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Giant Panda Guerilla Dub Squad - Live Up! Under no circumstances should you be fooled by their odd name. Rochester, New York-based Giant Panda Guerilla Dub Squad is one of the hardest American reggae bands, and they prove it on this alternately kicking and laid-back set of live performances recorded in San Francisco and Colorado in 2008 and 2009. There's rock attitude in the urgency of their lead vocals, their sometimes brisk tempos and the way their guitars and keys occasionally stretch out, but the cues they take from one-drop reggae and dub are what really fuels the songs. They start off going from the funky pace of "Blacktoke" to the trancelike melodica instrumental "International Mother" without losing an iota of tightness and continue riding a wave of meaty, bass-anchored songs that sound remarkably clean for a live album yet don't skimp on toughness ("Pockets," "Work Very Hard"), insight ("Easy Way Out," "In These Times,") or pure vibes ("Dub One"). I suppose you could rightly call this reggae rock or, given the length of a few of the songs, jam band reggae, though it's better to think of it as simply a solid, satisfying combination of what Jamaican reggae has taught and what the American players and singers who comprise Giant Panda Guerilla Dub Squad have learned from it. And any band bringing reggae music to the masses as well as this crew deserves full attention and full support. While their blazing studio album Slow Down is also one you ought to investigate, seek out Live Up! for a jolt of energetic, dubby live reggae that really shows G.P.G.D.S. in action. -Tom Orr Self-Released	Rocky Dawuni - Hymns For The Rebel Soul "Afro Roots Music 4 Global Consciousness" states the inner cover of this CD, and I suppose that's about as good a description as you're likely to find for its tasty blending of roots reggae with African tradition, pop, soul and hip hop. Rocky Dawuni is from Ghana but Hymns for the Rebel Soul was recorded mainly in Los Angeles (plus one track in his homeland, one in Israel and one in Finland, which I guess partially accounts for the "global" portion of that opening quote), and his voice and overall sound remind me at times of the reggae side of late Nigerian great Sonny Okosun. Dawuni doesn't come across quite like anyone else, though. The way the opening "Download the Revolution" hits your ears in conscious, topical and humorous style all at once is proof of that, and it's not the only track here that'll get deep into you. "Extraordinary Woman" is just the sort of song that reggae-shy radio programmers ought to get an earful of, "Master Plan" churns like a less caustic take on Afrobeat, "Freefall" and "Heads Up High" pit Dawuni's impressive falsetto against stinging, swinging arrangements to the benefit of all, and the absolutely gorgeous "Jerusalem" blends reggae riddim, Hebrew modality and unifying lyrics that add up to a piece of music every bit as anthemic as the Alpha Blondy song of the same name. The year is still young, but Hymns for the Rebel Soul already looks likely to take the prize for 2010's high point in African reggae. Get it without hesitation. -Tom Orr Aquarian Records
Conrad Crystal and Suga Roy - Suga Roy, Conrad Crystal and the Great Reggae Icons I wasn't all that familiar with Suga Roy and Conrad Crystal before this collection came my way, but if the esteemed company they keep here is any indication, they must be a pretty big deal who know how to pull some strings. They certainly hold their own vocally where they could have easily been overwhelmed by the (indeed iconic) bigger names with whom they sing and chant, so I've got to hand it to them for that. Plus it doesn't hurt that a few very familiar songs and riddims are revisited along with some inspired originality. There's goodness from the get-go as Toots Hibbert chimes in on the opening "God Bless You," sparring with Roy and Crystal over a nyabinghi/hip hop arrangement. Roots are planted deep via a wicked cover of "See Dem a Come" featuring Gyptian, Max Romeo chiming in on "Chant Rasta," the Congos helping to re-cast Third World's "Jah Glory" as simply "Glory" and Dennis Brown (okay, so not all the guest artists showed up live in the studio) getting respectful embellishment on "Jah Can Do It." If all that's not enough for you, consider Marcia Griffiths and Tashina adding pure elegance to "Mama Say," Dillinger having a hand in making "Cocaine Round There Brain" a considerably better song than his own referenced original, the serious fun of Roy and Crystal joining Eek a Mouse for a trip to "Disney Land" and getting smoky with U Roy on "High Grade" or the stunning "Early This Morning," which closes the album in fine style as the two engage in some conscious testimony alongside Big Youth. And speaking of youth, Roy and Crystal acknowledge the plight of that demographic with "Youths Dem a Cry" a lament that sees them joined by- gasp! -no guests whatsoever. There's more, including turns by Lee Perry, Inner Circle and others, but trust me, you don't need any more specifics. Just know that this richly star-studded affair overcomes the occasional misstep and more than lives up to the promise of its title. -Tom Orr Fire Ball Records	The Red Earth Collective Featuring Soothsayers Horns - Red Earth Dub mixed by Manasseh If you found yourself spellbound by the recent Soothsayers/Red Earth Collective collaboration One More Reason, snap out of it long enough to get this dub version and then prepare to be taken even deeper and higher. At the hands of master mixer Manasseh (try saying that 10 times fast), minute details of riddim construction are revealed even as the reggae/Afrobeat/jazz/funk moves nonstop. There's an almost supernatural tightness to the drums and bass while they support chopped and picked guitars, moody keyboards, deft percussion and the symbiotic horns of co-producers Robin Hopcraft and Idris Rahman. Some spooky, echoey sonic touches are added here and there, though things are fairly minimal as far as effects go. The emphasis is on the grooves and Manasseh takes what was already rock solid and hones it to an extraordinary degree, keeping vocals largely out of the picture and spotlighting the crispness of the music and the expertise of the players playing it. So "Bad Boys" stays plenty bad in dub form, "Can't Live Without it (Music)" jumps to a next level of excitement, "River Effra Dub" vividly recalls Jamaican sounds of the '70s and "Dub Africa" pays tribute to Fela Kuti in sound and spirit. As a companion piece to One More Reason (which you really must obtain if you haven't already) or on its own, Red Earth Dub is truly some of the best dub on Earth. -Tom Orr Red Earth Records
Tommy T - The Prester John Sessions He's made a name for himself as bassist for NYC Roma rockers Gogol Bordello, but Ethiopian-born Tommy T is in a very different groove here. Awareness of his home country's music has exploded in recent years, and new fusions of it are beginning to surface regularly through the work of Ethiopians like Mulatu Astatke and outsiders like the U.K.'s Dubulah and America's Either/Orchestra. So while mixing traditional Ethiopian sounds with jazz, dub and funk can no longer be called groundbreaking, it's hardly commonplace. And Tommy T's combination of ethnicity, attitude and musical know-how, plus a cast of supremely skilled musicians billed as Abyssinia Roots Collective, makes The Prester John Sessions a work of many wonders. The CD takes its title from the name of a legendary king who was said to be wise, wealthy and philanthropic, prompting many an expedition that sought his realm in Ethiopia and elsewhere during the Middle Ages. Though his kingdom and riches were never found, this disc provides compensatory abundance. Ethiopian-structured arrangements and instrumentation add zest to jazzy workouts, dub-soaked reggae riddims pulsate with the blood of their spiritual home and a couple of vocal contributions by Ethiopian sensation Gigi send additional tingles to the spine. The campy (if fun) bonus track featuring Gogol Bordello's Eugene Hutz ends the album awkwardly, but that's okay. Everything that comes before is worth a king's ransom. -Tom Orr Easy Star/Bio Rhythmic	Tony Williams - Simple Things It's been long since proven that reggae doesn't have to be recorded in Jamaica to sound authentic. It just so happens this disc was, and with participation from the likes of Sly Dunbar, Chinna Smith, Sangie Davis, Dean Fraser and Bongo Herman at that. The artist with his name above the title is an American, though. Tony Williams may bring a distinctly Yankee sensibility to songs like the autobiographical "Up in Idaho," but most of his offerings- "Book of Life," "Son of Man," "Earth is the Lord's," et. al. -are informed by a perspective of a universal kind. Ideologically he's goes for a Twelve Tribes Rasta/Christian viewpoint, and his clear-minded spirituality enriches the music as much as an easygoing vocal style that fits snugly with the common sense sentiments of the title track, a smattering of lover's rock, some pop and dancehall leanings and ongoing connections between America and Jamaica that are appealing throughout. Williams' direct approach, such as when he cautions those in power that they will one day be held accountable on "Mr. Bossman," is both humble in spirit and firm in conviction. Where a lot of reggae artists are exalted as prophets or rebels, Williams comes across more as just a guy with musical tales to tell and a foundation of reggae on which to tell them. Simple doesn't have to mean lacking in depth or smarts, and the fine music here has a good measure of both. -Tom Orr Orthodox Muzik
Bitty McLean - Movin' On Sly and Robbie collaborating with the man who's arguably the best lover's rock singer in the UK nowadays? Lead me to it. Delroy "Bitty" McLean was born in Birmingham, England (the same city that gave us UB40, with whom McLean worked early on) and from a young age he absorbed the style and influence of such classic Jamaican vocalists as Alton Ellis and Ken Boothe who were popular on both sides of the Atlantic. Like his yardie predecessors McLean began singing at sound system gatherings, eventually beginning his recording career in the early '90s. An Otis Redding tribute album (also anchored by Sly and Robbie) and a collection of new songs over Duke Reid riddims have been high points thus far, and with Movin' On, recorded in Kingston, New York, Miami and London, McLean indeed sounds like an artist progressing into even greater things. His soul-tinged tones fit the love songs here like a silk glove, oozing sincerity and never stumbling into schmaltz. And the few tracks that aim for the spirit rather than the heart, including the melodica-mystical "Jahovia" featuring Johnny Osbourne, reveal a conscious direction that McLean travels with equally firm footing. Sly and Robbie re-use some old riddims that once propelled songs by the likes of Black Uhuru and Ini Kamoze but give them new colors, opening up space for players Robbie Lyn, Dalton Browne, Willie Lindo, Dean Fraser and McLean himself (on keyboards) to give the musical backing the same grace as the vocals. Interesting that a man whose name bespeaks small things should prove to be such a sizable talent, but trust me, this is a record big on modern reggae goodness. Now move out and buy Movin' On. -Tom Orr Taxi Records/Silent River	Sly and Robbie Present Chezidek - I Grade Chezidek's reddened eyes gaze piercingly out from the cover of this disc, an unmistakable indicator that there's serious work afoot. Sure enough, plenty of consciousness echoes throughout these 14 tracks, the basis of which were recorded at the same sessions that produced Horace Andy's fine "Livin' It Up" album from a short while back. Not that Chezidek is all business. He can ease through a love song like "Tonight" or "It's You, Girl" in a voice similar to that of the Mighty Diamonds' Tabby Shaw (with more singjay lilt) in the way it can make heavy subject matter a shade easier to absorb and render sweetness even sweeter. Laying the groundwork is a Riddim Twins-led band of Jamaican studio greats who accentuate Chezidek's every vocal move to near-perfection, including guitarists Dalton Browne and Rad Bryan, Robbie Lyn and Ansel Collins on keyboards, Sticky and Scully handling percussion, Dean Fraser layering horns and a small army of harmony singers. The way the disc balances the blistering ("Devil You Cah Bully We Out," "Righteous Name") with the breezy ("Girl I Like You In My Life," the herb-fueled "Keep I Rolling") has the feel of the time when roots reggae was evolving into early dancehall: still commanding attention but valuing a little lightness in the mix. Chezidek once again proves himself one of the newer roots singers to keep an eye and ear on. I Grade definitely makes the grade, and then does it one better by including a second disc containing dub versions of every song. This one's a must. -Tom Orr Slam Records/Tabou 1
David Gould - Feast of the Passover I've long been intrigued by reggae's use of symbolism- the Star of David in particular -more commonly associated with Judaism. It's rooted in the Rastafarian belief that the tribes of Israel had an African identity which has gone largely unacknowledged. Such a belief goes back to the beginning of the Rasta movement as well as the earliest days of reggae, and for a reminder one needs to look no further than the fact that one of the most recognizable reggae songs of all time is titled "Israelites." Nowadays, it's Matisyahu who tends to come to mind when thoughts of reggae and Judaism merge. Well-known though he's become, he's neither the only one nor the best to make the reggae/Jewish connection. King Django's Roots and Culture release from a couple of years ago was a sonically and ideologically satisfying meld, and now ex-John Brown's Body bassist David "Solid" Gould weighs in with Feast of the Passover, which smartly recasts the music of that Jewish holy day in reggae terms. The disc does so mainly via instrumentals, beginning with the meditative nyabinghi of "Divine Order" and shaking up the faith a bit by mixing wailing guitars and equally wailing sound effects on "Ten Plagues," shooting "Who Knows One?" full of ska, adding appropriate animal sounds to the flute that stirs "Goat's Milk" and ending on a dry funk note with "Next Year in Jerusalem." Vocal tracks are the minority but stunning nonetheless, employing Leonard "The Ethiopian" Dillon on "Jah is Mighty" and a chorus featuring the Silvertones and Pressure Cooker's Craig Akira Fujita in a cry for "Peace." Gould is at the helm on bass as well as composing, arranging, producing and leading a crackling band that includes Tommy Benedetti on drums and pianist/guitarist Nathan Silas Richardson, also from the John Brown's Body camp. And if you should be harboring suspicions that there's anything goofy or kitschy about this music or the idea behind it, stop worrying. It's real, spiritually-infused reggae (even got a couple syncretic shouts of "Rastafari!" in there) as good as any ever created for the purpose of bringing man closer to God. -Tom Orr Tzadik	Daweh Congo - Ghetto Skyline This isn't a new release. The copyrights on some of the tracks go back as far as 2006 and the whole thing bears a 2008 date. Even so, it just recently came my way and is more than worthy of mention. While I've read of comparisons between Daweh Congo and Burning Spear, to my ears he sounds more akin to later roots singers like Pablo Moses, though his sometimes tongue-tripping delivery could fairly categorize him among the more upright of today's dancehall crowd. A contemporary aesthetic is likewise evident in Ghetto Skyline 's musical backing, a mixture of real instruments and programming that's more roots revival than foundational. But however you peg it and whatever you call it, it's a collection of thoughtful, heartical tunes voiced by a man whose motivation seems to be a desire to stay "Straight Up Conscious," as one song title here asserts. Still, Daweh veers off what might be considered the straight path from time to time, going for a kind of hip hop blues sound on "Daybreak," taking cues from an inner-conscience spoken voice urging us to "Live and be Happy," and unleashing "Ganja Baby," which may be the happiest song on that subject since Rita Marley's "One Draw." Note how Daweh is gazing seriously on the front cover of this disc but smiling mischievously on the back. He's not so intense as to be above having a bit of fun, and he shares many a side of himself on this wide-ranging and enjoyable work. -Tom Orr Goldheart Music
Morgan Heritage - The Journey Thus Far Offspring of Denroy Morgan and reggae's top family band, Morgan Heritage has continually combined roots sensibility with hints of pop, hip hop and rock, pleasing the reggae massive while keeping crossover possibilities in the picture as well. As some of their members branch out into solo projects, the time seems right for a look back at the work they've done up to now. The Journey Thus Far is a solid representation, covering the deep roots of "Protect Us Jah," "New Time, New Sign," "Jah Seed," "Meskal Square" and the anthemic "Don't Haffi Dread" in addition to such lighter fare as "Let's Make Up," "I'm Coming Home," "Your Best Friend" and "Jump Around." The Morgans have always been expert mixers of business and pleasure, so it's no surprise that the 20 cuts here -including new ones "Here to Stay" and "Guards Up"- are a wide range of upfulness, lover's rock and tunes designed to get the dance in motion. For longtime followers of the band, this collection serves as a re-connection to the depth of material like the autobiographical "Brooklyn and Jamaica" and "Nothing to Smile About," which laments the current conditions inna yard. And those same longtime fans (of which I am one) will naturally weigh in on both sides of the fence as to whether the songs selected truly show Morgan Heritage in the best possible light. While I might have swapped some songs for others, I nonetheless found this to be a rich array of offerings from a band that's done a lot to further the cause of reggae music and no doubt has many good works still to come. -Tom Orr VP Records	Various Artists- Strictly the Best 40 I must admit I haven't been a follower of VP Records' Strictly the Best CDs. To me, "best" is a dicey word and "strictly the best" is even more questionable. And it's a phrase that can only diminish in meaning after being used as many times as has been the case with this series. Okay, now that I've gotten that bit of griping out of the way, let me say without reservation that the 40th installment of the series is a very fine set of reggae, showcasing a good many artists who are new to me (perhaps I should've paid attention to those previous 39 after all). Love songs are the majority here, with the always-dependable Beres Hammond getting in a good one on "No Goodbye" and Herzon ("So in Love"), Maikal X ("The Best in You") and Million Stylez ("Me & You") all proving to be first-rate crooners over full but unobtrusive riddims. Jah Vinci (cute name) could've learned a thing or two from the others, given how dreadfully (hey, I can use puns too, you know) his otherwise nice vocals are undermined by cold, canned backing on "Baby Girl I am Alone." But I'm not finished talking about the highlights yet, which beside the aforementioned include Courtney John's crackling rocksteady throwback "Lucky Man" and Queen Ifrica's dignified, conscious "Lioness on the Rise." There's also the John Legend/Buju Banton opener "Can't Be My Lover" to recommend, Busy Signal making Phil Collins' "One More Night" bearable, and sweet offerings from Gappy Ranks, Fiona and Red Roze. Actually, the only track to skip at all costs is Chuckle Berry's inane "Good Life," which sounds about as exciting as Homer Simpson serenading a six pack (right down to the recurring "mmmm"). I'll let others to decide if this lot is deserving of its title. All I know for sure is that I'm liking it a lot and as such would recommended it. -Tom Orr VP Record
Larry McDonald - Drumquestra A strictly reggae album this isn't, so why include it here? Because veteran Jamaican percussionist Larry McDonald made his initial splash in ska, rocksteady and reggae before going on to play with an array of international artists in various musical genres. He's made many a return to reggae in his nearly half-century career, though, and his current status as percussionist in both David Hillyard's Rocksteady 7 and Dub is a Weapon show his binghi-based chops to be a mighty as ever. Drumquestra is the septuagenarian McDonald's first solo album, and not surprisingly, percussion is the sole form of instrumentation. But before you go thinking the disc must therefore be lacking in genuinely musical sounds, give a listen and reconsider. Mallet instruments (marimba, vibes and the like) provide melody, soaring and shimmering alongside congas, bongos, djembe, bells, cajon, triangle, shakers, drum set and a whole lot more (including rocks played inside a cave). Rhythms rooted in Jamaica, Africa, the Caribbean, Brazil, Cuba, the inner city and the whole world flow in tight layers while vocals are sung, rapped, chanted, scatted or spoken as the situation demands. From the straight up reggae of "Head Over Heels" and jazz-based pieces like "Tootie" to the dub poetry of "Free Man Free (I the Slave)" and conscious rap of "Brother Man," Drumquestra is an organic, earthy jam session that will dazzle anyone who loves great grooves. Vocal contributions by the likes of Toots Hibbert, Mutabaruka, Bob Andy, Stranger Cole, Shaza and Ras Tesfa add to the festivities as solidly as Sidney Mills (both player and producer), Sly Dunbar, Sticky Thompson, Bongo Herman, Alvin Haughton and many more bolster the beats. Larry McDonald is one of the most noteworthy musicians ever to come out of Jamaica, and his perennially skilled hands combine with some very good company to make this lively release a real masterwork. -Tom Orr MCPR Music	Eljai - I Know Beginning and ending his current release with songs that envision a better world, Eljai, who was born in Belize and presently lives in Southern California, also has plenty of worthwhile things to say in between. His mid-range voice can be pleasant, pleading or fiery, bearing a blend of r + b tones and reggae cadences that's both smooth and swinging. And he knows when to dig in and when to lay back, vocally and lyrically. Opening track "The Leaders," for example, is not as concerned with taking people in positions of power to task as it is with painting pictures of what could be. Similarly, "Blessed" (featuring Capleton) is an effective fusing of relaxed groove and aggressive chant singing. Eljai gets further in the spirit on "Jah Cares (Forever)" where acoustic guitar punctuation adds grace, and the title track's grafting of blood-and-thunder lyrics onto a riddim spun off from Bob Marley's "Natural Mystic." Elsewhere he's got examinations of one's own conscience on his mind via "Wise Up," of the foibles of others on "They Don't Know" and of love's sweetness on a few songs, the best being "I Just Wanna Know," a duet with Trish Love that merrily finds a common ground somewhere between mento and dancehall. A refreshing disc of varied sounds that run both cool and hot. -Tom Orr Jah Mix Entertainment
Eating Betty - Every Spoil a Dub I rather like mysteries, so I'm content to leave unanswered the question of whether or not Eating Betty is a band or a one-man dub outfit along the lines of Ryan Moore or Solomon Jabby. I absolutely love dub, and it's no mystery that whoever comprises the enigmatic Eating Betty does too. With its heavy drums and bass, slightly eerie effects and pulsating forward motion, Every Spoil a Dub sounds as if it could have been laid down and mixed at some smoky Kingston studio in the late 1970s. It's either all real instruments or one of the better approximations I've ever heard and the influence of dub masters like King Tubby and Scientist is present in every echo, crash and boom. Actually, close listening reveals that E.B. may have an ear toward more contemporary outfits such as Dub Syndicate also (particularly in the use of odd vocal snatches), but whatever your ears detect, the bottom line here is wicked, crushingly good dub that will keep you spellbound from first fill to fadeout. At the same time Every Spoil a Dub came my way, I also received an earlier Eating Betty release called Reverbalism that actually sounds a bit more modern while still evoking the golden era and shades of Augustus Pablo in his more progressive phase. If you've a head and heart for dub, you'll want both discs in order to properly rejoice in the fact that dub of this sort is still being made. And superbly, at that. Let's hope there's more Betty yet to consume. -Tom Orr ACEtone Records	Dominic Balli- Public Announcement Reggae from a Christian perspective is an idea that a lot of listeners have been slow to warm to or even downright suspicious of. For me it's all about the authenticity of the music and the message it sends. On those counts, California-based Dominic Balli succeeds with his blend of reggae, hip hop, rock, dancehall and a love for Jesus Christ. Hard-hitting roots tracks like "Rebel Movement" and "All We Need is Love" echo sentiments any reggae lover can get behind, revealing an approach that's sincere throughout and never overly didactic. Nor is it formulaic in sound or lyrical content. "Zion Mourns" is a swaying acoustic Latin interlude that's unexpected but welcome, "Bread for the Broken" (featuring Speech of Arrested Development) seamlessly pairs its one-drop with subtle break beats before moving into a final section of piano, strings and children's chorus, and the untitled, uncredited final track skanks along just fine on the strength of only an unplugged guitar and Balli's unpretentious vocals (an asset that benefits the whole album). Those who enjoy the hybrid reggae of American bands like SOJA will find this album similarly engaging. -Tom Orr Dominic Balli/iLLab
Kiddus I- Rocking Rebel Volumes 1 & 2 Not only does this double CD set go a long way toward filling in some of the blanks as to what Kiddus I was up to between his initial late '70s splash and his recent resurgence, it provides some solid roots music as well. Reportedly recorded in the early 1980s before being socked away and widely assumed to be lost, a cassette copy of the songs resurfaced in late 2007. They've now been officially released, and while the sound quality is certainly rough and hissy despite some remastering, there's plenty 'nuff good points about the music to compensate for any sonic shortcomings (a few hardcore audiophiles might be bothered; I wasn't). Kiddus' signature tune "Graduation in Zion" kicks things off, and the easygoing, spirited vocal delivery which made that song so enduring is likewise present on this collection's storming title track, lengthy meditative jams like "Little Ones" and "Flying at Knots," the disco-ish "Balance," a few love songs and such sprightly offerings as the soul-tinged "Cross Over," which sounds like it could have easily been, well, a crossover hit. Esteemed players like Tyrone Downie, Horsemouth Wallace, Chinna Smith, Robbie Shakespeare and Cedric Brooks are in top form on these recordings, which took place at mainly at Tuff Gong and Harry J studios. The second disc contains a few dubs, spotlighting the solidness of riddims that amply support the simple but potent vocal quality Kiddus displays throughout. This is a potent selection of varied reggae with the charm of a long-lost jewel that, despite being a little dusty, still shines. Give thanks it didn't stay hidden. -Tom Orr MVD Audio/Sacred Bull	Don Carlos - Live at Reggae Rising I don't know exactly what year the performance on this concert DVD took place, but it looks and sounds recent and Don Carlos is certainly in strong form as he runs through some of his best material for an appreciative audience at Northern California's annual Reggae Rising Festival. Attired in a sharp Sunday-go-to-meeting suit, Carlos moves and sings nimbly with support from a nice big band that includes a horn section, backup singers and percussions in addition to the bass/drums/guitar/keyboard core. The camera tracks the singers and players with cool efficiency, revealing all involved to be very much in the groove. Things are as they should be as far as the songs selected, with the opening "Living in the City" and an appropriately searing version of "Laser Beam" sounding particularly good. Sure, I would have welcomed the addition of "Just a Passing Glance," but that's just a personal quibble. Actually, if I was to change anything here, it might be to take the short interview segments that come between each song put them all in one place among the special features. Don Carlos is a man with some insightful things to say, but having the interview clips the way they are interrupts the flow of the music. Not to the point where it spoils the performance, mind you, so don't let any such notions stop you from seeking out the DVD. It's a dandy, with Carlos in effortless command in front of both the Reggae Rising massive and on three bonus songs recorded with a smaller band and before a smaller crowd at a club in Santa Barbara, CA. Either way, you get to see a reggae master holding sway with a warm voice and humble manner that lets the good vibes flow. -Tom Orr MVD Visual
Kiddus I - Green Fa Life Kiddus I is best known, even 30-plus years down the line, for the song "Graduation in Zion" from the 1978 movie "Rockers," that seminal dramatic/comedic look at the Jamaican recording industry. Memorable though that song and scene were, they didn't exactly result in a sustained musical career for Kiddus, especially in comparison to some of the other reggae stars who appeared in the film (Burning Spear, Gregory Isaacs, etc.). Maybe it was a lack of opportunity; maybe it was his own design, but precious little has been heard from this singer (who got his start in Ras Michael's Sons of Negus) in the ensuing three decades. While his entry in Earl "Chinna" Smith's unplugged Inna de Yard series of albums led to renewed interest in the man and his music, some missing pieces about Kiddus have yet to fall into place. Wikipedia's entry on him, for instance, states he was born in 1954 while his presumably more reliable myspace says 1944. Perhaps it's best just to wipe the past clean and enjoy today's Kiddus I. The best way to go about it is to seek out his new CD Green Fa Life. Chinna still has a hand in the music as producer and player, and the resulting sound is tracks that fairly burst to life with not only a rock-hard drum and bass foundation, but plentiful riddim and lead guitar accents, keyboard dramatics, percussion, horns, flute and coolly intoning female backup singers. And then there's Kiddus' lead vocals, which sound not so much weathered as refined by age. He grabs hold with an authoritative talk/sing style from the kickoff of "Different Strokes" and rolls out a cheekier delivery on "Hard Core," an easygoing near-croon on "Rock, Rock, Rock" and "The Line" and elsewhere makes up for what he lacks in range with dry clarity that's so patois-free he almost doesn't sound Jamaican. He's never less than perfectly suited to the roots rocking accompaniment, though, and his lyrical points of view on love and life are seldom commonplace. His perspective can include the simple extolling of music's pleasures as well as more esoteric concerns such as those of "Tune In," where he singles out such women as Harriet Tubman, Nanny the Queen of the Maroons and Mother Teresa as having "turned on." It's a sweet, slightly bizarre moment, and there are others like it to be heard. I had no idea what to expect when I put this CD on, but by the time it was over I was energized and inspired by the invigorating reggae it contained and the spunk of a singer who sounds like he's making up for lost time. By all rights, Green Fa Life should catapult Kiddus I from whatever-happened-to status straight to the forefront of today's reggae. -Tom Orr Naya Records	Omar Perry - Can't Stop Us Being the son of reggae royalty means being in the company of several Marleys, Andrew Tosh, Tarrus Riley, Akila Barrett and others. And even if the offspring isn't looking to fill anyone's shoes, there are expectations that the surname brings. Given that fact in addition to the fact that Omar Perry is the son of Lee Perry, reggae's resident mad genius producer/performer, there may be even more perceived baggage attached. Sure, Ziggy Marley, to site the most prominent example, has been accused of being a mere imitation of his iconic father. So if someone had never heard the music of Omar Perry (which I admit I hadn't before this CD came my way), would or should they expect the younger to have taken the majority of his cues from the sometimes-bewildering style of the elder? No, they shouldn't. Omar Perry (who was a kid when he began vocalizing on a few tracks produced by his father) clearly isn't interested in being a clone of Lee Perry the singer. Omar has a considerably stronger voice, doesn't employ stream-of-consciousness rants or self-promoting lyrics and, as the front cover photo shows, sports a far less eccentric look than the old man. And the production values on the CD are straightforwardly modern, not vintage Black Ark or some contemporary approximation thereof. So let's talk about the music itself. The disc starts strongly with "We Wah," a militant, clavinet-accented shot of niceness that Perry voices like a more restrained (and more roots) version of Buju Banton or Sizzla. He shows further vocal prowess on the tongue-tripping title song and even a lighter offering like "Need You" soars thanks to an assertive riddim and Perry's assured chant singing. It's only when things are too rap-ish or rockish ("Right Right Left," "Boom Town") or pop generic ("Bring Me Joy," "Do You Love Me") that the album suffers, though relief arrives in the form of the nyabinghi "911 (Memorial)," "Save the Earth" (which cops a Super Ape-era Lee Perry riddim) and the upful closing trio of "I'm Rebel," "The Ghostmakers" and "Spiritually." So if you want to break it down by the numbers, there's 16 tracks and a dozen of them are plenty good enough to recommend Can't Stop Us. Omar Perry packs the vocal strength and songs necessary to not even have to worry about being in his father's shadow. He's got his own good thing going. -Tom Orr Makafresh/Makasound
The Black Seeds - Solid Ground New Zealand's reggae scene grew steadily after awareness of the music started to take hold in the '70s and Bob Marley and the Wailers touched down for a concert there at the end of the decade. The country's indigenous Maori people identified with the themes of hardship and struggle in the music and folks all across the spectrum enjoyed the riddims that backed the messages. Today, reggae-rooted New Zealand bands like Katchafire, Fat Freddy's Drop and Three Houses Down show the influence of the original Jamaican sound while finding their own voice as well. The Black Seeds have been popular in their New Zealand homeland for a number of years and a sizable draw in Europe, and with their CD Solid Ground now getting a wider release in such key areas as my American homeland, more of the planet will be treated to their combination of pulsating grooves, thoughtful lyrics and subtle expanding of reggae parameters. It appears to be no coincidence that The Black Seeds are both label and tour mates with American reggae band John Brown's Body: Solid Ground resembles JBB's best work as far as the music being unmistakably reggae and yet clearly created with a sensibility that does not seek to merely cop every move from the Jamaican playbook. In The Black Seeds' case, that means a recurring funk edge to the music, production that's equal parts latter-day Studio One and modern chill (lots of keyboards) and an approach to singing and songwriting that imitates no one. The vocals are often a solitary affair, to the point where harmonies or call-and-response are startlingly lovely when they do occur, and the approach allows simple yet potent lyrical sentiments like "people don't close the door on love" (from "Send A Message") to sink in amid thick, murky arrangements full of keyboard, guitar and horn hooks. This is one of those albums that doesn't benefit from anything resembling blow-by-blow descriptions, so I won't bother with such. Instead let me nail some key points: Every song in the disc's hour-plus running time is very good at least and excellent at best; the band is comprised of supremely skilled players and they show it by ending the album with an instrumental followed by a dub; the outer space design of the CD packaging is damn cool; and Solid Ground is as marvelous a work of modern reggae as you're likely to find in any corner of the world today. -Tom Orr Black Seeds Ltd./Easy Star Records	10 Ft. Ganja Plant - Bush Rock For those who don't possess an actual herb stalk of gargantuan proportions, fret not. A plentifully mind-altering state can be legally achieved by obtaining and listening to the music of an outfit who call themselves 10 Ft. Ganja Plant. As to who the players and singers comprising this band might be, your guess is as good (and quite likely better) than mine. No credits or information of any kind are listed, though according to a sticker affixed to the cover of their latest CD Bush Rock, members of John Brown's Body and the lead vocalist from Slightly Stoopid are involved. But 10 Ft. Ganja Plant doesn't sound like either of them. As their botanical moniker suggests, they go for the deeper roots, offering up dubby instrumentals flavored with ingredients like melodica and flute, riddims reminiscent of the 1970s, songs that promote smoking buds over smoking guns and atmospherics weighing in somewhere between Soul Syndicate and Dub Syndicate. The disc is just a shade under 40 minutes in length but every second is pure pleasure, from the far east vibe of the opener "Machete Strike" and militant beat that propels "Set Me Free" to restrained yet razor-sharp musicianship gracing the space both between and within the tracks that feature vocals. Mysterious though they are, there can be no doubting 10 Ft. Ganja Plant's ability to create genuinely great reggae that sure does (forgive me) grow on you. -Tom Orr Reachout International Records/I Town
Tony Chin - Universal Love In a career that includes rhythm guitarist for the legendary Jamaican band Soul Syndicate (in its various guises) as well as being a key member of Jack Ruby's Black Disciples, American pop reggae band Big Mountain, the recent Tosh Meets Marley touring crew and countless studio sessions, Tony Chin was an in-demand team player long before he made his name as a solo artist. He's lived in Southern California since the early '80s, thus accounting for the many times I've seen him onstage in these parts, but his ongoing presence in reggae music bespeaks his Jamaican roots as much as his Jamaican, Indian and Chinese heritage helps account for his unique talent and perspective. Universal Love is Chin's latest album under his own name, and not surprisingly, it's a quality release on every level. He's got an animated but sincere singing style that serves the material well, including the heartfelt yearnings of "Samantha," "Prisoner of Love" and "Baby Come Back," such thoughtful meditations as "Rasta Na Bow" and "When Will It End" and celebratory declarations like the opening "Reggae Beat." The songs are mainly originals that amply display Chin's compositional skills (he's the guy who wrote the enduring "Stalag 17" riddim, after all), though he also tackles Bunny Wailer's "Let Him Go" in classic style. A whole heap of notable JA and CA players provide backing, bolstering 16 reggae tracks that make room for roots, pop, reggae rock and nyabinghi and reach a dramatic climax with "Indian Nation," a plea to the Almighty on behalf of those indigenous folks who still aren't getting a fair shake. As crucial as Tony Chin's longtime contributions to group efforts have been, it's great to see and hear him at the helm of this very fine music. -Tom Orr Underdog Records	Don Carlos - Changes It seems odd that a veteran reggae singer like Don Carlos, he of the turban dreadlocks and Merlin-ish beard, would release a self-titled album like some up-and-comer looking for name recognition. I suppose that for his first solo release in a decade he's just looking to start again with a clean slate after numerous notable records on his own and as a member of the '90s incarnation of Black Uhuru. (A bit of good guest vocalist work with U.S. reggae band Groundation in recent years, too.) Doesn't really matter, since he's in peak form on a set of songs that combine the snap of early dancehall with unpretentious themes of love and consciousness. Carlos has always had a pleasantly sandy voice and a clear delivery that doesn't lean too heavily on patois while consistently imparting lessons worth learning like the warning to rude boys on "Go Easy" or common sense of "Changes (Things in Life)." "Lady Luck" and a few other lovers' tunes go for a softer, almost easy listening approach, though Carlos knows when to stoke the fire and does just that with "I Love Jah Jah," "Hallelujah" (featuring Chaka Demus) and particularly "Oh Lord," which sets the reggae beat aside and instead rides a soul/gospel feel that Carlos' seasoned pipes handle with assured grace. For good measure there's two arrangements of a song called "My Life," one brooding and ballad-like, the other sporting an African/Caribbean lilt. It goes to show what a great singer Don Carlos is (remember the name!) no matter what the setting. A long time coming, but this disc is a strong addition to his body of work. -Tom Orr Liaison Music
Solomon Jabby - Firmly Planted in Dub A contemporary American who creates reggae music that sounds classically Jamaican, Solomon Jabby's work is aimed at those who crave the roots and he's hit the mark once again with his latest CD. Much as I try to steer clear of the term "old school" because of the implications of irrelevance that might be attached, such a phrase meant in the very best sense gives an idea of how vintage (another potentially loaded term) Solomon Jabby's reggae comes across. In case you're not familiar with Jabby (one of an increasingly noteworthy number of Christian reggae artists), here's a bit of background: he's a multi-instrumentalist, composer, arranger, singer, producer, engineer, mixer and general studio whiz who made two albums of completely do-it-yourself dub before his first vocal release, Firmly Planted, came out a couple of years ago. By that time he'd changed his home base from Atlanta to Los Angeles and was hiring other musicians apart from himself, yet still remaining very much the guiding force of a sound influenced by the production styles of King Tubby and Augustus Pablo and heavily spiritual roots singers like Yabby You. All of Jabby's releases are indispensable for roots aficionados, though as his first dub version of an originally non-dub album, Firmly Planted in Dub is of special interest. Take note of the fact that the CD itself looks like a vinyl 45, for the music therein matches that look by recalling the 1970s pre-digital days of the absolute best Jamaican dub. Real instruments, lovingly applied effects, relaxed but intense riddims and echoey mysticism flow like the River of Life by which Jabby plants his roots as he simultaneously accesses the dub sound of old and makes it his own. If you don't have Firmly Planted, fear not. This dub reworking is massive enough to stand on its own. If you've heard the source disc, you'll bask in the dubs and notice added original material including "Rub-a-Dub Version," on which Jabby, in addition to all his other talents, cuts loose with some terrific U Roy-style deejaying. Devotees of deep roots and authentic dub, take heart. Yours is not a lost cause, and Solomon Jabby's got what you need. Firmly recommended. -Tom Orr Lion of Zion	Various Artists - Global Reggae Selection Vol. 1 Some nice stuff here, though this is largely a hit-and-miss collection with not enough high points. Most of the songs are roots/dancehall hybrids, a reasonable approach that nonetheless doesn't work on a number of tracks where intrusive vocal cadences that take too many cues from American-style rap (as opposed to Jamaican toasting) detract from the reggae vibe. Still, the good songs are very good, among them Elhadji's opening salute to the Senegal-based Baay Fall Sufi sect, FC Apatride UTD's ominous "War Party," the Sonny Okosun-like "Nelar" by Mathew Tembo and Silaba's "Traveling," ending the album on a sweet benedictory note. Some of the other selections are partly redeemed by spiritually conscious themes that manage to overcome backing that sounds canned and vocals often not sounding much better. And then there's the liner notes, which include a fairly accurate and concise recounting of reggae's history (though such glaring errors as referring to Johnny Osbourne and Cocoa Tea as MCs stand out) but no biographical information whatsoever about the artists on the CD, not even the countries from which they hail. Yeah, I guess the flags pictured next to the names listed on the back cover are supposed to provide a clue, but I'd prefer something a bit more solid. Perhaps Vol. 2 will be an improvement or perhaps Vol. 1 will sound just fine to listeners with standards different from my own. I don't know. I'm just thankful for technology that allows skipping tracks at the touch of a button. -Tom Orr Urban Sedated Records
Inner Circle- State Of Da World People whose awareness of music doesn't venture beyond the pop charts will forever associate Inner Circle with the once-inescapable "Bad Boys," but that's okay. Hey, I've liked that song for 20 years (despite, or perhaps because of, never being a fan of "Cops") and nowadays my kids like it too. But you gotta move on, and Inner Circle's been doing that for more than three decades. After the death of original lead singer Jacob Miller, after the crossover success that at times softened their sound too much, after lineup changes (original members Bernard "Touter" Harvey and brothers Roger and Ian Lewis remain) and peaks and valleys in the popularity of reggae music and the band itself, Inner Circle is back with a strong, varied album that's equal parts roots sensibility and progressive vision. As the title asserts, the disc deals head-on with modern day runnings, from a starting point of dub poet Mutabaruka firing off an abbreviated litany of what stinks nowadays and marching militantly forward through songs of love, war, perseverance, herb, spirituality and Africa. More than half the 15 tracks feature guest artists, threatening to turn the disc into an overly star-studded affair. Still, State Of Da World shows as never before how assured Inner Circle, as one of reggae's few self-contained bands, can be both on their own and with the likes of Luciano, Jr. Reid, Bushman and Lutan Fyah on board. The group gets in some solid shots of their own via "Down in a Africa," "Gun Ting" and the title track while also solidly supporting Morgan Heritage's Gramps on the peace-mongering "Real Soldiers," Bushman and David Hinds of Steel Pulse as they preach the truth about "Religion," and Luciano's viable alternative to that very thing, "One God One Aim." The disc isn't quite 100% killer- Marley brothers Damian and Stephen are surprisingly uncharismatic on the weedy "Smoke Gets in My Eyes" -but all told this is the mightiest statement Inner Circle has made in quite some time. -Tom Orr Shanachie Records	Gramps Morgan - 2 Sides Of My Heart Volume 1 I had the pleasure of interviewing Morgan Heritage a few years ago and can attest to the fact that they're a band with something to say on a variety of spiritual, cultural and personal levels which have served them and their music well. And now it's clear that the first I've heard of the group's emerging solo projects is likewise well rounded. The voice of Roy "Gramps" Morgan is to Morgan Heritage what Peter Tosh's was to the original Wailers: low, authoritarian, a bit menacing, a take-heed combination of mystic and macho. Those pipes are in good form and cover a lot of ground on 2 Sides Of My Heart Volume 1, Gramps' debut release on his own. Sure, reggae is the dominant sound, but the perspective ranges from that of a suffer-no-fools singer seeking unity ("All Together") and taking government and religion to task ("Roll Call") to a vulnerable guy making a few pointed observations on love ("Hush," "For One Night," "One In A Million"). There's more than a trace of r + b on such songs as "Hold On" and "Lonely" (the latter being the only track on the disc that comes off too mushy) while the roots are loud and clear on "Wash The Tears," the very Tosh-like "Time" and the Lucky Dube tribute "Always And Forever." And on an interesting note, even before I heard "Always And Forever," I was struck by how much Gramps' "Where Has Mama Gone" put me in mind of Dube's "Remember Me," a similar lament about a missing parent. Higher ground is tread on "Power Of Prayer," a gospel buildup with Buju Banton, and even when Gramps is at his friskiest, as when trading verses with India Arie on "Therapy," there's a lack of pretentiousness that makes the song sound more than just lustful. Whatever the future may hold for Morgan Heritage individually or collectively and whatever Gramps may have in mind for Volume 2, he's thus far got a very good thing going on the side. -Tom Orr Dadason Entertainment
Harry Mo - Back to Africa A whole heap of great reggae music is coming from the Virgin Islands nowadays and it doesn't look like the flow is going to stop soon. Given the generally high quality of the VI output, I say keep bringing it on. I don't know how new he may or may not be to anyone else, but the latest VI reggae guy to meet my ears is Harry Mo, who's got a voice that can both soar and meditate 'pon whatever reasonings he's got an opinion about. On his very fine Back to Africa CD, he wonders why peace is such an elusive thing ("My Dream"), seeks the Most High ("Jah In My Life"), respects the fairer sex ("Show Her Love"), looks toward the spiritual home of the Rastaman ("Back To Africa", "Ithiopia") and takes a personal perspective when necessary ("My Pride"). As familiar as his themes of continuing struggle and mashing down Babylon can be, his snappy roots riddims and sincere vocals keep everything fresh. "Positive Vibration" and "Mystic Man," for example, resemble the Bob Marley and Peter Tosh songs of the same titles in name only. Those and a dozen other top rank modern roots tunes make up a disc that has only the smallest hint of dancehall and no skimping on forwarding a consistently thoughtful vibe. As Harry sings on "Mystic Man," "I don't like to deal with no idiot," and he ain't kidding. Back to Africa is a strong release on every level, with Mr. Mo's instrumental work on guitars, keyboards and percussion just as sharp as his vocals and input from such other Virgin Islands notables as guitarist Tuff Lion sealing the deal. -Tom Orr Yellow Hill Music	Groundation - Here I Am In addition to being among the most musically skilled American reggae bands, Northern California's Groundation is one of the most popular, having toured internationally to great acclaim and released six full-length albums thus far (seven if you count their dub disc). Their latest, Here I Am, opens with "Run The Plan," the first two-and-half-minutes of which might have you checking to see if you've dropped a jazz fusion disc instead of a reggae CD into your player. But in due time the reggae beat takes over, the band is moving forward sure and strong and singer/guitarist/composer Harrison Stafford is getting mystical in his characteristically gruff vocal style. Actually, the jazzed kickoff isn't unprecedented: Groundation's core members were schooled in jazz and elements of it have recurred in their music from the beginning and still do. Such a background has always given their reggae a sophistication that, while far from highbrow, takes the music to heights and depths that seem more ambitious with each release. Their previous CD, Upon the Bridge, even had the distinction of being what used to be (and perhaps still is) called a concept album, certainly a rarity in reggae. Thankfully, Groundation remains well able to meet expectations for the high bar they set. Here I Am is another solid work of jazz-tinged roots, full of rich arrangements that make space for well-placed horns and Marcus Urani's keyboard expertise. There's twists and turns to this reggae, but it's gloriously good reggae because, not in spite of, those twists and turns. Veteran percussionist Sticky Thompson does some guest work as do Pablo Moses and the Congos, who've had a hand in vocals for past Groundation projects and contribute soulfully here. Half a dozen albums under their belt, and this band remains in peak form. Here I Am is a highly recommended addition to their body of work, thanks to a winning combination of Stafford's visionary lyrics and wise-elder singing style with musical backing that expands upon the basics of reggae while paying them due respect. Their status as an American reggae band aside, Groundation truly ought to be regarded among the top reggae artists on the planet -Tom Orr Groundation Music/YTR
Pressure Cooker - What She Wants This band out of Boston has been putting an original stamp on reggae, ska and rocksteady for quite some time, getting ever stronger as a recording and performing unit in the process. Their album Committed from a few years ago is an absolute must-have and their latest, What She Wants, abounds with goodness. A key part of what makes Pressure Cooker cook is horn and rhythm sections that are unfailingly excellent, plus the ability to give their reggae just the right amount of party time flavoring without sounding watered down. Vocalist Craig Akira Fujita (the dapper gent pictured on the CD cover) leads the way with a singing style that's as much reggae as it is soul, pop, jazz and mento/calypso, urging the band's tight, bubbling grooves onward and hanging back at intervals to let the players shine through. Even at their most serious subject-wise on such songs as "Without Purpose," "Blessed," and "Secondhand Soldier," Pressure Cooker cuts loose with the same dance-urging style they roll out on "Rocker's Delight," a deejay/dub piece showcasing just how snugly the band's individual strengths fit into the whole. And just when you think you've got those strengths figured out, along comes "Darkest Hour," a sweet piece of Memphis soul that paves the way for the rousing call-and-response of "Live" and stomping "You're the One," which ends the proceedings with the same sort of nod to feminine mystique as the opening title track and a few songs in between. Pressure Cooker has cooked up a mighty tasty one here. Dig in! -Tom Orr Jump Up Records	Soothsayers Meet the Red Earth Collective - One More Reason There were reggae riddims harnessed to good effect on the previous two albums (Lost City and Tangled Roots) by the UK's Soothsayers, though the discs were mainly affairs that blended stripped-down Afrobeat with shadowy funk, jazz and hip hop. On One More Reason, though, reggae is the recurring sound and even when the one-drop is absent there's a dominant dub feel in the mix. A brief intro hints at what's to come before the reggae-rock of "Music" rips forth like a long-lost Eddy Grant cut, flavored by the horns of Idris Rahman and Robin Hopcraft, who also supply the energetic vocals. By track 4, guest singer Johnny Clarke is on board for the slinky, menacing "Bad Boys," his cautionary voice trading space with a slightly eerie melodica and abrupt timbale fills. Clarke also voices the more tender but no less potent "Your Love" and fellow Jamaican vet Michael Prophet gives "Tears of Sorrow" a conviction that the tentative acoustic intro paves the way for. A recently resurgent Linval Thompson is out front for "History," a bit of jazzy reggae intellect that's a prime example of the seamless fusion found all over the album including "Mama Said," a sort of African dub poem voiced by Bob Skeng, and Mellow Baku sparring vocally with Michie One on "Irie." A more straight-up reggae and dub vibe fuels "Hold On" as Baku once again takes the lead, and if you want to hear what Soothsayers might have sounded like as the house band at Studio One, wrap your ears around "River Effra." This is, quite simply, a fantastic album with much that reggae lovers will love along with anyone who craves great grooves, varied vocals and sounds that are both earthy and out of this world. Much as I like and would recommend Soothsayers' earlier stuff, they've outdone themselves. -Tom Orr Red Earth Music
Clinton Fearon- Faculty of Dub As former bassist and vocalist (both harmony and frequent lead) with the Gladiators, Clinton Fearon’s reggae credentials were established long before he split to Seattle and formed the Boogie Brown Band. He and his post-Gladiators crew carry on in a true roots style, and on this dub disc, with a beaming Fearon caricatured on the cover as every bit the knowledgeable reggae professor that he is, are stripped down to bedrock riddims and hard shards of melody that leave no doubt of it. You’ll detect a few melodic traits of Fearon’s old band as you listen, though his intent to create mind-bending dub succeeds with shadowy finesse. The dubs (listed on the back cover as a series of “Lessons”) range in feel from militant to murky, with an unflinching tightness that reminds me of the High Times Players’ ‘80s works and enough eccentricities in sound (check the spooky voices that seem to be wrestling some sort of inner conscience on “Street Talk”) to show that this all isn’t just trying to recreate the classic Jamaican sound. But lovers of that sound will find a lot of goodness here, thanks to the guiding hand of Fearon as guitarist, bassist, producer, composer and more, plus the presence of greats like veteran drummer Nelson Miller. So learn these lessons well and bask in the teachings of Prof. Fearon as he imparts crucial information from his syllabus of dub. -Tom Orr Kool Yu Foot	Zema with the Gladiators Band- Jubilee A diminutive dynamo whose attire and floor-length dreadlocks make her look like a prophetess of old, Zema continues to create some of the most spiritually and melodically alive reggae currently out there. She’s an American (based in Southern California for a lot of years) who does most of her recording in Jamaica, and the caliber of musicians she attracts assures not only authenticity but gives her already considerable skills as a singer, composer, arranger, producer and keyboard player an even sharper edge. As on her last album Overcome, she’s got the bulk of the Gladiators band backing her up here. Also staying the same is Zema’s drawing upon the Bible for lyrical inspiration (specific passages are cited alongside the printed lyrics) coupled with the way she consistently sounds like a humble servant and not a pompous preacher. Apart from a nice cover of Bill Withers’ “Ain’t No Sunshine,” everything here is geared toward a greater glory and stronger for it. When Zema entreats the Almighty with words like “make me Your lioness,” she’s on fire and the warmth she’s sharing is genuine. And so it goes with the title track, “Reap What You Sow,” “Do It In Love,” “Trod” and all the rest. Jubilee is pure jubilation, a gem of modern roots made even more precious with four dubs rounding out the disc and showing the extent to which the underlying music builds the foundation on which the messages are delivered. -Tom Orr Melchizedek
Natural Vibrations- Ultimate Vibes: The Best of Natural Vibrations Although I’d heard of these guys and was aware of their status as Hawaii’s most acclaimed reggae band (or at least one of them), this is the first album of theirs to find its way to me. And I like it. Natural Vibrations have five previous releases under their belt and obviously know a few things about lovers rock, conscious themes, songs in praise of herb, uptempo reggae-rock, shades of dancehall and good-time tunes that address the pleasures of both Hawaii and reggae music. The prevailing feel is pop reggae (a notch more so than, say, fellow Hawaiians Ooklah the Moc) that will appeal to fans of UB40, Katchafire and the like, but not having heard Natural Vibrations’ previous releases, I don’t know how heavily this best-of might be stacked in favor of the more easygoing stuff. One sure thing is that I now want to hear more this group, particularly what they are capable of in a deeper roots respect. The liner notes are scant, including little more than a photo and a list of the band member’s names minus any specifics as to who does what. So rather than single out anyone in Natural Vibrations’ ranks, I can instead only affirm that they deliver fully in both the playing and singing departments. Longtime fans will be interested in two new songs- the breezy “Shawty” and the cautionary “Man Down”-that bookend the selection, and neophytes like me can get acquainted with Natural Vibrations via standout tracks like “Freedom Fighter,” “Balls Rolling” and the meditative “Okana Road.” It’s nice to finally know what I’d been missing. - Tom Orr Natural Vibes LLC	Soul Majestic - Better World It’s been a few years since this band out of Northern California released Until That Day, a CD they were kind enough to spot me a copy of while I was tentatively milling about in the backstage area of a reggae festival I was covering at the time. Soul Majestic was at the bottom of the bill at that particular festival, but their performance was more impressive than many of the reggae veterans who followed. The CD was plenty impressive too, and became an ongoing favorite of mine. And so long as that was the case, I didn’t mind waiting for the next full-length Soul Majestic album. Now that Better World has arrived, I can only state unconditionally how very well worth it the wait has been. This disc won’t make anyone forget the riches of the last, but it’s got an abundance of its own that makes it a nearly perfect successor. Once again a modern roots sound predominates, and once again the lead vocal duo of Eric Iverson and Oriana Sanders give the words a glow every bit as warm as the players of instruments achieve in laying the riddims down. Overall, things sound a touch more contemporary this time, from the polished drum accents of the title track and the minimalist “Next Generation” to the noticeably downtempo vibe of the almost-jazzy “Guidance” and the echo treatment given to the vocals on “Seek the Truth.” The arrangements are sparser, with horns playing a lesser (but still significant) role, no dub versions (the only thing I’m going to complain about and there, I’m done) and a seemingly greater emphasis placed on lyrical messages. That’s just fine, since the messages here are precisely the sort that discerning reggae listeners have come to expect (and in the face of potential slackness, demand). Iverson sings with just enough of a chant inflection to make such songs as “First Light” and the nyabinghi-powered “One Heart” sheer poetry, while Sanders’ vocals on “I Rise,” an account of the faith and strength that helped her survive cancer, and “Send the Train,” a prayer for paradise, are both stunning. If it’s a better world they’re after, Soul Majestic are doing their part to achieve it by making reggae as high quality as this. -Tom Orr Music/Loa Tree Records
Dub Skin- Love in Spite of… Track one on this disc is titled “The Overture,” and insofar as an overture can be something that lays the foundation for what is to come musically, it’s a suitable foreshadowing: a slow, echoey, keyboard-laden, one-drop instrumental that’s almost a textbook example of how entrancing reggae can be. The similar-in-feel “For the Strong” follows, and until vocals come in at about the one-minute mark, you almost believe the album is going to make its case without words. But no, this Colorado-based outfit is a full service reggae band, and a solid one at that. Their strengths include the understated, slightly menacing lead vocals of Ifficial, the ongoing use of classic dub tricks and a vibe that’s contemporary and true roots at the same time. The players (Yroc on drums, The Dean on bass and keys, guitarist Seeps and Jah Sonic handling keys and effects) construct tight but relaxed riddims that frame Ifficial’s sometimes unpredictable vocal cadences in a manner often similar to that of the band Midnite, while the space age production techniques employed throughout suggest the influence of such U.K. experimenters as Adrian Sherwood and Jah Warrior. And be sure to prick up your ears to get all the lyrical nuances, since the effort is well worth it. For variety’s sake, things go a little hip-hoppy on “Mission Control” and jazz scatty on “Look What Dem Do,” but as “Body God,” “African” and “Yah So” demonstrate, the roots are deep and in charge. If that sounds good to you, Dub Skin will definitely get under your skin. -Tom Orr Dub Skin	David Hillyard and the Rocksteady 7- Get Back Up! New York-based saxophonist David Hillyard, who’s a crucial link in the sound of such bands as the Slackers in addition to leading his own primarily instrumental combo the Rocksteady 7, has long been mixing reggae riddims with jazz-style soloing. Thus it is with his latest, a skanking feast of choppy grooves, instrumental trade-offs, dubby interludes and occasional surprises like veteran percussionist Larry McDonald doing a lead vocal in Spanish on “Esta Tarde” and a version of Fela Kuti’s “Trouble Sleep Yanga Wake Am” that brings Afrobeat into the mix. Actually, there’s other noteworthy things going on in the cover department, like Hillyard and company’s nimble runs through “Sunny” and the Hippy Boys’ “Death Ride,” but Hillyard is also an originator. Pieces such as his own scorching ska compositions “Change of Plans” and “Soul Thing for Ray” join the title track’s instantly engaging onslaught of horn-led melody and the nyabinghi swing of “RNA” in drawing a straight line from 2009 New York to 1960’s Kingston and losing nothing in terms of freshness along the way. Ska’s jazz roots are not only amply revisited, they’re brought along for the transitions into rocksteady and reggae as well. The rhythm section of McDonald, drummer Eddie Ocampo and bassist Dan Jeselsohn get in some crackling licks of their own and open up the space for good works by keyboardist Dave Wake, guitarist Justin Rothberg, Rich Graiko on trumpet, Phil Cooper on trombone and of course Hillyard himself doing his thing on tenor, soprano and baritone saxophones. This is a loose, rousingly enjoyable set of Jamaican and jazz flavors, played by a crew who know precisely where the two converge. -Tom Orr Brixton Records
The Devastators - Better Days The cover of this disc shows a live plant sprouting forth from a panel of electronic circuits. San Diego four piece are obviously proud to make analog music in this digital age. Their cd has stickers promising to be "pitch correction and drum machine free" giving you just real honest roots reggae music. Guest musicians include players form both Big Mountain and Groundation. The First notes notes of "Find Away" take you to A. Pablo's sound, but then the songs morphs into Devastator's own stamp encouraging the downpressed to stand up for themselves and "Fly Away." Eleven Songs PLus four bonus Dub cuts. Killer sax solo kicks off "Surrender" an uptempo lovers track telling his lover to "Make hat whole body sing." Things are so bad on earth that "it's time to call upon the one, Jesus Christ" praying to see some "Better Days" dueling guitar and organs lead into a blazing guitar solo and drum n bass breakdown. The riff at the start of "Torture" sounds like Iron Butterfly on this song about a spurned love. "Light People" has a great old Maytals style musical sound and shouts out to those who praise the Most High. Dancehall style is the order of the day on "Why" a song appealing to win a gyal's favor a theme repeated on "Last Night." Dubby melodica reappears on "Make them Fall" a song livicated to tearing down babylon. More pining lovers on "Been a Long Time" has a Chicago soul sound mixed in with the reggae. Quality American roots reggae along the lines of SOJA vocally and Roots Of Creation/Jah Roots muscially. Ras Adam Simeon Peaks and Valleys Productions	Pato Banton - Destination Paradise If slack and violent dancehall is a cancer on reggae, then Pato Banton is the cure. This cd oozes positivity and messages of hope. Pato is part of the Urantia Foundation movement, a group formed in the 1950's who were said to have received their sacred text from celestial beings. Like fellow reggae artists LT. Stitchie and Judy Mowatt, Pato now follows his performances with his spiritual prayer sessions and teachings, but his music is not outwardly over-preachy. . "Heal This World" calls for a greener planet by using renewable energy and growing sustainable crops such as hemp. The song has a lead guitar riff that recalls BMW's "Heathen" as well as guest a rapper and vocalist. Pato sings and djs warnings not to count on material things and that Jah "Love will Help Us Through" hardships in life. "Let there Be Love" is over a Soul To Soul type piano R&B groove and rapper DBX and Pato trade call n response words about life in the hood and how to heal it with positive vibes. Pato bears his heart on the lovers track "special To Me" telling his queen she's "More than a lover you're my best freind." The song "Life & Light" is over a heavy beat similar to Aswad's "Soul Fire" and imagines a world of peace and love. My fave cut is "Loving Service" a ska rave up about giving yourself to others. This release features twelve strong cuts all with positive healing messages for the world.The dvd size case contains a book of full lyrics. Ras Adam Simeon Coral Music Group