Completely Random Thoughts 37: Yeah . . . Uhmm

There will be very little of that today

No! This is not my last post for a month and we will, presumably, be back with you until Tuesday or Wednesday (depending on when I feel like writing this next review) (which I'll tell you about a little later). Today, however, I thought that we'd randomize things again, because I have a bit of . . . Ultimately useless bullshit on my mind.

First of all we biggup Ricky T who would subsequently go on to take the Road in St. Lucia as well, after capturing Soca Monarch last weekend, with his (obviously bigger than I gave it credit for) tune, 'Mad Ting'. Still, at least for me, the highlight of St. Lucia Carnival Season 2011 came in the form of Sir Lancelot's completely ridiculous 'Soca Riot' and definitely biggup THE MAN for finding a link for it on (FINALLY) and taking care of that (HOPEFULLY he did that too) - "It" of course is the performance of the song at the same Soca Monarch competition.

'Soca Riot' by Sir Lancelot @ St. Lucia Soca Monarch 2011

For me, this is a special performance! The thing about the tune is to combine water and powder and you get an audience doing that (some of whom are participating despite not being anywhere near the damn stage) - Throwing powder on everyone (even kids!) and you've done something special. As I said, however, Ricky T need not have a GREAT (or the best) tune to take Soca Monarch and apparently that's true for the Road this year, also. I can't imagine Lancelot will take the riot to a qualifying stage in Trinidad in 2012, but CAN YOU IMAGINE if he did and it actually got a reaction??? That would be an insanity to not be missed.

Next - Some stuff I’ve been watching lately.

"Wilderness"

First is this film, "Wilderness", which is a few years old now, but still for one reason. As you can see, the tag line is "There Is Something More Evil Than Evil Itself" - which means that the movie is awful - And it is. It's terrible. HOWEVER! It does feature Achis Reggae favourite Lenora Crichlow - pre "Being Human". She looks fantastic throughout the bullshit and at the end of the movie (unlike just about everyone else), she's still alive.

I like when they caption themselves

Speaking of "Being Human"! While I'm still waiting (and will continue to wait for the rest of the year (which isn't a very long time)) for the next season of that program, I do not have to wait at all to go through a very cool gift given to us by Bredz [aka "THE MAN"] from a few of weeks back - "True Blood". He gave us three seasons of this thing and I think I've watched almost the whole of the first two in about three days. It is WONDERFUL! It's a comedy, I guess, but there're werewolves and vampires (like "Being Human") (I've yet to find any ghosts, however) and other stuff and it's pretty brutal also. But it's hilarious and it is now apparently into it's fourth season now, which hopefully I can catch up with pretty soon, because what I've seen thus far is fantastic. So check it out if you have nothing better to do (and clearly you do not if you're reading all of this rubbish).

"Siddartha"

Also, I FINALLY got a copy of the greatest movie I ever saw in school (and there were probably dozens) (I was in school for several hundreds of years). "Siddhartha". It's a lovely film and a classic!

I think that's it! I did want to do some music stuff, but I think I'm going to do some of that tomorrow, when I tell you "What I’m Listening To".

"7 Year Itch" by Protoje

Oh! Biggup Sara Lugo, who we talked to a few times this week. Definitely check her new single 'Locked Away' and, of course, her wonderful album, "What About Love". Apparently she passed our name onto to someone else also because Protoje also, surprisingly, linked us, and said that our review of his debut album, "7 Year Itch" was the most "in-depth" that he'd seen to date. It seems like several billions of years ago that I wrote that thing, but biggup Protoje for the nice words and definitely check out that album.

And, again, biggup the Japanese Women for taking the 2011 World Cup. I've now seen quite a few of their games and they were outstanding.

Here’s our most tentative schedule for the next few days:
Tomorrow - “What I’m Listening To” [We will continue doing "Big Tunes" when we return from the break]
Monday - Fun with Ce’Cile
Tuesday - More fun with Ce’Cile [album review]
Wednesday - STUFF!

'A Perfect Balance?': A Review of "Back For The First Time" by Perfect

Sometimes there's nothing like a spark to really get you going. If you stick around long enough in Reggae music, or perhaps any musical genre, someone, probably like me, will eventually come to use terms such as 'rebirth' or 'second stage' in regards to your career, hopefully. What this means, inherently, is that you've displayed and at least temporarily maintained some discernible level of advancement in one way or another. Be it your actual abilities or your popularity or maybe even a change of scenery or with whom you record (or a large combination of all of these things) - Your career is not what it was when you first arrived - you're much better off in this next stage. In Reggae music, however, because 'things' (meaning the Reggae media) can be so hapless I don’t think that these things are often examined enough beyond an initial, and generally somewhat clichéd mention, where you start to hear almost painfully awful bullshit such as, ' ______ is taking things to the next level', with no explanation. The result of that, in my opinion, is a very fine group of performers who can become somewhat marginalized and maybe even forgotten in some cases, but not all of the time - Sometimes people get their credit due. For example, if one listens to Reggae "one" (would need a new name first of all) would be a damn fool not to notice the incredible metamorphosis which has taken place in the musical life of someone like Busy Signal. To go from the days of 'Step Out' and 'Badman Place' to . . . SINGING Beres Hammond songs, Gregory Isaacs songs and PHIL COLLINS songs is EASILY one of the most remarkable turnarounds in Reggae music history and at the same time, he sharpened his skills and is just as easily one of the Dancehall's most talented DJ's when he is so inclined to show it. We could also look at shifts in people like Vybz Kartel or Chuck Fenda, going back, and a long line of the other former bad boys, turned Rasta, but instead who we’re going to shine a light on today is someone who has made that gradual greatest 'shift' that one could hope to make in almost any aspect of life, music definitely being no exception. He’s just gotten better.

In terms of an actual style, after really learning exactly who Perfect was as an artist, he really hasn't changed too much. It may not have been crystal clear immediately when 'Handcart Boy' bust, but surely you wouldn't have gotten too far past it - 'No Badda Mi' - when you figured out that he wasn't very normal at all and he operated on a very different plain than that of many of his peers and he absolutely loved it and he was good at it. Now, he's much better. The very strange chanter from out of St. Ann (!) has seemingly developed his very colourful game even more and, these days, figures to be, once again, at the height of his powers.

'Hold On Buju' single

Why do I say that? Has Perfect been on some ridiculously successful streak of great single releases or something like that? No. The main source of my confidence in stating that he has gained a measure of significant advancement (and I'll explain what I mean, in great detail, shortly) is what is to be found on Perfect’s new album, "Back For The First Time". The album comes courtesy of what I believe is the greatest US based Reggae label around today, the venerable Lustre Kings Productions who, besides being one of my own personal favourites for years now, have also released albums for an eclectic group including Norris Man, Al Pancho, Lutan Fyah, Turbulence, and others so, in theory and on paper, them taking an even more eclectic step in Perfect's direction doesn't appear to be much a stretch. HOWEVER, for some (dumb) reason I had convinced myself that it might not work. LKP is, usually, pretty straight forward with their brand of Roots music and if they gave that type of treatment to Perfect, rather than a more varied approach such as Jahdan Blakkamoore from last year on the triumphant "Babylon Nightmare", I was convinced that the results would be comprised of one pretty awkward release. I was wrong (as hell). And I was also wrong when, on my initial spin of the album, I'd made up my mind that I didn't like it too much and wasn't very passionate about it at all for all of a day or so. That changed when I really tuned it in for the sake of a review to come later (today) and listening even through the first batch of tunes I found something which doesn't exist when Perfect is rhyming. The typically ultra sporadic and off-beat flaming style hadn't changed too much, but somewhere in there he created subtleties. It wasn’t a 'take it or leave it' blend of music, it was something which, wonderfully, would require a greater attention to detail and for someone like Perfect, if you can tone him down and bring out some inconsistent type of consistency, but, at the same time, not make it so that it feels as if it is forced (and make it feel as though he's doing it because that's just what he's decided to do) - You're really going to have something potentially very special on your hands. That's what happens here and impressively it happens at no cost at all to Perfect's 'special' approach, which means that, like all of his work, it has a sound which is uniquely his own. On top of that, from a non-musical point of view, it also appears that Perfect's popularity has grown. When we were gone we came back to messages of more than a couple of fans asking me if I'd gotten this album yet and in the literature that I've seen on it, already, people have proclaimed it one of the year's finest projects. That’s WONDERFUL - There being a very nice buzz around this one which is of a type that I don’t recall being there from his debut set, "Giddimani". As is always the case, the question is whether or not it can live up to the expectations. Of course it can, "Back For The First Time" is nearly exceptional. Let’s have a listen.

'Hold On Buju'

When you do end up toning Perfect down just a bit, it definitely allows for the musical 'apparition' that he has suddenly become a better lyricist. I'd argue that he's always been underrated in the art of songwriting, but when you don't have as much of the pyrotechnics that he usually brings forth, it allows the listener focus on what is being said. You'll want to pay careful attention to exactly what is being discussed by Perfect on the BIG sufferer's anthem 'Eye Wata', the opening and eye-opening tune to his (I THINK) fifth studio album, "Back For The First Time" from Lustre Kings Productions. You can go ahead and make fun of me because I'm going to be honest and tell you that I didn't like this song the very first time that I heard it and I have no idea why - It is a LOVELY tune in every single way. This song, in particular, would be emblematic of the type of 'compromise' which you would hope that could be reached - because while it isn't the full blown fiery version of Perfect, it is a song which hasn't lost any of its bite, but at the same time is very lyrical in, again, a very subtle manner. Next we have the first single from the album and a tune which has taken a minute to grow on me, but it now ranks, in my opinion, as one of the finest tracks here, 'Hold On Buju'. Obviously this is a song in tribute to the recently incarcerated Reggae legend, Buju Banton and while so many of these songs have rained down in the past year or so, I don't know if I've EVER like one as much as this one (and, I generally don't like that kind of 'current event' song either, from just about anyone).

“Come forth torpedo -
Release another Black hero
Cause it’s unfair for babylon to take away the true Reggae icon from the people
Ooh what a Giddimani!
Natural disaster, versus the army
And mi si lightening, brimstone, earthquake lava, tsunami!”

“One thunderball can free my general!
Hold on Buju!”

Certainly Buju's isn't a situation which is likely to fade away any time soon, but with tracks like this steaming, one would imagine to be 'faced' with it in a much more pronounced manner. Wrapping up the opening brew of tunes for "Back For The First Time" is another song which took a minute or two of 'conditioning' on my tastes, 'See When U Get There'. It is derivative of a song of the same name and, like that tune, it is very basic, but infectious. Even when I wasn't too high on the track, I found myself swaying and singing along with the chorus, almost as if it were REQUIRED of me for listening to the album. Really tuning into the track, later on, reveals it as just one which makes the listener FEEL GOOD and such a song will always be welcomed on my players and probably yours too. On that same note, check a later track, 'Mickle Meka Muckle'. Again, the tune is very catchy (this one, in a very youthful way and if my daughter weren’t the princess of a most ultimate indifference, it's definitely the type of song she'd like to hear), but there's a powerful message to be taken in as well which might take a few spins to really grab a hold of, but it is well worth the effort.

'HIM Smile' montage

Throughout "Back For The First Time", besides noticing the steps forward that Perfect has taken for this album, what I was really struck by was the vibes, in the prevailing sense. What I mean is that, somewhere in the middle of this album, the listener really has a feel that they are hearing something which is pretty damn IMPORTANT and a substantial piece of work. Even more so than the album’s single, that feeling is never more palpable and clear than on my favourite selection here, the MASSIVE 'HIM Smile'.

“I’ve gotta picture on my wall with Selassie I smiling
Emperor Selassie I smiling!
For us”

“HE ain’t no painted portrait from a fairy colour book
HE is the King of Kings, HIS Imperial Majesty
Come take a look
This is my favourite pic from out of all the pictures that he took
I wanna know where he was standing -
What he was thinking -
It gotta be something good!”

The song, which Perfect prefaces by declaring, "you've never seen this before", is a praising song of unbelievable and rarely heard proportions. The obvious connection to make is to a few years back when Khari Kill talked about his own favourite on 'Picture of Selassie I' and if the world gets a heavy dosage of this song, that reigning modern classic of a track may very well have another 'picture' on the wall right next to it in the form of 'HIM Smile' because this thing is WONDERFUL!

The first full tune charged with keeping the vibes high on the album following that signature moment doesn't reach those levels, but at the same time it has no problem at all maintaining the quality levels. 'Fakers' is, essentially, a social commentary, but the song is so SMOOTH. It lays down in this funky type of riddim and besides being one of the more 'formally' written titles to be found on this album - Sonically, it's just a great experience as well ("Oh I wish one of these days, babylon would fall from the step and break off its neck"). Preceding 'Fakers' is an interlude and that’s also the case in the obligatory herbalist track, 'Never Gonna Stop' which is quite notable for several reasons. First of all, it's a good song and it features Perfect kind of . . . Plainly talking for the vast majority of his delivery on the track. Throughout the years, he has done more colourful and memorable ganja songs (surely you'll remember 'I Smoked A Spliff', a remake of Pop star - Katy Perry's tune of a similar title) and this one ranks along some of his most unforgettable. Also it should be mentioned that the song comes through over I Grade Records' Be You Riddim (that's what I'm calling it), which, of course, backed a tune of the same name from Toussaint’s WONDERFUL "Black Gold" album. And as for that interlude, 'Weed Is Better Than Liquor', it is a legendary viral video which never gets old.

'Weed Is Better Than Liquor'

The remaining tracks on "Back For The First Time" also feature some of the album’s most impressive moments as well. On paper, the great attention-getter is certain to be 'Mash Up Di Ting' which is a combination which just so happens to feature the outstanding Ginjah. Perfect & Ginjah on a single track is a BIG deal if you ask me and despite the tune’s title - No - it isn't a song for St. Lucia Carnival 2011 (apparently they had a season full of nothing but mash-up songs this year), but what it is, is a very broad and multi-faceted piece which is every bit the quality you would've imagined - a great musical chemistry between the two. Later on we get a tribute to Peter Tosh with 'Slave Driver' which is also sure to get the masses talking (and it already has been doing that); 'Naturally', the closest thing to a love song that you'll hear on this album, but I'm not just going to write it off by calling it that because it isn't your stereotypical track of the kind. Instead of celebrating love ONLY in a relationship, Perfect seems to be celebrating LOVE for the sake of love - Meaning he’s just in a pretty good mood I suppose - and it definitely shows in the results. And, of course, things just had to get weird at least once, it is a Perfect album after all, and that comes with the closing and title track which goes all dark-disco on the people. Not one of my personal favourites, but entirely expected at SOME point given the artist.

Ginjah

Still, with that being said, there is a trio of songs down the stretch on the album which, for me, are three of the best songs on the entire album. One of the tunes is also probably my choice as the album's second best track, the first of the three, the outstanding 'Coming Up'. If you're looking for a Roots piece on the album with a bit of an edge to it, this is your tune.

“Full of principle ways and standard
Hail Selassie I First and stand guard
Forward, yes we’re trodding it onward
Never yet been pet, nor pampered”

It proves to be somewhat of a 'moody' set, but when you hear Perfect bringing in the fire over that riddim (which is the same which backs 'Take A Minute' from Achis Reggae favourite, Messenjah Selah) and doing so in a song which is rare, because it finds him directly expressing his joy at what he sees coming up with the youths of the world, instead of what he doesn't like about them, it’s a special tune. Next in the line is 'Lion Haffi Roar', whose title certainly seems to promise some spice and some fire and the subsequent sounds do deliver. The flame is burning brightly on the tune and it also features one of the greatest riddims on the whole of the album. Finally there's 'Doom’s Day' which slows things down a bit from the two songs ahead of it, but still smolders in its own way. Something about this one makes me think that it may be just a bit older than the rest of the tunes on the album (and it also sounds like something directly out of I Grade’s vault), but regardless of its age, it is mighty as we find Perfect celebrating the coming day when those who fight against righteousness shall fall, and do so forever.

Overall, I'm not going to even bother trying to place this one in the context of Perfect's previous albums, in terms of comparing them (although I will tell you, without hesitation, that it is much much much better than "Karma"), but what I will say is that, in terms of his capabilities and maybe as far as his popularity given the discussion this album has generated at being just four days old, Perfect's musical 'ceiling' has never been higher than it has been on "Back For The First Time". He's never had an album which has shown him capable of MORE. Now, that may be because, as I suggested, he's just gotten better at his craft over the years and this is the time that he’s demonstrated it or it may be the result of working LKP, but if I were someone making music and I wanted to voice Perfect, following what I hear on this project, I'd be in a rush to make that happen now. It is an excellent project, without categorization (given the sound, it's one which will appeal to older fans and given the artist and his propensity to do . . . Strange stuff, it should also have a place with a newer fans as well) and hopefully it is the start of another stage of his career. If that's the case then hopefully Perfect links LKP for a second time, and a third time and a fourth time and a fifth . . .

Rated: 4.6/5
Lustre Kings Productions/Zojak Worldwide
2011
CD [I THINK] + Digital

Check It Vol. 28: A Little More

Couldn't mention these last time
So we do it now

Midnite - "Anthology" [Afrikan Roots Lab]


'Anthology'

So! As I told you about yesterday, Yes - Midnite has YET ANOTHER album which has sprang upon the masses and done so in typically mysterious ways! ”Anthology” follows, very closely, to the latest album bearing the group’s name, ”The Way”, which dropped about a month ago (which I’ve heard NOTHING about from since then). Reportedly, the album was actually produced by Ron Benjamin (which will make it an ’official’ MIDNITE album) and . . . Yeah - Midnite fans know what to expect and I’m sure there’ll be very liberal usage of the word “brilliant”, here. So there you go - It continues to be Midnite 24 hours a day and 365 days a years.

CD

Jah Mason - "My Princess Gone" & "The Journey" [Albany Records]

Although I’m not particularly sure of where I know them from, I’m fairly certain that I am familiar with the label Albany Records. If I’m not, however, what is 100% certain is that I won’t quickly forget them as they, VERY randomly, have released TWO ALBUMS FOR wicked chanter, Jah Mason. WHAT! ”My Princess Gone” (again), and ”The Journey” have been released under very odd circumstances (with virtually no press whatsoever) and are Jah Mason albums, which means that, at least on paper, they should be a big deal. They both appear to be mixes of older, very well known, material and either completely new stuff or just lesser known tunes. Between them there’re thirty-five tunes (!) and even if you take the older tunes into account, surely there is SOMETHING here which should interest Mason fans, yours truly included.

Both Digital

Determine - "Born Pressurizer" [King Jammys/Zojak Worldwide]


'Born Pressurizer"

WHAT! Here’s one which I never knew even existed and . . . Well it may never have existed. ”Born Pressurizer” is album from one of the most underrated Reggae artists of all time, Determine, produced by someone who certainly has never struggled in the way of ratings, the legendary King Jammy. I can remember a few tunes which appear on this album, such as the title track, ‘Shot People Fast’, ‘In The Shop’ and others, but as a whole, I didn’t even know this thing was around! What’s good here, obviously, is the fact that the album is comprised of tunes which were recorded at a certain time (presumably the mid-late 1990’s, for the most part), so you get Determine over VINTAGE riddims such as the Duck, the Shank I Sheck, the Far East and the likes. Definitely one for the collectors.

Digital

Shurwayne Winchester [SW Limited]


'Open The Gate'


'Carnival Please Stay'

Digital Soca music continues to erupt with the latest volcanic burst coming from the man from Tobago and modern Soca legend, Shurwayne Winchester in the form of (at least as far as I can tell), his entire fucking vault! Previously, the only album Winchester had available for digital consumption was ”Under My Spell”, but joining that now are “Adrenaline”, “Evolution”, “Give Thanks”, “Press Play”, “Renaissance” and his latest release, 2009’s “Shurwayne Winchester & Y.O.U.”. Also he has a new single by the name of ‘Danz’. What does this mean? The digital Soca world just got SWEETENED to a big degree as Winchester’s credits include Road March titles and multiple Soca Monarch crowns. With his catalog now available, HUGE tracks such as ‘Open The Gate’, ‘Allequa’ [both on ‘Adrenaline’], one of the greatest Groovy tunes of all time ‘Carnival Please Stay’ [“Renaissance”] and more HEAVY HEAVY hitters are available online - As it should be. Uhmmm. Bunji . . . Anyday now!

CD + Digital

‘Beautiful Day’ by Destra (single) [Krazi Music Records]

Sticking on topic, everyone’s favourite, Destra, is also making a return to the digital scene after dropping her own entire catalog earlier this year. This time, she is bringing a new single of her own, ‘Beautiful Day’. The tune is definitely geared towards more of a mainstream market than just the Soca frenzies and, given the opportunity, it could definitely find successes in the Techno realm. And it is DESTRA (who is looking good)! So buy it!

Digital

Tyrical - "Wah My Own" [Ajang Music/Zojak Worldwide]

'Wah My Own'

If there were such a thing as an ‘underground legend’ in Reggae (and there were), DEFINITELY someone like Tyrical would qualify as such having been credited for penning so many different hits (and CLASSICS) for such a wide variety of names, that his, truly, is a talent which will exist well beyond his own years. However, over the past few years, the artist has made more of a concerted effort to step from behind the scenes and take some type of a credit for his works. The biggest example of this, literally, was probably his tune ‘Wah My Own’ from a few years back and now that tune becomes the title track for Tyrical’s debut album. This fourteen track set also includes well known pieces such as ‘Guerilla Warfare’, ‘Ghetto Prayer’, ‘World Is Hot’ and others - Mainly from over the past couple of years or so. I really like to see things like this happen, with the light shining brightest on a talent well due his time in the spotlight.

Digital

The Mad Organ Riddim [Necessary Mayhem Records/Zojak Worldwide]


The Mad Organ Riddim Mix

The Mad Organ Riddim is the latest creation from Curtis Lynch Jr. & friends at the always impressive UK imprint and while I’m only kind of confident that this one is a completely new creation, I’m DAMN sure that it’s a very fun and dynamic track and probably one of the most so that the label has ever done. There’re no surprises amongst the vocalists using the Mad Organ as a playground as legends Maxi Priest, Shabba Ranking and Tippa Irie highlight a cast which also include Mr. Williamz, Million Stylez and the venerable Red Fox.

Digital

The Ghetto Steam Riddim [Digital Link International/Zojak Worldwide]


'More Trees' by Chezidek

I was never all that high on the Ghetto Steam Riddim which reached late last year, in retrospect . . . But I was pretty much alone in that because the piece definitely did more than just a little damage. Originating (I THINK) from Cut Stone Records, it spawned some very popular tracks and now, via Digital Link International and the miracle workers at Zojak Worlwide, it’s made its way to the digital scene. On board here were Kali Blaxx, Perfect (who we’ll talk more of tomorrow), Zamunda, Ras Myrhdak and Chezidek, whose tune ‘More Trees’, was the highlight for me. I didn’t DISLIKE this one, but I didn’t think it great either - But apparently I was wrong, going by the response given by the masses - So well have a listen for yourself.

Digital

The Hourglass Riddim [Eternus Music Productions]

Uhmmmm. Uhhhhh. There’s . . . People and . . . Music . . . Vibes. Yeah.

Nice cover too!

Digital

'Someday' featuring Marika & Lutan Fyah by Mothership (single) [Superfly Studio]

Okay so, I don’t know a damn thing about this, but it is a FUN tune. I THINK that Mothashipp is a band from out of Poland and Marika may very well be their singer (I’m certain she’s from Poland), but whatever the case, they’ve linked with the excellent Lutan Fyah for a big, new and infectious single, ‘Someday’. The digital release, which includes the track and its instrumental also contains one of the best a cappella tracks I’ve heard in a loooooooooong time. You know you have a good time on your hands when you can cut the riddim and still have heads knocking and that’s exactly what happens here.

Digital

'Pon Mi Head' by Lutan Fyah (single) [King Dubbist]

And lastly (not really), it’s Lutan Fyah again with a very solid single for King Dubbist Records from out of England, ‘Pon Mi Head’. It’s more typical educationally based brilliance from the Fyah, along with A+ productions from KDR. The digital release also includes a remix, as well as a WICKED dubbed out version of the track also.

Digital

***** "Soca Gold: Ultimate Collection" *****

And I thought that I'd include this one also because . . . Yep. FINALLY VP Records is nearing something of a boxset for one of its greatest series (and my personal favourite), Soca Gold. Still relatively fresh on the hills of "Soca Gold 2011", the label has already set and ready to go "Soca Gold: Ultimate Collection" which includes two discs of favourites from the series over the years as well as a mixtape by a DJ Crown Prince. As you can imagine, the set features some of the biggest names who have appeared on the compilations throughout the years, including but not limited to Machel Montano, Bunji Garlin, Destra, Fay-Ann Lyons, Rupee, Patrice Roberts and, of course, SG poster boy, Edwin Yearwood. If the tracklist that I’ve seen hold up, there’s nothing REALLY here for me, but again, I do think it’s a very good idea and one maybe even a bit overdue.

{Note: I’ve seen two release dates for this one, one in August and a next November. As a rule, I generally go with the later one}

New Single From Sara Lugo!

So yesterday, we told you about a nice album you should pick up by the name of "People's Choice", by Ray Darwin. It is a very DEEP and complex project and, as I said, I'm sure that more of the hardcore Reggae community, like you and I, will definitely be able to appreciate and value it mostly. So hopefully you, like me, are doing that now (well not RIGHT NOW, because, I’m listening to someone else, who I’m now going to tell you about).

Of course, it's Sara Lugo! The pocket-sized Achis Reggae & Earth favourite, who guests on Ray Darwin's album, is spending time between mashing up European festival stages promoting her sensational debut album, "What About Love", and she's now reached another very significant point - A new single!


Unsurprisingly, Sara Lugo & co. have chosen what is, in my opinion, the album's most musically accessible and OPEN effort, 'Locked Away' [pictured]. The tune is, essentially, an R&B track and, given the proper opportunity it may find audiences in that popular genre as well as in the Pop arena - and, perhaps, more so in both of those instances than in more rigid Reggae circles (where we listen to people like Midnite - Who I bring up only to mention that they've released YET ANOTHER album - not "The Way". That’s old school! It dropped wayyyyyyyyy back in June! Their new album, released about fifteen minutes after their last, is called "Anthology").

What is somewhat unexpected, however, is that for the single version of the tune, they've Reggae-fied the original and the results are sublime! In stores now, courtesy of Soulfire Artists, is the single EP for 'Locked Away' which includes the new version of the tune, the original version (which you have already, because you've certainly picked up the album by now) (and I should also say that each and every time that I hear that tune, I enjoy it more and more and I suggested that it may occur that way) (that’s what happens when you listen to THAT much music - You can read your own damn brain sometimes), a Dub Step version from an El Wharton and, most deliciously, a dubbed out version of the tune from Sara Lugo's chief maestro, Umberto Echo, which is his respective specialty to my knowledge. So (!), obviously someone and a lot of someones has and have put in a great deal of work on the single and you should well check that out.

But that's not all! Floating around somewhere in the land of visuals is a VIDEO for the song! WHAT! Yes a video and because I’m not going to post it now, even though I REALLY want to, that means you’ll have to find it for yourself, but it surely does give us yet another reason to talk about the wonderful Sara Lugo in the future . . . As if I needed another excuse.

But even THAT is not all!

I alluded to this one . . . Sometime ago, I'm sure. Reader Nat (who has proven to be very useful, so biggup Nat) told us about Sara Lugo actually mentioning us on an interview that she'd heard on the internet and Bredz, as persistent as he is, tracked it down (he also tracked down a new picture we probably used as the closer here)!

The radio show is apparently called . . . Okay I don't know what it's officially called, but is definitely conducted by a gentleman named Yendis, who works with ReggaeSpace.com, but has his own site at YendisReggae.co.uk (which is now linked on the side if I remembered to do it, otherwise . . . Ignore this part). It’s a very cool interview and, after bigging up the boys and girls at Da Ville (biggup Markus until it causes physical pain), she says, "and also, Achis" and subsequently calls us "super super nice". BOOM! She even says my name correctly and I smiled a HEALTHY smile when I heard it. It made my fucking day! The entire interview is an hour + in length and apparently you can stream it or download it on the site, so biggup Yendis and everyone who helped there and Sara Lugo - You are a wonderful human being and it is on our honour to write about your great music - basically every day.

And Yendis also interviewed friend of the blog's, Josh, from Soul of The Lion. I don't think he mentioned me, but Josh is another cool person and does a lot of great publicity work (and of course he does the "Dread or Alive" series as well). Josh biggup yourself and send us more free stuff!

I'm going to take a nap, you go buy Sara Lugo's new single, 'Locked Away', in stores now.

'Everyone's Choice': A Review of "People's Choice" by Ray Darwin

Even on the most basic and clichéd train of thought, music is very much a 'journey' or a progression in many different ways. On the 'ground floor' of that situation would be the simple act of taking thought or emotion and managing to convert and advance it from the mind into sound and then into, at least presumably, some type of melody. All of this is wildly fascinating to someone like me and hopefully you as well, but in more specific cases, things light up even more. On one hand, the incredible expansion of our music and the 'shrinking' of the Reggae community has very much made the literal travels of our artistes more and more varied and, thus, more and more detailed as we begin to pay more of an attention and carry more of an interest in their movements. Thinking more in the abstract - People have definitely stepped up! I'd surely face much disagreement by much of the hardcore community in saying this, but as I look across the proverbial 'board', the current era, as a whole, features MORE - quantity - skilled makers of Reggae music than any other (actually I don’t even think you could argue against that). And what they're coming up with is, at times, stunning. Not too long ago we dealt with the case of the most globetrotting Hi-Kee, for his debut album "Self Reliance". Hi-Kee is someone who has . . . Pretty much gone EVERYWHERE in pursuit of making this music and his "journey" is definitely one of the (if not THE) most extreme, but the methodology isn't his alone. Besides the elders who venture around the world, seemingly more (most unfortunately) out of necessity - to find an active audience - There're performers seemingly in the midst of their productive and commercially viable primes, respectively, who have taken similar routes. One of these such individuals is the downright mysterious Ray Darwin whose ventures have finally (!) brought him to the major attention of Reggae fans across the world, on the strength of a brand new album which shows that he has been moving and progressing in more ways than just physically.

Like most people, I'm sure, the first time I can seriously recall any type of consistent presence of Ray Darwin in Reggae music was from just a few years back when he reached with what has gone onto become the signature tune of his career (and a bit of a nickname as well), 'People's Choice'. I knew the 'singer' (more on that shortly) had a far greater and more significant background than just kind of appearing with a single hit song, but I was very surprised to see in his bio that his musical history dated back to my life history, in the 1980's! The Jamaican born Darwin had moved to New York in his adolescence to live with his Father and would subsequently begin, of all things, what was apparently a quite successful career in Rock music (!) of all things. And while all of that, besides "Jamaican born", certainly doesn’t portend one finding triumphs in Reggae music, Darwin, clearly would manage to make things work for himself and would do so in the increasingly potent Reggae hotbed that is Germany.

Album Back Cover

Names like Daddy Rings, Jack Radics and others come to mind, but Ray Darwin even seemed to exist in a spectrum outside of those big names who have found audiences in Germany (those two, particularly, have done so with the biggest German Reggae star . . . Of all time - Gentleman), where he seems very much a loner of sorts, but it hasn’t stopped him. It may've slowed him down a bit, however, as he now delivers what I’m almost certain is his debut album (maybe he had a Rock album?), the fittingly titled "People’s Choice". Adding to the literal journey of Ray Darwin is the fact that this album curiously comes via the very dependable and respectable Joe Fraser Records (and - Watch this - it is backed by THE two most active labels in Reggae music, VP Records and the digital wizards at Zojak Worldwide - which may make it the very first of its kind as the product of two labels who hopefully can find a way to work together, DIRECTLY, in the future) (and if that weren't enough, and it was the album is distributed in Europe by Irie Vibrations and Groove Attack, which should let you know just how respected Ray Darwin is) which is somewhat unexpected, but as you get into the music, you see just how well the two sides coexist together. It simply has to be said that an album with this title from Ray Darwin is overdue. Its namesake initially reached back in 2007 and I can remember so many rumours of the day about an album from Darwin that didn't materialize. If I recall correctly, it was thought that he'd signed with the once mighty Greensleeves, but that project either proved to be untrue or unproductive, because over the last four years, Darwin has pretty much maintained a ‘business as usual’ approach in recording with various predominately European based imprints, but as the album develops for the listener, you quickly go from 'overdue', to a thought of '[much] better late than never'. Ray Darwin is impressive on so many levels, not the smallest of which is a lyrical one and what he shows here is not only that he wasn’t a one-hit wonder, but also that his "hit" was no coincidence or an overachievement. He does this by offering up a project which, as I said, shows itself the product of an artist who has been on a mental journey and a spiritual journey and has progressed to a very fine degree by album’s end. Oh and . . . Ray Darwin sure does keep interesting company! Let’s take a listen!

The Wonderfully Inescapable, Sara Lugo

I referred to Darwin as a 'singer' previously and I did so because he’s kind of a singing-chanter. He does a bit of both. Listening throughout this album the comparison I most often reached for was to Achis Reggae favourite, Smiley. The future superstar from out of Aruba may have more of a vocal 'presence' in the traditional sense, but they both have similar styles to my ears. When you take that versatile set and add it to the productions of Joe Fraser Records, which is known as being a label which pushes old school Roots and Lover's Rock music (and when you take into account that the artist’s biggest tune was such a song) you really create a powerful link. Evidence of the fortitude of the combination can be found all over Ray Darwin's new album, "People's Choice" which gets up and moving with a tune which has taken me MANY spins through to really get a grasp of, 'Time Flies'. The vibes of the tune are kind of sad, but they're also increasingly intense - And it sounds SO GOOD! It is my opinion that the song works perfectly for my concept of this review with things being so much in motion and in progress because we find Darwin speaking of his travels all over the world and meeting people and his loves, in particular and being detached from them, but still connected. Somewhere in the back of my mind I'm hearing a repatriation message as well, but however you take it, you're likely to come away WELL impressed by this most sublime of moody openers. And then IMMEDIATELY your attentions are grabbed up and toyed with on the next track.

'Good For You' is a very COOL vibes and I remember being so much in anticipation of hearing it because it, the first of two official combinations on the album, just so happens to feature the outstanding and the incomparable Sara Lugo! WHAT!

“It’s a universal language
Coulda never do no damage
Cause everything it do do
Reflecting inna you”

When she comes in, the song seamlessly transitions (like riddim and vocalist hit each other in stride) (and speaking of the riddim - I'm almost sure that it’s taken from an older one, but I IMMEDIATELY recognized it as a version of the same which backs Queen Omega's underrated tune, 'Jah Jah Jah'). You could call this one romantic or something similar, I suppose, but it’s just a big and upful vibes and you must know that I’m partial (AS HELL), but outside of the BOOM, it’s the best song I hear on the album named after said "boom" (and we'll be discussing Ms. Lugo tomorrow!) (oh and she may sing backup on other tunes on this album) (probably not, but I thought that I‘d mention it anyway so as to appear genius-like if it is true).

From a future legend to a living legend - The other combination track on "People's Choice", 'In This Time', comes in a couple of tunes on and when it reaches we see that it has brought with it the great Fred Locks. BIG BIG tune! It is, essentially, a social commentary, but the vibes of the song are SO powerful and DYNAMIC that it really reaches on levels of excellence and to a nearly overwhelming degree. Sandwiched between the two combinations is a tune which I have actually heard before as Darwin and Joe Fraser go mining the vaults and return with the Ten To One Riddim for 'False Alarm' (which may be the album’s official first single). The song, another BIG vibed social commentary is one which has very much interested me the from the very first time I paid it attention. Darwin's concept is one which is somewhat complicated because he’s not using it in a very straight forward manner - What he is saying is that the "false alarm" is when the masses are fooled into thinking that the powers that be are the necessary and protecting powers when many of them are devious. It is a song for the mature listener who will DEFINITELY be able to appreciate it as one of the album's finest moments.

'Long Way'

To go back and stress my point of the album and Ray Darwin being a part of a moving journey - There're two songs, in particular, through the balance of the album which REALLY solidify this for me and drive the point across even further. The first is the beautiful 'Long Way', Darwin's cut of the Cruising Altitude Riddim, on which he kind of outlines the direct involvement of Reggae music in his life and in Jamaican life, in general. He goes on to bring in other items of the culture and by its end we have one nearly stunning tune.

“So much potential for the size
[Our little island]
Independence was a big lie
[Look where we are]
If it wasn’t for the Reggae music and the ganja -
Dem have us swimming upstream and left us to die”

Again, the tune is also very dynamic (which you know, if you know the riddim), but one definitely need to take into account what is being said, because it is outstanding. Next we have the, perhaps, even stronger and surely one of the most fascinating efforts on the album in the autobiographical 'Rasta'. Here, we find Darwin musically reconnecting (or attempting to) with his tangible and intangible origins and really outlining how they've come to help him be the person who he is today.

“Rasta was no youthful indiscretion for me
I soon realized colour divided everything
Make them feel being Black is the worst, couldn’t work on me
RASTA MADE US ROYALTIES -
Empresses and Kings”

It is, also, the constant usage of "Out of Many, One People", which he uses which gives the song a more encompassing and relatable type of message - It then becomes autobiographical for Darwin - And biographical for millions as he casts this great lyrical blanket in so many directions! Very nice.

Along with the tunes that I've mentioned thus far on "People's Choice", there are some really fantastic moments in the way of the basically prevailing audio experience to be had on this album. In terms of artist-with/over-riddim styled albums, this one surely has to be considered one of the finest such projects, sonically speaking, of the entire year as artist's vocals and messages blend so seamlessly and effortlessly with the riddims on nearly every track. A track such as 'Dutty John Crow' almost perfectly exemplifies this. The backing is a kind of . . . Almost uptempo Zouk like arrangement - pretty complex material - And Darwin rides it with an equally 'high-tech' social commentary about the powers that be (you have to hear this one from a lyrical point of view). From a FAR different vibes, but on a similar note there's the very strong 'More Love' which is a love song, but again, not necessarily a straight forward one. The song goes from the dance floor at its beginning, to examining the potentiality of an entire lifetime spent with someone. And it's kind of a Reggae and R&B mix which works so well with the vibes and the 'nature' of the tune. That same type of tune is delivered in a far more terrestrial manner (but only when compared to its predecessor), on the very next track, the head knocking and somewhat FUNKY 'It Can’t Done'. This one has a bit of BITE to it, which I think really highlights the track and the riddim is just so 'open-minded' (you could probably do any type of song on that thing) and it ultimately fits Darwin's vibes snugly. You'll also check the classically set 'Tonite' which is a nice tune on a lover's vibes. The chorus - You will literally have to punch and kick to get out of your head (my Wife, currently, is having no luck with that at all). The tune is probably the most straight forward of its kind, yet it is easily one of the best also. That tune brilliantly sets the stage for the tune which follows it, one of the best songs on the album, 'My 45'.

“Take a likkle trip to selector shop
Cousin play di Reggae music non stop
I was looking for a Studio One 45
I’ve gotta search of di archive
Mi find nuff vinyl, carry dem home fi play
Mi walk through di door, mi girl was lookin sexy
She seh fi ‘show mi yah twelve inch’
But she would soon realize nothing touch di 45”

BIG! The song sounds like something you’d hear from Ziggi Recado in so many ways, but Darwin makes it his on (because it is) and pushes the levels on his album even higher because of it.

'New York Minute'

As the album winds down, we find another pair of tracks with which I am somewhat familiar. The first is 'New York Minute' which finds Darwin going all Wailing Souls on the people on the classic riddim. This tune is of a 'tug and pull' relationship - taking the good with the bad and the kind of suddenness or fragility in which they can exist ("life would be nice if I got you in it, but I'll get rid of you in a New York minute") given various amounts stress and . . . Chaos in this case.

“She’s not expecting life to roll by, without its fair share of problems
But when a man don’t have him basics together, problems indefinitely happen
Zero tolerance for the player’s list
The last one get vex and try fi hit and miss
Them him start spreading rumours she’s a lesbian -
Cause she tell him fi go home and use him hand”

Of course, later we do get the boom of all boom's with the album's title track and nearly half a decade on and it’s not lost a shade of the shine it had when it first dropped. And rounding out the album is the only track which I didn't necessarily enjoy, 'Standby', which is decent, but is probably best appreciated from a purely sonic point of view and after awhile that didn’t catch me in the way it did, initially (even though the chorus is still pretty nice even now). "People's Choice" reaches its end with the obligatory acoustic track, 'Another Day'. This one??? I like. It's all folk-ish and pretty much everything you'd imagine, but it's a praising tune and a subtly colourful one because of the way in which it is presented. Very CLEAN and crisp vocals in, again, solid union with the skeletal backing make for a decent and FITTING end for an album which deserved absolutely nothing less than that.

'People's Choice'

Overall, while am, obviously, going to recommend this album, I do have to give it a pretty rigid conditional recommendation. I'd sooner recommend you reach for an old Sizzla or Anthony B album rather than "People's Choice" as your very first venture into Reggae music and many of those older pieces were, by no means, what I would call accessible so you know what you're dealing with here. This album is best, and maybe even exclusively, for the more seasoned of listeners who will not only be able to recognize and appreciate the small changes throughout, but Ray Darwin has a very interesting method of writing which just may not be the best for newer fans of the genre. For you and I, however, it's near gold. Darwin's journey in the music, and in life in general, has been something that would probably make for an entertaining book or even film and while he continues to be in motion to this day, the "People’s Choice" album is an excellent stop along his way.

Rated: 4/5
Joe Fraser Records/Zojak Worldwide/Irie Vibrations/Groove Attack/VP Records
2011
CD + Digital
Ray Darwin @ Myspace

Review #326