 Toots
and the Maytals: True Love, V2 Records, 2004
www.tootsandthemaytals.net
Rating: B
True Love is partly “Tribute
to Toots” album, partly “Toots Duets With…” album, partly “Toots Greatest
Hits” album, partly an experimental reggae reinvention of great songs.
A Willie Nelson song starts
things off, Toots and Willie switching lead; it works despite, not because
of, the vocal contrasts. On the other hand, “True Love Is Hard to Find”
sounds very natural; Bonnie Raitt not only sings but adds her bluesy slide
guitar to give the song some sting and a bittersweet taste. Another guitar
great, Eric Clapton, helps Toots on an appropriately fast and furious
version of “Pressure Drop”, but what advantage was to be gained by having
Ryan Adams on the slow, unadventurous duet of “Time Tough” is hard to
fathom.
Next comes the early Toots song
“Bam Bam”, which survives a strange treatment by Shaggy and Rahzel. On
the famous “54-46 Was My Number”, Toots does the vocals alone, but Jeff
Beck’s electric guitar adds color commentary. No Doubt has fast ska fun
with “Monkey Man”, which includes an interesting vocal twist in Toots’
duet with Gwen Stefani and great scatting at the end: “Monkey monkey monkey
yah yah yah monkey monkey na na na monkey monkey.”
Trey Anastasio doesn’t add much
as guest on “Sweet and Dandy”, where the tempo and whole vocal/musical
arrangement are much the same as on the original, but that’s okay, the
song was always delightful as is. “Funky Kingston” becomes very different,
though: kind of busy and messy, as funk can be, with our attention flitting
all over the place, but the trio of Toots, Roots and Boots (Bootsy Collins
and The Roots are aboard) makes great chemistry. In fact, I like this
better than the original recording: Toots’ vocal isn’t so strained this
time around. Not really reggae, but then it never was. There is a big,
deep, heavy sound to “Reggae Got Soul” with Ken Boothe and Marcia Griffiths,
who concentrate on the “soul” part. U-Roy introduces “Never Grow Old”,
an album highlight with a strong and perfect ska-gospel sound; give thanks
to The Skatalites for this much fuller arrangement than on the original.
Bunny Wailer adds passionate vocals to “Take a Trip”, another powerhouse
that offers Clapton’s guitar as a bonus.
The slow, sincere Ben Harper-Toots
duet “Love Gonna Walk Out on Me” takes some getting used to, unlike the
immediately appealing “Careless Ethiopians”, where Keith Richards’ vocal
adds an interesting, contrasting texture and his guitar is subdued and
gentle. Bringing up the rear is an intense, intimate drama between Toots
and Rachael Yamagata on the swirling, smoky, spacey “Blame On Me”, a relatively
recent composition.
You are hereby on your own to
decide whether you want this CD. Excellent songs, yes. Interesting versions
of them, yes. Artistically better than the originals? Yes and no. Necessary?
Not easy to say.
 Various:
Reggae Anthology: The Channel One Story, 2 CDs, VP Records, 2004
www.vprecords.com
Rating: A
Channel One really does have
a story. This ghetto recording studio in Kingston, Jamaica is where Joseph
Hoo-Kim produced a host of highly influential reggae tunes from the mid-’70s
to early ’80s. Turn to this album’s liner notes and you can read all about
it, from lowly beginnings to the height of fame to abrupt decline. Interesting,
sure, but the important element is the music, and with thirty-seven chapters
of that part of the story now available to us on this double-disc set,
it’s time to rejoice, buy, and listen hard.
One of the things you’ll hear
when you listen is a very busy drummer. Channel One’s studio band, the
Revolutionaries, included Sly Dunbar prior to his days as half of the
production and rhythm team of Sly and Robbie. This was the era when he
developed the “rockers” drumming technique, and sterling examples abound.
Don’t worry about it being described as a “militant” style, it’s great
fun to listen to.
You’ll also hear some beautiful
examples of roots harmony singing: The Mighty Diamonds with “I Need a
Roof” and “Right Time”; The Meditations with “Woman is Like a Shadow”
(why do some not like the lyrics? I’ve always taken them as expressing
frustration and hurt rather than prejudice); and Wailing Souls with “Things
& Time”. In each case, the harmonies, the arrangements, the songs
themselves are of wondrous quality, almost matched by The Jays’ three
versions of previously recorded songs, “Yaho”, “Truly”, and “Queen Majesty”.
Rockers drumming, roots harmonies,
what else? Well, the excellent and often dubbish production, for one thing.
For another, the several instrumentals performed by those fine musicians,
The Revolutionaries; “Burial” is the best, with its beautiful, relaxed
brass solo over a quick shuffling beat. Then there are the deejays: Dillinger,
Lone Ranger, Rankin Trevor, Clint Eastwood, Yellowman, I Roy, and at the
next to last spot on the album, Super Chick, whose single outing is a
stark signal that Channel One sure didn’t do much with the women of reggae—heck,
they didn’t even do much with Super Chick, who bravely tries to sing a
few lines from the folk song “500 Miles”. Her chatting is fine, but the
singing, yikes.
Finally, there’s all the rest:
love songs, sufferer roots, dancehall, et cetera from solo male vocalists
ranging from the melodic John Holt to the soulful Ernest Wilson to the
sweet Sugar Minott to the tuneless but sincere Leroy Smart. And of course,
“Fade Away” by Junior Byles, stark reggae perfection. There you have it;
a varied collection—37 tracks, remember—of mostly great and classic Jamaican
music, a number of which even some fanatics probably don’t already own.
Channel One has a story well worth being told. Also well worth being heard.
 Clinton
Fearon and Boogie Brown Band: Give and Take, Kool Yu Foot, 2004
www.boogiebrown.com
Rating: A
I listened to Give and Take
with my brother Dave, a classical music accompanist and voice coach, who
was visiting for a few days. “It’s very relaxing,” he said, apparently
surprised. He started counting. “I don’t think I brought a metronome with
me. Too bad.”
“Darn,” I replied, “mine are
all at the cleaners.”
But he was serious. “It’s around
72 beats per minute. Just like a heartbeat. That’s why it’s so relaxing.”
I beamed. I told him reggae is known for that.
I asked for advice on how I
would describe for readers one particular aspect I really enjoy on this
album: Fearon’s effortless ability to carry his vocal line across the
changing musical background from one part to another. He listened approvingly
to my first example, where Fearon sings: “Don’t shed no more tears/I said
dry your weeping eyes now/ I want you to know/Love is the conqueror.”
“Hey, that is nice,” he said.
He suggested I write this: “the vocal is carried over different musical
phrases.” Thanks, Dave.
“It sounds very sophisticated
to me,” I persisted, “so I wonder whether it’s consciously composed that
way or if it’s a natural, spontaneous thing.” “Hard to say. Could be that
it just comes naturally to him.” Thanks, Dave. He should host an “Ask
A Professional Musician” radio show.
In fact, Give and Take
has many highlights. The title track has a fragile but seductive flute
arrangement balanced by dominant vocal. Then there’s “Blood for Blood”,
with soulful singing, subtle organ and lyrics pointing out that “It’s
a gruesome situation everywhere”—although optimism wins out in the end.
“Wages of Love” is a beautiful
hymn with beautiful voila accompaniment; if that worries you, remember
that The Beatles’ “Yesterday” was a simple vocal over string quartet,
and this has the added benefit of reggae rhythm in the foreground. And
oh yes, the lead vocal in this one carries over from one musical phrase
to another, providing sophistication.
“Parable Sound” has a memorable
melody and bubbly rhythm with juicy horns and inventive percussion. I
also like the a cappella intro of the spry and catchy “Feel the Spirit”,
and the delicate organ riff of “Stop the Hate” as well as its Bob Marley-like
vocals and tune. Then there’s the emphatic lyrics and guitar solo of “Rise
up”. Many highlights amidst overall high quality music.
Clinton Fearon has a great reggae
history, true enough, but the issue is really his great reggae present.
He now counts among his fans at least one new-to-reggae classical musician,
thanks to a wonderful album that is possibly sophisticated, but definitely
tuneful and…oops, it’s time to pick up my metronomes at the cleaners.
Gotta go.
 The
Meditations: Stand In Love, Meditations Music, 2004
Rating: A
Meditation should be comfortable,
I figure. Asceticism may have its place, somewhere, sometime, but hey,
after a day of stress, let me do my meditation in comfort. The pleasanter
the better.
That’s where The Meditations
come in. The much admired harmony trio from way back in Jamaican musical
history is still with us, intact and fruitful and making music. Their
new album, Stand in Love, delivers a very full 16 tracks of timeless,
tuneful, honest roots reggae: practically the dictionary definition of
comfort, as far as I’m concerned. Nothing very different from what they’ve
done in the past, mind you, but that’s fine with me.
The first track is a strong
start, with an aggressive warning about war; it’s followed by a faster,
lighter, organ-led piece with sing-along harmonies in the chorus and rose-tinted
lyrics: “make yourself happy so others can be happy too.” An organ adds
spice to the next song, but the horn arrangement is what makes it memorable.
Then comes the title track and its lively percussion—almost a necessity
to keep up with the double-quick tempo; it also fits the fun, shoo-bee-doop
background vocals. This song comes back at the end of the album with a
spirited toast by Flourgon, and it’s a good addition, his rough vocal
texture contrasting with the smooth harmonies of the trio. The catchy
“Stranger in Love” has some wordless harmony vocals and a supple lead
vocal that moves effortlessly into falsetto territory; the following Curtis
Mayfield tune sounds as though it should always have had this kind of
reggae arrangement. The next two tracks are among the best: “Glory Hallelujah”,
as vigorous a hymn of praise as one would expect given that title, and
“Wicked Men”, with wailing horns, powerful lyrics, great tune and a nyahbinghi
feel to the drums.
Stand in Love tends somewhat
toward the generic in the second half, but houses several more highlights
and never falters in giving pleasure. “Born in War”, for example, has
a quick, propulsive rhythm and surprisingly light touch to both lead and
supporting vocals, and “Not Responsible” gets me singing along to its
“level the vibes” lyric. I also love the sprightly drumming of “Youth
Teach Wisdom”.
Obviously deeply concerned about
individuals and society (and about war, both in general and in its contemporary
manifestation), the three members of The Meditations deliver their messages
in true roots reggae fashion: uncompromising lyrics beautifully sung to
attractive tunes. Sure, I’m looking for comfort, and I find it here. But
comfort doesn’t mean oblivious self-satisfaction. What it does mean is
that I’ll be glad to return often to meditate with The Meditations.
 Eddy
Grant: Hit Collection, 2 CDs, Ice, 1999
www.icerecords.com
Rating: B
If you were among the many millions
who made mega-hits out of “I Don’t Wanna Dance” and “Electric Avenue”,
leaden rhythms and all, then you’ll love Hit Collection. It’s more
of the same, spiced up by Grant’s biggest-sellers from earlier times.
The quasi-reggae, quasi-soca-funk-rock genre is hard to label, although
Grant himself did come up with a name I can’t remember at the moment—apparently
not a natural or obvious one. The music is pretty obvious and unsubtle,
though, especially in the beat: it’s definitely! emphatic! but! the! forward!
momentum! suffers!
Nevertheless, there are reasons
why I will return to this album:
• “Gimme Hope Jo’anna”,
a highly influential apartheid-era release in South Africa.
• The surf guitar in
“Killer on the Rampage”.
• My nostalgia for ’68
as tweaked by “Baby Come Back”.
• The funky horn charts
of “Walking on Sunshine”.
• The electronica, doo-wop
and heavily textured bass of “Living on the Frontline”.
• The drama and reggae
rootsiness of “War Party”.
• The deep, rhythmic
African-Caribbean groove of “Hello Africa”.
• The songwriting and
vocal lessons learned from John Hiatt in “Put a Hold on It”.
• The light, good-time
Latin-reggae of “Welcome to La Tigre”.
• The jazzy, atmospheric
feel and lowdown, backroom vocal echo in “Don’t Back Down”.
• Pretty much the
whole of Disk Two.
Yes, indeed, Disk Two may not
have the big hits, but it is the better music here, with nine original
12” mixes. “Living on the Frontline” becomes a 13½-minute opus with a
synthesizer-heavy last half, while “Hello Africa” lasts for 12 minutes,
with naked, complex percussion taking over halfway through to urge and
tease us along to the end. “Preachin’ Genocide” is seven-plus minutes
of heavy lyrics, carefree soca rhythms and an appropriately sharp-edged
guitar solo. “Exiled” is reggae, more than nine minutes of it; “Nobody’s
Got Time”, with its soulful vocal and throbbing base, is over seven. Perhaps
there is some excess in the extended mixes of this second disk, but give
me these any day over the more predictable, stringent pop of Disk One.
You have to admire the accomplishments
represented by this collection, as the liner notes go to lengths to suggest.
“All tracks written, produced & performed by Eddy Grant,” it says
here. “Eddy plays virtually all musical instruments,” it also says. In
case you didn’t keep count, “…in less than four years he had eight major
international hit singles,” and in case you just didn’t know, he was “…one
of the first artists to write about the destruction of our oceans and
the Whale population…” and is “…a great humanitarian and acute political
and social thinker.” Quite the remarkable guy. So here you are; Hit
Collection is your chance to acquire what Grant himself apparently
considers his greatest musical legacy so far. I’m not arguing.
Latty Guzang: one love!,
Massive International Records, 2004
Rating: B-
Welcome to “Name That Tune!”,
the compact disc game show where you Guess The Composer, Identify The
Riff, and Specify The Influence!
It’s easy and fun, and to get
you going, take a glance at the track listing. There you’ll see — besides
the 16 mentions of our host — just four composers’ names: J. Holt, J.
Mittoo, Winston Samuels and Brent Dowe/Melodians. Ahhh, but there are
so many more, creditless and unheralded. That’s where you come in! First
we set the disc player on “random”. Where will it land?
Number 12! Listen to the words
and tune: “Jammin’ on a reggae rubadub afternoon”. Used to be “groovin’”,
right? YES, it’s a reggae version of The Young Rascals’ hit; five points.
Okay, another. Number 4! Those introductory horns; it’s …it’s…yes, you
can almost hear that long draw on the kouchie: it’s The Mighty Diamonds!
Five more points. Let’s go again…number 7! Okay, that horn riff and tune
on the bridge; they sound very familiar…but nope, can’t quite get it.
No points, but don’t worry, it’ll come to you. Number 17! “If I had a
hammer, I’d hammer in the morning.” No contest: this is the old Lee Hays/Pete
Seeger song. What about the bridge? No sweat, it’s the old folk protest
tune, “We Shall Overcome”. Ten points for that double header.
Number 9! A quick dancehall
rhythm; now listen to the lyrics: “Fire a mus mus tail…the higher the
monkey climbs…” The Ethiopians and Justin Hinds? Okay, but only two points
each because those are just brief phrases, Jamaican folk sayings, so it
could be coincidence. Go again: Number 2! Another attractive concoction
with a big chunk of the tune and some of the words directly from…right!
Larry Marshall’s “Throw Me Corn”; five points. Number 8! Jackie Mittoo’s
name is right there in the credits beside L. Gourzong (reviewer’s note:
I take this be our host), but hey, this song is called “I Did It”; Mittoo’s
was “Who Done It.” Good, one point for knowing that. Number 14! Hmm, lively,
with bits of various gospel songs, but mostly “Rock My Soul”. Right. Five
points.
Now we move into that part of
the game we call “Tried and Now Trite.” Quickly, for three points each,
tell us what’s been used before: “Brothers and sisters, why can’t we live
as one.” Good. “Love is so lovely and war is so ugly.” Good. “What a situation;
what a confusion.” “My girl lollipop.” “Stop your carry go bring come.”
“Mother long tongue.” Oh, oh, there are way too many to get to, because
we are OUT OF TIME. But 53 points; that’s terrific! Join us again on “Name
That Tune!” when we’ll ponder whether the grunts in “Please Don’t Go”
were taken from Sam Cooke’s “Chain Gang.” So long for now; it’s been great
musical fun.
------------------
Although the closest Ted Boothroyd has come to a personal
association with the Caribbean was to have a Trinidadian grandfather, which
Ted
didn't really have a lot to do with, he happily took in Harry Belafonte's
calypso
hits in the '50s and became a huge reggae fan in 1969 when Desmond
Dekker's "Israelites" hit big in Canada. Ted has reviewed books
on Caribbean music for The Beat, writes album reviews for other periodicals,
and co-hosts
a reggae and world music radio show in Fredericton, New Brunswick,
on Canada's east coast.
------------------
Although the closest Ted Boothroyd has come to a personal
association with the Caribbean was to have a Trinidadian grandfather, which
Ted
didn't really have a lot to do with, he happily took in Harry Belafonte's
calypso
hits in the '50s and became a huge reggae fan in 1969 when Desmond
Dekker's "Israelites" hit big in Canada. Ted has reviewed books
on Caribbean music for The Beat, writes album reviews for other periodicals,
and co-hosts
a reggae and world music radio show in Fredericton, New Brunswick,
on Canada's east coast.
------------------
Although the closest Ted Boothroyd has come to a personal
association with the Caribbean was to have a Trinidadian grandfather, which
Ted
didn't really have a lot to do with, he happily took in Harry Belafonte's
calypso
hits in the '50s and became a huge reggae fan in 1969 when Desmond
Dekker's "Israelites" hit big in Canada. Ted has reviewed books
on Caribbean music for The Beat, writes album reviews for other periodicals,
and co-hosts
a reggae and world music radio show in Fredericton, New Brunswick,
on Canada's east coast.
------------------
Although the closest Ted Boothroyd has come to a personal
association with the Caribbean was to have a Trinidadian grandfather, which
Ted
didn't really have a lot to do with, he happily took in Harry Belafonte's
calypso
hits in the '50s and became a huge reggae fan in 1969 when Desmond
Dekker's "Israelites" hit big in Canada. Ted has reviewed books
on Caribbean music for The Beat, writes album reviews for other periodicals,
and co-hosts
a reggae and world music radio show in Fredericton, New Brunswick,
on Canada's east coast.
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