I've come to the conclusion that I will spend my older years annoying the hell out of young people saying "this shit isn't Dancehall" any time I hear something which is given the title despite clearly being something largely infused by Hip-Hop. And although she generally comes through in many styles, I have to say that Spice belongs to a very small but DELECTABLE group of artists who, seemingly, make a point of either exclusively making genuine Dancehall music or consistently doing so. This unfortunately teeny, tiny little lot includes the likes of Agent Sasco, Busy Signal, Beenie Man, Spragga Benz, Baby Cham and, most notably, Bounty Killer. So, throughout the years, I have been sure to keep an ear to her work and, when she goes that route, I have rarely been disappointed, if ever (this is her first album, but she's already stocked enough hits to have a Dancehall Greatest Hits compilation released, 'Jim Screechie', 'Robbery', 'Swear' (loved that song), 'Back Broad' (probably my favourite that she's ever done), some older personal favourites of mine). And I'm sure such a set will arrive some day (it may take a century, but it'll get here) (You and I will not be here, however) (someone else can write that review) (I'll be sleeping), but today we're taking a look and listen to what is easily one of the most anticipated albums in the history of Dancehall music, "10" by Spice. Taking an executive producer's credit is Reggae superstar, Shaggy through his Ranch Entertainment imprint, and he helms what ultimately proves to be a very FUN set. Getting us up and going is the autobiographical 'S.P.I.C.E.'. If you don't know who Spice is, here, she lays it all out for you. This song not only covers her history but it also so nicely demonstrates her style. If you take one part Lady Saw (as we'll see on the next track), maybe a little Tanya Stephens (Tanya Stephens is a lyrical genius if you didn't know) (a genius) and a fire which if of her own creation, you'd have something very Spice-like and it exudes all over this one. There're several moments on 'S.P.I.C.E.' which made me smile big like:
"Da album yah due from 2009
So VP caan vex if mi talk mi mind
MI WOULDA REACH FURTHER IF DEM DID DROP IT PON TIME
Couple more album from di time m sign
Nah watch no face, still I push and go through
Badda dan nuff woman and nuff man too"
She's right. She just is. So much flames does she generate that the riddim full on TAPS OUT and we move on to the next song. If you don't know what 'Send It Up' is about from just the title, Spice quickly lets you know with her very first words, "Nothing to me like a good dick" (you may, if you're like me and old as hell, remember Saw having a HILARIOUS burner called 'Life Without Dick'). Songs like this get overlooked, in my opinion, because people respond to them because of the subject and the direction but if you REALLY listen to 'Send It Up', it SHINES. There is wordplay brilliance here ["Dem yah kinda fuck in yah a summin weh yuh need. Pussy grip tighter when mi unda mi weed. WATCH HOW YUH AH FUCK MI, TEK YAH HAND OUTTA MI WEAVE"], but if you like 'Send It Up', you might not get into the details. It's a fun vibes and just an interesting spin through but, there is a giant in there (again, I should probably think about rewriting that) which, reportedly, is the next single coming from "10", so you can imagine an either awkward or incredibly smart edited version forthcoming. The piece taking the lion's share of early attention prior to the album's release is the huge combination and single, 'Go Down Deh' which features the aforementioned Shaggy and Sean Paul. From the initial few times I heard 'Go Down Deh', I didn't love it. I realized what it was and the impact of it (a project like this simply needs a track which jumps out on paper and you bring these three together and that is precisely what it does), it became an international hit, unsurprisingly and it has grown on me quite a bit. But you expect this from such an esteemed and talented trio - you put them together, they couldn't NOT produce a hit, even if they tried. Next up is the most familiar offering and probably the oldest as well, the Notnice guided 'So Mi Like It'. In all 'measurable' ideas, this is my favourite song on the whole of "10" and it's one of the finest of Spice's entire career. Now seven or eight years old, I'm not at all surprised VP (or whoever did) chose to include it, it is absolutely sensational and a most fitting introduction to Spice. And wrapping up our first spot of selections on the album is another one whose title says virtually everything you need to know about its course, as Spice gives her take on the question if 'Size Matters'. Take a guess. Which side do you think she falls on?
"Fat piece of pussy from the island
Just a print inna mi nylon
Tump up mi pussy like a Tyson
Mek mi speak like so mi deh ya Saigon
Waan fuck yuh wid di lights on
Gimme summn fi mi ride pon
Mek mi flow like a hydrant
Waan summn big like a python"
It's yet another song that might get overlooked in a skilled aspect in favour of just looking at its direction, but you do so at your or own mistake. For as dirty as it is (and it most certainly is) there is a certain, undeniable level of skill to be found on 'Size Matters'.
The song which begins the second third of bites on "10", 'Po-Po', is equally one of its most impressive and surprising. Featuring Spice's teenage son, Nicho, this is a BRIGHT and LARGE vibed social commentary which, I'm sure is very special to Mama Spice as her offspring shows himself to be quite talented, actually, in his contributions.
"Dem no do equality
Dem si wi as a quantity
Dem kill from city to city
Bun all police brutality
And after such a history, dem still have di audacity-
Fi treat wi wid hostility
Dem no protect community"
"Black man hold yuh sanity
Keep a strong mentality
A full time wi get clarity
Crush dem wid solidarity
Wi no have security wid no assurity
Wi need change rapidly
Too much police conspiracy"
I don't know exactly how much of Nicho's portion was written by himself (although he does take a writing credit, so at least some of it, but his delivery is very strong, particularly of someone his age and, it's early still, but I think I would be somewhat shocked if we didn't hear from him again, musically, at some point. That kid has a bright future should he choose to pursue it, in my opinion. And I should also mention that 'Po-Po' is very catchy. It has this kind of marching vibes to it and good luck in getting its chorus out of your head. 'Don't Care' may be destined to go overlooked on "10" but that would be due to no fault of its own, it is golden to my ears and a BEAUTIFUL chunk of Reggae that I would have loved know was present here before listening through. You've mistreated Spice and she's finally tired of you and your shit so it's time for you to hit the road because she's tired of your apologies ["Waan forgiveness, go ask God. No bring dat to Grace. From you cheat one time, no come back inna mi place"]. But before you go, she has a big tune for you. And once your gone, you're likely to find yourself with Spice 'On Your Mind'. Veteran and (I think) good friend of Shaggy's, Olaf Blackwood, joins Spice on the cool R&B licked piece. What really comes through here, for me at least, is how strong Spice's personality comes through. The vibe here is more chilled and laid back, but the deejay is at her rawest and most direct in its midst ["....to tell you the truth, mi woulda love to. Yuh kinda cute. Mi woulda fuck you"]. Blackwood (who sounds a bit like Serani) accompanies her excellently on a offering which is probably better than I would have thought it would be. Maybe Spice would forgive me for thinking that 'Top' would be a track outlining her... positional preferences, instead it's more of an inspirational piece which comes courtesy of the great Tony Kelly. Typically, with one so up-tempo and aggressive, I wouldn't say such a thing, but I will say that 'Top' has a way of growing on you. You don't label this one, good or bad, after one or two spins. It will change. If you're like me, where you'll arrive is at a place which fully appreciates it. And check the piece which follows it, fittingly, 'Love Her'. This one is OUTSTANDING. At its core, 'Love Her' is about empowering women and the way that Spice approaches it is so interesting because she places herself in the position of an admirer/fan, with the irony being that you know there're many people saying the same things about her. She's had tunes - 'Like A Man', the aforementioned 'Captured' and others which just come off as SMART writes and this one, while far more straight forward, is nearing that level and, rather easily, one of the best "10" has to offer.
(note: This review will probably end up being super long, but I'm having a really good time writing it) (let's continue) 'Frenz' was the very first single from "10" and I would think that it was chosen to display a bit of diversity from the then forthcoming release, just in case we all had an idea that "10" would turn out to be some kind of an ultra-aggressive, hammering set. It also would help in making the choice that 'Frenz' is produced by Stephen 'Di Genius' McGregor (didn't he turn out to be amazing) and Dwayne 'Supa Dups' Chin-Quee which makes it a potential gem on paper and easily digestible by the masses. The song doesn't sound, however, how you might suspect and you could actually call it 'somber' at times. It's about minding the company that you keep and the ones who pass by in life ["Mind who you lime round, spend time round. They could be the same one that putting you down"] (biggup Ickarus) ( I GUARANTEE you this will be the only Spice review that you read that references a fifteen year old Ickarus song!) (WHAT!). It also shows off Spice's vocals. She can sing a bit, when she's inspired to and, of course, what she says is very important. Melissa Musique, another friend of Shaggy's joins on the penultimate combination of "10" and one I was really looking forward to hearing, 'Different Shit'. It follows the song before, in terms of direction, quite nicely because after warning you to be sure not to keep in bad company on 'Frenz', Spice then tells you WHY - because you got shit to do! You've heard songs like this previously, but the tone of 'Different Shit' is.... well, it's different. It isn't like she's trying to kick you in the ass to motivate you, instead, Spice and Musique are sitting down and explaining things to you properly, like an adult.
"I speak truth like bible
Don't have time to idle
Some gal life waan recycle
Mi dreams and mi thoughts dem high like di Eiffel
Right now mi deh pon a different level
Nah sekkle fi a likkle
Fight fi find a likkle
My money fi ah triple
Nah have no time fi giggle
Focused pon di goal like when balla dribble"
And now that you have your affairs in order, it's time to hit the gym and get that ass in shape on 'FIT'. This tune is madness, just in case you thought you'd let you out of the door without just a bit more spicy vibes (and you didn't pay attention to the title of the last two songs). As I've said before, you can listen to this one and appreciate it from just a sonic point of view, but if you listen to what she says, you get another level of appreciation for 'FIT'. The song is helmed by the same Shane Hoosong who takes a tremendous credit for "10", producing at least seven of its fifteen servings. Bossman Shaggy makes an encore appearance on the strong 'Bad Girl' which finds Tony Kelly back on the board. The song is a definite highlight on "10" to my ears and I suspect it will be given some time in the spotlight at some point - it deserves it (you check Spice's first verse on this track) (BOOM!). And lastly is 'Nitey' where Spice recovers the album's most familiar grounds, but this time with a smoother and more laidback approach. You take out the urgency, that kind of animalistic path (not that there's any wrong with that) and you get a much different vibes and, despite its subject being well trodden throughout, 'Nitey' is a welcomed breath of fresh air and a pretty nice choice of a closer in my opinion.
So what's wrong with "10"? Surely it cannot be perfect. It isn't. I only have one real critique, looking back at this release and it is very simple. There're fifteen songs on this album. It's playing time is forty-one minutes (technically its 40:59, but who's counting?) (well, I guess that means that I am) (shit, this entire sentence means that I'm counting, doesn't it???). I mean.... we did wait over a decade you know.... they could have packed it up a little bit. Only two of its tracks, 'Frenz' (which is only a second over) and 'Bad Girl', clock in at over three minutes and two of them, 'FIT' and 'Different Shit' are less than fifteen seconds more than two minutes (and 'Different Shit' is a combination you remember - so that's two people on the album's shortest song). I wish it was a little longer (yet another strange sentence).
Overall, on paper "10" will be one of the biggest albums of 2021, without question. It's been out less than a week as of this writing and it probably has already done enough business to qualify (on the exact same day, which was her birthday and Jamaican Independence Day, Spice releases an album, so does Sizzla Kalonji and Vybz Kartel). That wasn't in question. We knew that before it reached: Spice's debut will be HUGE. Just as certain was its quality. We didn't know exactly how strong it would be, but we knew it would be fantastic and it is. Personally, I am SO DAMN happy that "10" has finally materialized, it's probably TEN too late and a lot of people have dropped dead waiting on it, but You and I are still here, so there you go (we all better hope that her next album isn't called "20") (that would be fucked up!). Having worked so hard throughout her entire career and, finally, having made it to this point, Spice is at her destructive best throughout "10" and even further solidifies her place as Dancehall's reigning Queen. Outstanding.
When it comes to albums, 2015 will have some serious work to do if it is at all to serve as a proper chaser to the monster that has been 2014. Along with the overall quality of the releases we have seen, we also have had a downright staggering range of variety and levels of names as well. In simple terms: In any given year where we can get three albums from Sizzla Kalonji, at least three from Midnite and a major release from Bunji Garlin (…and two from Pressure Busspipe) (…and an Etana album) (…and one from Tarrus Riley) (…and Bugle's debut album) (…and I-Octane returned too) (…and I think there was someone named Sara Lugo!) there exists the high potential for something very special which is EXACTLY what we saw this year and are still seeing. So, although it will be a massive act to follow, we still look ahead to what next year will bring and, obviously, we have a few ideas as to what might make it another tremendously impressive run. Thus, we submit for your approval (or disapproval - I don't care) ten people who we'd really like to hear from next year. Most Wanted: 2015
{Note: Intentionally excluded were everyone from last year's list and anyone already scheduled or 'tentatively' scheduled to have albums}
Though she appears at #10 on this list, if ALL of these albums were actually to arrive in 2015 (and they all won't, 2-3 of them will), I wouldn't at all be surprised if Reemah's was of the highest quality. She actually appears here more as a precaution as I'm still finding new and interesting things about her MAMMOTH debut, 2012's "Check Your Words" to enjoy, so I have not begun to experience a Reemah- withdrawal. HOWEVER, if you look at some her peers - female artists from out of the VI - the track-record of inactivity is distressing. Names such as Dezarie, Mada Nile, Nubian Natty, Lady Passion and so many others, while they may remain active performing, do not seem to release very much in the way of new music consistently and I would HATE such a fate to await Reemah. 2015 might not be the year for a new album (though it may) but, in any case, I'm hoping that she is more present and continues to display what may just be, already, one of the sharpest pens in all of Reggae music.
#9. Ras Attitude
King me! Because their work has been so damn impressive, it is beginning to become one of my most anticipated occurrences in Reggae music to see just who, exactly, the Zion I Kings collective might turn their attention to next and, as always I have a favourite of who I'd like to see that be (along with Jahdan Blakkamoore, NiyoRah, of course Lutan Fyah and a female artist). This time I'm going with Ras Attitude with good reason. Though it hasn't been a very long time from last we heard from the ridiculously gifted Cruzan chanter - it does kind of seem like it has. His last album was 2012's solid "Hold The Vibes" which, predictably, has vanished (because… no one really knew it existed) and it seems like a perfect time for a next BIG project to emerge from Attitude. In 2014, I Grade Records (the "I" in Zion I Kings) fulfilled what seemed to be a most obvious link in the making when they released the DEVASTATING "The Sound" from Pressure Busspipe another one would surely be the first full Ras Attitude/IGR project. I'm almost certain that it will happen at some point but damn it would look SO nice in 2015!
#8. Skinny Fabulous
If there were any chance -- any at all -- that Skinny Fabulous might release an album next year (or the one after that or the one after that or the one after that) he would surely be considerably higher on a list like this, much like who is likely to be the next entrant here. But we all know that the chances of him doing that are virtually non-existent. And that's too bad for a project which was rumoured (if I recall correctly) (and I never do) way back as early as 2009-10. Since then, Skinny's star has not only gotten brighter but, in my opinion, so have his skills and today the Vincy star exists as one of the most talented and CONSISTENT figures in all of Soca music. He scored mightily in 2014 with 'Behaving The Worst [BTW]' which was a little different from his previous destructive hits (so is 'Like No Tomorrow', check it out), but regardless of the style, he does that every year. You would assume that EVENTUALLY he would release an album and, should he wait just a few more years, you may end up with a project brimming with Soca Monarch and Road March winning tunes. Until then (and even after then), Skinny Fabulous remains someone who you cannot afford to NOT pay attention to.
#7. Lady Sweety
I know what you're thinking and you're right to think it. In regards to the amount of music that she does, I probably pay too much attention to Lady Sweety and you're probably right but, like I said, I don't care! To my opinion, Sweety's voice is the feminine side to blindingly talented stars such as Tiwony and Admiral T and Saïk, to whom she is every bit as talented. And, year after year, despite the fact that she named her next album, years ago, and released a single for it, we're still waiting and we'll keep waiting if we have to (and we will). It is worth mentioning, however, that the Gwada ace did give us a taste earlier this year when she did a big tune, the heavy 'Parle Moi' (which might be a good picture to go here for her) (biggup Bredz). No, it's not an album and, yes, it was back in April or so but as a STARVING fan of Lady Sweety's it's been significantly more than we've usually gotten for the last few years.
#6. Patrice Roberts
If you haven't been paying attention (shame on you), long-time Achis Reggae favourite, Trini Soca highlight Patrice Roberts has gotten REALLY good over the last few years and the ever-present eventuality of a new album from her (which would be her third to date) is something I also very much look forward to every year. Currently riding high with 'Soca Wedding' alongside Zan, Roberts has, perhaps quietly, become someone making some of the best music in the genre and this is past the days where she was boosted every year by virtue of having a guaranteed hit with Machel Montano. She's certainly had help, but she's done it largely on her own as her abilities have progressed. And this is also worth mentioning because we have eyes, but Patrice Roberts has put on a little VERY FITTING weight and, these days, she looks incredible… almost as good as she sounds and hearing it on another full album, stocked with GIANT songs, would be a joy!
#5. Damian Marley
A few years ago, Damian Marley's name topped an edition of this list and, again, he's another person who would be higher here if I thought the likelihood of an album manifesting was higher - but I do not. 2015 will make it a DECADE from Mr. Marley's most recent solo album, "Welcome To Jamrock", which is an astonishing fact! Still, the youngest Marley brother remains, arguably, the most popular living Reggae artist and a new Reggae album from him would be so nice for so many reasons. Will it happen in 2015??? Probably not but I'm usually wrong and I hope I am here.
#4. Fay-Ann Lyons
Though I am slightly more sure about #2 on this list, I am rather confident that, at some point during the twelve months of 2015, we will FINALLY have a new album from long time Soca superstar Fay-Ann Lyons. Earlier in 2014 the newly branded 'Azu Sefu', followed her husband, Bunji Garlin, in signing with VP Records and, as the label figures to continue to focus on Soca music in the new year, Lyons' name should be a pillar within that push. Also, I recently read that in the works was not only ONE album but a pair which would feature the Silver Surfer within both Soca and Pop platforms. She can do either without a problem but a Soca album from, easily, one of the genre's most successful and vivid practitioners EVER should be golden! I think we'll get it in 2015 and I cannot wait! BOOM!
#3. Busy Signal
In 2012, Dancehall ace, Busy Signal, released an album which would prove not only to be his greatest to date, but also the greatest from anyone in the genre during what was a sensational year. "Reggae Music Again" was somewhat unexpected in its style but not in its quality and even the fact that it was unexpected wasn't unexpected. Busy Signal has become one of the most unpredictable figures in the entire history of Dancehall music - you just never know what he is going to from track to track and, on a next album, I have no idea what would come. I would like to find out in 2015, however, and when looking around for big names who might be up to the task next year, surely Busy would make perfect sense. Coming off of what was a very impressive year, musically, from the DJ - another giant album would seem to reaching at a very appropriate time and should he reach the levels of his previous release (or somehow manage to outdo himself)… it would be the latest in a career full of surprises. Expectations be damned!
#2. Spice
I love Busy Signal. I love Agent Sasco. I'm very fond of the music of a few other people (okay maybe not "a few", but one or two) but I have to admit that, in my opinion, NO ONE is making better Dancehall music than Spice is these days and I think that one of the greatest gifts that 2015 WILL give us is an album which will may just be one of the greatest Dancehall sets from a female that we have EVER heard. Spice has that type of potential and she has now displayed it for years. Along with her qualities, if it is possible (and obviously it is) her profile has seemingly raised throughout the years as well, including in 2014 and such a release may even attract the always coveted 'mainstream attention' (if they're smart it will). She has scored hits and hits and hits and has done so in a variety of different ways all, however, steered by a level of determination and SKILL which provides her with very little in the way of actual peers in Dancehall music. Recently (yesterday) VP Records released "So Mi Like It", Spice's debut EP and they don't tend to do such things (on VP RECORDS, NOT VPAL) without a bigger plan ahead. THAT should be a full album which we should be able to count on receiving in 2015. FINALLY!
#1. Kabaka Pyramid
Read a couple chapters. Kabaka Pyramid beat the great Chronixx to it in releasing an expanded EP and… not actually calling it an album when, last year, he dealt "Lead The Way" which was ten tracks in length (and had a deluxe edition stretching it to 13). In 2015, what I am most looking forward to, that has a chance of happening, is for the shedding of the "EP" tag and a full-fledged album from one of the most remarkable new talents Reggae has produced in a VERY long time. If you read my work to any degree, you know just how much I respect the power of the spoken word and individuals who are capable of demonstrating that talent to music have my undying attention. Kabaka Pyramid is now one of those people and I FULLY place him in current categories alongside names such as Sizzla Kalonji, Lutan Fyah, Midnite, Jah9 and others (her name is Reemah!) who you HAVE to focus on EVERY word. And I'm not the only one, fortunately. Kabaka Pyramid's profile has also been on the rise and I think that, at some point during the next twelve months (thirteen, technically), demand will meet opportunity and Kabaka Pyramid will make a giant play for album of the year when he releases his 'official' debut set.
