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Truth be told, I get a lot of
CDs that funnel in and out of my office. Some I eagerly anticipate--like,
I'm still waiting for the Ghetto Youths to release an album (And yes,
at this point I am not holding my breath!) Some CDs get passed along to
more worthy reviewers, who happen to be oldies aficionados, dub heads,
world fusion enthusiasts or electronic experimenters. And yes, some CDs
just sit there in a tub as I look at them from the corner of my eye, wondering
if I have the time to listen to the home-produced CDs that are accompanied
with all the optimism in the world, and a quick polaroid head shot.
However, it isn't any of these
CDs that I am going to write about. The albums below are ones that surprised
the heck out of me. They're the ones that live in my CD player AND my
car player. They're the ones that I tell all of my friends about, the
ones that reach in, grab my heart, shake it up a bit, and connect me with
that aliveness that I only feel when the bass is ripping through the floor.
Yes, these are the CDs that will be remembered--maybe not in a general
mainstream way--but in a wow-my-eyes-have-been-opened way. I hope you
find these albums as worthwhile as I do.
Jah Mason sings, "This
ain't no joke. This is something we've got to talk about." I agree--this
album is definitely something we've got to talk about.
It had been awhile since I had
heard anything from Jah Mason before this album was released. He was always
recording on the latest rhythms in Jamaica, and I could always find 7
inch singles that he put out down there on the Henfield label, among others,
but he lived on the edge of common reggae vocabulary in the States.
The beauty of this album is
two-fold. First, Jah Warrior does an absolutely amazing job producing
and mixing this album--the backing dubs soften up Mason's gruff delivery--they
use horns, keyboards, bass, drums. Not only do they use them, they use
them smartly--where it actually makes musical sense. Softer lyrics couple
with decrescendos, and stronger lyrics get mirrored musically as well.
The sound is contemporary and melodic. I equate it with St. Croix's Midnite
Band's sound in that just as Midnite's music has a timeless quality, so
does Jah Mason's. The songs on "Most Royal" all have a lilting
tempo that is calming over his rapid lyrics.
Second, Jah Mason's sincerity
comes across in most every lyric. There is a sense that this is absolutely
authentically who he is. He's not making music to make hits. He has a
message and so clearly wants to get it out there. His lyrics are articulated
so every syllable comes through, "Can you feel the pain that I feel
inside? Life is a survival game, you better live it right." The Bobo
dread has a truly universal message. He covers self-empowerment: "You've
got to know yourself;" Love: "Girl it's been so long you have
me waiting--it seems like you wanna give rastaman some rating;" The
perils of Babylon; War; and faith.
Track highlights include "They
Say They Love Us," the title track, "Most Royal," "So
Long," "Request," "Saga" and "No Joke."
Kudos to the musicians who make this album as strong as it is.
Jah Mason is "Most Royal"
on this recording. I hope he continues to say good things to the people.
[This CD is available at http://reggaemusicstore.com]
 Sizzla,
Speak of Jah [BogalUSA Records, 2004]
Could Sizzla, like wine, get
better with age? A resounding, "YES!," in my opinion. I would
buy this album for the title track alone. But there is no bad seed in
this bunch. As Sizzla loosens up--accepts himself and others in a more
open way--his music gets better and better.
A producer friend of mine who
works closely with Sizzla had an advanced copy of this album when I was
in Jamaica back in February, and it was the soundtrack to my trip. I could
compare it to "Da Real Thing" (VP Records), which I adored.
I could also compare it to "Rise to the Ocassion" (Greensleeves
Records) which I similarly adored, but this album has a completely different
vibe than both of those recent albums. The thread that remains is Sizzla's
authenticity, his delivery, and his lyrics.
Take track 1, "Fight Against
the Youth,": "No matter how them fight against the youth, they
just keep on striving, Rastafari is the truth. Nothing they can do to
stop the love that is the root."
Track 4, "Speak of Jah":
Sizzla with only an acoustic guitar "Put your trust in Jah, he'll
see you through. Like the stars above that shine so bright--that is how
Jah love makes me feel inside... Jah love is all we have."
Track 5, "Somehow":
"Cause somehow Jah Jah just keep on blessing this place. Somehow
Rastafari just keep on showing us His face... Life is for love, life is
for living--the blessings from above is so much I keep giving--He created
the earth, so let's just enjoy it. Praise Selassie and don't destroy it!"
Track 7 "Vision":
"Your love makes me so strong; I'll be with you all night long...
Just like visions bight and clear, I can see that we're getting there...
I'll be there for you all the way..."
Not to stray too far from his
previous life, Sizzla gives us a repatriation song, "Dem Ago Suffer,"
as well as a girl tune, "The Girls Dem."
Some of the same qualities that
appeal to me in the Jah Mason album, appeal to me here. Sizzla is heartfelt,
the arrangements are strong and at times, unusual, and he's really melodic.
These are songs that you could sing in the shower--in fact, I have been
known to sing "Jah looooove is all we have, Jah looooooove is all
we have" under the running water to many a neighbor's dismay.
All of the tracks were voiced
at Anchor studio, Bobby Digital's studio, and Kingston 6 studio, except
the title track which was voiced at Sizzla's own studio.
I think I've gushed enough.
Buy the album--you won't regret it.
For more info, visit www.hammer-musik.de
or www.reggae-now.com.
 Sabbattical
Ahdah, Heart Ah Joy [Cruzian Links, 2003]
Something bizarre is happening
on the little island of St. Croix. All of a sudden there is a huge reggae
renaissance on that US Virgin Island with artists Midnite, Ikhaba, Dezarie,
Bobo Ites and... Sabbattical Ahdah.
Sabbat, as he is reffered to
by those close to him, is a young, conscious artist, who is just cultivating
his lyrical prowess. Soon he will be a master, I have no doubt.
I heard a blip of his music
a few months ago, and it was one of those moments, where everything else
faded into the background, "I NEED TO HEAR THAT AGAIN!" Soonafter,
I got my wish when he performed at the Sierra Nevada World Music Festival
in June. The time slot was an obstacle--performing in the dancehall over
tracks sandwiched between Jah Warrior Shelter Hi-Fi and Stone Love. My
friends were honest, "I don't know what you're taking about. We're
not feeling him AT ALL." Yeah, they were waiting for Stone Love to
come with some big 'Pon the River, Pon the Bank' action that would put
Jah Warrior's taunting to rest. So, seeing as my two friends were hostages
in my car on the three-hour ride home, I put the Sabbat CD in the player...
"What ah joy," sings
Sabbattical... congo drums, flutes, strong beats, women volcalists in
the background, all flowing melodiously through the speakers. I witnessed
a few head bobs, some "a'ights." After track 4, I said, "Okay,
you can change it if you must." I was met with protest, "Nah,
let's hear the rest of the CD!" and "I can't believe this is
the same person who was in the dancehall the other night!"
"He is deep," said
my Jamaican friend in the back seat, who caught more of the lyrics. "Whoa,"
he muttered--it was that exclamation between shock and utter approval.
"Wicked!"
It just goes to show that a
real band can really make or break an artist. I have high hopes for Sabbat
and selfishly hope that I'll be an integral part of his success.
"Heart Ah Joy" is
a hard commodity to find but I suggest you email cruzianlinks@msn.com
to buy your own copy.
 Various
Artists, Reggae Star Time Vol. 1 [Village
Roots Records, 2004]
Village Roots Records is off
to a good start. The label, which was founded by Isiah Mentor in February
2002, enlisted Jack Scorpio, Witty, and Philip Smart to get started. Here
we are in July 2004, and the label already has two offices (one in Portmore,
Jamaica and one in Sayreville, New Jersey) and a hot new album with top
international reggae artists.
The highlight on this album
comes from the magnificent Tanya Stephens with her wonderful storytelling
on "Three's Company": "I came to your wedding uninvited.
Walked to the church and sat down inside it. I wanted to scream your name--let
everyone feel my pain! When you said, 'I do," I died. And it was
time for you to kiss the bride--through tears, I saw you lift her veil--you
kissed her and my world turned pale. This was never part of the plan...
me no think the two a we a go part--cause you know mi still a wok you,
fling it up baby, when me buck you. She tied the knot but me stuck too,
from now on that how it a be--we are the new three's company!"
Other highlights come from Chrisinti,
Vybz Kartel, George Nooks, Natural Black, Lukie D., and Sugar Minott,
and M. Mentor, himself.
What makes an album like this
so compelling is the rhytms on which the tracks are recorded. If you begin
with bad rhythms, then--bad album. In this instance, tracks two through
eight are on the same rhythm, which is very strong. Tracks nine to fifteen
are on a different rhythm, which, in my opinion is the weakest link; and
tracks sixteen to twenty-one are on yet another rhythm, which ends on
a strong note.
I like the fact that this album
isn't glossy--there's no half-naked woman on the cover to get you to look
at it. Artists that don't normally get a voice, like Knittie Kouchie,
Pinchers, Mega Banton, Prestige, Chuck Fenda, and Musiah, appear on this
album with the bigger names. Check it out!
[This CD can be purchased by
clicking here.]
 Various
Artists, Tunda Klap [Renaissance/Greensleeves, 2004]
You might ask, "What in
the world is she thinking?! A rhythm album going into a 'most memorable'
category?!" And, yes, you'd have a point.
Greensleeves Records has been putting
out a host of rhythm albums (Tunda Klap is number 48 in the series) and
they are fun for the first go-around, but a little (no wait... very) monotonous
after awhile.
But I know that if you're like
me, there are certain rhythms that just stand out: Stalag 17, Bookshelf,
X-5 was a big one for me, Life, Jah Jah City, Trifecta... I even gravitated
towards Log On and Masterpiece. So now we have Tunda Klap. And yes, if
you could include your own audio interpretation of "Tunda Klap",
that's what you get!
This rhythm is produced by the Renaissance
Sound System Crew--Delano, Dre, and Michael get all the right artists
on this riddim: Elephant Man, Ward 21, Vybz Kartel, Spragga Benz, Wayne
Marshall, Bounty Killer, and Predator (of "Mad, sick, head no good"
fame). Again, think TUNDA KLAP.
So, now the key is to embrace
all the references to anacondas, tekking buddies, flinging it around,
and women who can't get enough... and you'll be satisfied. Okay, joking
aside, this is a very strong rhythm album and I listen to it often. It's
especially good if you need to create some adrenaline before a night out
on the town.
Might I add that the surprising
highlight for me was Daville's track, "Gal Yuh A Murder." His
singing voice in contrast to all the deejaying was refreshing. Also honarable
mention goes to Mr. Vegas' track, and of course the '"classic"
"Tekk" by Vybz Kartel.
P.S. What the heck is Capleton
doing on this album?!
Laura Gardner is the Founder
and Editor-in-Chief of http://www.jahworks.org.
In addition to her journalistic contributions to various online and print
publications, she is a graduate student of somatic psychology, and has
worked alongside the Monterey Bay Reggae Fest, San Francisco's Reggae
in the Park, and other music festivals in the Northern California area.
If you're interested in
submitting music for review, please send 2 copies to:
Laura Gardner, Jahworks.org, PO
Box 9207, Berkeley, CA 94709, USA.
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Jah
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