Reviews

Review Sites

Ras Midas - Fire Up His name notwithstanding, he's certainly not the only reggae artist with something of a golden touch. But Ras Midas, who was born in Jamaica and moved to the U.K. when barely in his teens, has been making music for a long time and can be counted on to deliver a high-quality release every few years. Fire Up is his latest and the burn he goes for is a largely serious one offset by a heartfelt love song ("Come Back Darling") and a relaxed vocal style that emphasizes said seriousness with subtlety instead of heavy-handed intensity. Once the roots backing gets under your skin, though, the gravity of what Midas is singing about goes as deep and deeper in short order. The opening shots of "Rasta Revolution" and "Dread Feelings" leave no doubt as to where Midas stands spiritually and culturally, and any assumption about the title track being some kind of ganja anthem is quickly dispelled by the realization that what Midas really wants to fire up is the love of the Almighty. "400 Years" isn't the Peter Tosh song of the same name, but it takes a similar view of where the inequities of history have taken us: a place where the reality of "Nuclear Graveyard," "No Bread" and "Trouble Town" make us yearn for the "Good Old Days" and prompt the faithful to "Lean on Jah" while tackling problems. And so long as Ras Midas keeps putting out quality reggae such as this, he will be part of the solution. -Tom Orr JML Records	Babylon Saints - Babylon Saints Here we are with yet another reggae-flavored band from Southern California, which begs the question of whether or not we really need one. In this case, the answer is an emphatic yes. And it's not just because Babylon Saints have a way with tight drum and bass riddims, conscious lyrics and catchy songs. Their not-so-secret weapon is the steel pan (what most people refer to as steel drum), an instrument far more associated with calypso, soca, fusion music or touristy kitsch than reggae. It's not as though steel pans have never been used in reggae, but they certainly haven't been given what might be considered their due. Well, they get their due here, and the results are quite electrifying. For as driven as the music is by drums, bass, guitar, keys, melodica and percussion, it's equally propelled, and sometimes tempered and sweetened, by the chiming tones of the pans. Out front or helping hold up the rocking reggae foundation, the sound of steel nonetheless doesn't overwhelm the messages or the sheer groove of songs that blast war, greed and artifice while celebrating the simple pleasures of music, love, unity and the human spirit. It's all top-notch original material apart from a sharp cover of Bob Marley's "Positive Vibration" (there's a hint of "Sun is Shining" in the melodica accents of "Follow" as well), and I'm all for putting this band on the fast track toward canonization. Sometimes it's roots reggae, sometimes it's pop reggae and sometimes it's both or neither, but no matter how you label it, this CD is like the best breath of fresh air you've ever inhaled. -Tom Orr Citation Records
Daniel Asher and Jah Covenant Band - Stand Tall! I didn't give much thought to what sort of reggae scene there might be in Sweden until I started hearing the music of the band Urban Tribe (now called Urban Tribe Stockholm after three albums) and I didn't think they might be only the tip of the iceberg (a term less figurative in Scandinavia than, say, Jamaica) until I received Daniel Asher and Jah Covenant Band's Stand Tall! Perhaps group leader Daniel Asher goes by an assumed moniker, since most of the other participants have names like Wikstrom and Svensen. No matter. As attested by a logo bearing the words "Reggae For Real," the fact that the album was recorded at a place called Studio Skanky and the music itself, Stand Tall! is authentic reggae. Some would say it's even more so than that of fellow Swedes Urban Tribe, considering the subject matter of the songs- "Twelve Tribes," "Give Jah Praise," Jah Rasta Far I," etc. -leans more toward a specifically Rasta viewpoint. Asher's lead singing has plenty of gravel and smoke, but he makes sure the lyrics come across. Female backup vocals and hard-edged riddims contribute a lot toward getting the job done and while the production is sometimes a little muddy, this album proves that heartfelt, satisfying reggae doesn't have to come from the West Indies or any other place that stays warm most of the year. -Tom Orr Studio Skanky	Resonation - Impropaganda Informed reggae listener that you are, I know you're not going to confuse this band with Resination, an American reggae outfit from central California. No, only a fool like me would do such a thing. So for the sake of my own clarification, please allow me to differentiate. Resonation is a British band that does reggae laced with a lot of tasty little guitar, keyboard, percussion and saxophone accents and an overall downtempo sound, particularly where vocals are concerned, that borders on bluesy at times. They start off Impropaganda by mixing a nyabinghi heartbeat with a funky bass line before slipping easily into roots and dub that's marvelously unpretentious as well as musically accomplished. Said lack of pretense allows them to put forth a lyric as simple as "you gotta try and listen" and come across as entirely convincing. But don't go thinking they lack depth. As back-to-back songs "Mysteries" and "Soul Confusion" assert, there are things worth pondering and these guys musically ponder them in a consistently appealing manner. Things are pretty low-key until "Away" lets loose with some aggressive drumming and guitar riffing, and even then the mellow mood isn't dashed away. That mellowness gives the listener ample time and space to soak in nuances like the fact that "Rome" is a love song and not an assault on Babylon as the title might suggest. The fire behind this reggae is more of a glow than a blaze, and the resulting warmth permeates with a subtlety that even the most hardened reggae warriors will love for those times when there's a lull in the battle. -Tom Orr Planet Gecko Recordings
Kyng Arthur - Mystic Man He presides over no round table of which I'm aware, but this Southern California-based singer sounds like reggae royalty anyway. He can croon love songs such as "Little Lady" and "Chances," get topical with "Fallujah" (based on his own experiences singing for U.S. troops in Iraq), stress the importance of "The Right Message" and even cleverly remake an old rock tune like Bachman Turner Overdrive's "You Ain't Seen Nothing Yet" (here simply titled "Nothin' Yet" and without the stutter). At times his singing reminds me of Skelly from Israel Vibration and his plainspoken way with lyrics comes across effectively whether he's seeking enlightenment on "I Wrote Jah," telling us all about the unspoiled beauty of a special lady who's "No Cover Girl" or having a good time trading verses with Pato Banton on "Baby Queen." Mystic Man ends with two dub versions of "I Wrote Jah," and while dubs of two different songs would have sewn it all up better, the addition of a melodica as lead instrument makes the concluding air very mystic indeed. Backed by a crack crew of local reggae players and mixing reasonings and fun with emphasis on the former, the musical coronation of this reggae kyng is rich with roots and shines like a crown jewel. -Tom Orr Coral Music Group	Free Joseph - Believers and Nonbelievers For those of you who enjoyed Free Joseph's lovely instrumental album Speaking in Tongues, here is the vocal version. Where Speaking in Tongues primarily showcased Joseph's skills as a flute player capable of sweetening reggae arrangements to the point where the tracks wouldn't have sounded out of place in a smooth jazz or new age format, Believers and Nonbelievers comes across more rootsy although jazz, soul and pop elements are audibly in place. The flute remains, not so much a solo instrument as a counterpoint to Joseph's wispy vocals, which have a non-Jamaican but still Caribbean lilt reflective of the artist's Dominican homeland. A different sort of sweetness comes from vocals largely supplanting flute, resulting in songs like the longing "Way to Jerusalem" and string-enhanced "People Need Love" retaining the pure pleasure they had as instrumentals and benefiting from the conscious themes brought forth by the addition of lyrics. Joseph bigs up not only Bob Marley ("Electric Bob") but noted reggae columnist Chuck Foster ("Chuck-a-Dub") as well, also making way for such additions as the rap-like asides on "Right Way a Wrong." Another reggae journalist, Roger Steffens, is quoted on the disc's back cover in regard to the sincerity of Joseph's music, and that sincerity is clear throughout. Equally clear is his expertise as a reggae singer and player with messages to deliver and words that bring new life to tracks already possessing plenty of it. Count me among the believers. -Tom Orr Far Island Vision
The Divine Crime - Obliquity I can’t help but be a bit wary of a band that categorizes its music with a phrase like “ReggaeSoulDubRocknRoll.” Still, I reasoned before listening to the CD, the band’s name is an intriguing one (apparently stemming from the surname of several of their members) and they do come from Southern California, which has often been a breeding ground for good reggae. So I stopped my internal brooding and put on the disc. The first sound that caught my ear was the voice of Junior Demus in Prince Far I mode, growling something about “Interouternational” above a brief burst of electronic effects. Okay, they had my attention. Then the true songs began and so did the genuine pleasures: modern roots riddims played by real instruments, rockish (but not too rockish) guitar solos, female vocals alternately vulnerable and biting, pop subtleties and yes, undeniable soul. And they’ve got dubs- three of them, courtesy of Scientist and guitarist Josh Cardinali -that cap off the album in classily crucial style. The buzz is temporarily made comatose by one bum track, “Holla At Ur Girl,” which sounds like ‘70s disco meeting ‘80s synth-pop meeting modern hip-hop with limp results. And given that Obliquity (The Divine Crime’s debut) is comprised of only seven actual songs and those three dubs, is it worth your time and money? Hell, yeah. There is a lot to recommend about this band and this album and even if you’re a fairly staunch reggae traditionalist, The Divine Crime will get their hooks into you. -Tom Orr Zanzona Musik	Scholars Word - Perseverance Florida-based Scholars Word has been around for more than a decade and made a steady stream of quality reggae albums in that time. It looks like they’ve whittled down to a core trio since their last CD, but Bryce Creighton (vocals, guitar, keyboard), Michael Stauch (bass, drums, percussion) and Chris Kearnes (saxophone, keyboard) create a full-band sound and continue on their rootsy route. Creighton’s lead voice has a cautionary tone that makes every song a take-heed grabber, whether it’s as easygoing as “Good Feelin’” or a lament about the state of things along the lines of “How It Goes.” The gamut Scholars Word runs is a wide one, moving seamlessly from the Ijahman-like “Love You Again” to the better-than-the-norm dancehall of “I Get Strong.” The latter title is apt, since these guys seem to get stronger and stronger. While I’m on the subject, I’d strongly recommend their previous two releases Make Way and Dub Collection in addition to Perseverance, which finds them adhering to their Jamaican-informed convictions and rolling out tight, tough, scholarly reggae in the process. -Tom Orr Scholars Word
The Green Band - The Green I don’t suppose the word “green” is still used to describe someone inexperienced or unwise as to the ways of the world. That connotation certainly isn’t applicable to The Green Band from the Hawaiian island of Oahu. No, they play and sing reggae music that sounds like the work of a seasoned outfit, even though they reportedly formed fairly recently. Their sort of green, I’d guess, is all about something that’s natural and unprocessed. And unforced, for that matter. Because while The Green Band obviously possesses a lot of energy and youthful spunk, their songs benefit from a laid back, take-your-time focus that’s all the more militant through its understated vibe. Such an approach also allows their way of making both love songs (“Love I,” “Dearest Sylvia,” the acoustic “How Does It Feel”) and observations of larger matters (“What Will Be Will Be,” “Runaway Train,” “Wake Up”) worth grooving and closely listening to. Sure, they can go a little soft on a song like “I’m Yours,” but given how solidly they cover the more conscious bases, they’re entitled. The inner cover of this CD shows the band lounging about in various idyllic forest settings that make you wish you were there. If you can’t be, the very fine music will bring about more than enough bliss to compensate. -Tom Orr SheeHandsomeDevil Records	Bingui Jaa Jammy - Ligne De Front Ah, those moments when African reggae achieves that perfect balance of Africa and Jamaica; when reggae rightly claims its African roots and its African origins are unquestionable. There are many such moments on Bingui Jaa Jammy’s Ligne De Front, due in no small part to the fact that the album was partly recorded in Jamaica with contributions from drummer Horsemouth Wallace, guitarist Chinna Smith, bassist Flabba Holt and percussionist Scully Simms as well as vocal assistance by Gregory Isaacs, The Congos and Brother Sam from Mystic Revelation of Rastafari. So who is Bingui Jaa Jammy? I must candidly admit that prior to this CD’s unsolicited arrival on my doorstep (clearly an act of Jah), I had no idea. A bit of rudimentary research revealed that he’s called both Ivory Coast and Congo home and been making a splash on the African reggae scene since 1989. He sings primarily in French with a few sprinklings of English here and there (mainly where his Jamaican brethren are also in on the vocal action), delivering his messages with the same stately authority as Tiken Jah Fakoly or Ismael Isaac. Some of those messages- “Congo Natty,” “Revolution,” “Godlyman” -don’t need much in the way of translation, while the rest get by mightily on the strength of solid roots arrangements and the addition of non-Jamaican instruments (talking drum, kora, balafon, oud) that grace the sound perfectly. African reggae has long been its own phenomenon; consider Bingui Jaa Jammy a shining example of why. -Tom Orr Mosaic Music/Vent d’echange
Nehemiah Sounds - Fistful of Dubs R & D…. Riddim and Dub The liner notes of this release are sparse (in addition to being quite blurry), so I don’t know where the music was recorded or the nationality of the participants. But it’s all pretty good, and those aforementioned participants -a trio of guys named Ras Russell, Shaka P and Spanna Dread- obviously know a lot about how to dub up reggae music created with mostly synthesized riddims. It sounds as if they’ve taken a cue or two from U.K. dub producer Jah Warrior, whose albums from a decade or so ago had a similar dub-immediately-following-song approach and a feel about as rootsy as you could get without a full band at your disposal. Raw, chant-like vocals are underpinned by sparse, thumping beats that suggest reggae created on a tight budget and a sufferer’s tone that comes across clearly because of it. A few lover’s rock sentiments are here, but the emphasis is mainly on messages spelled out in titles like “Warrior Charge,” “The Posse,” “The Wise Man” and “Rasta Calling.” While the addition of acoustic sounds (a bit of melodica, perhaps) would have warmed some of the relentless digital chill that hangs over the disc, its 20 tracks of riddim and dub have ‘nuff goodness to get by. I just hope the Nehemiah crew will be able to hire some players of instruments when it’s time to make their next record. -Tom Orr Uptempo Records	Various Artists - Jammy’s From The Roots Forget “Sleng Teng” and the computerized reggae revolution of the mid-1980s. This blazingly good double CD set represents the true legacy by which Lloyd “Prince Jammy” James ought to be remembered. It was, after all, the great mix master King Tubby with whom Jammy first worked as a producer, and under such tutelage Jammy was bound to have a feel for the roots, culture and consciousness that gives these songs their strength. If you’re looking for peak works from greats like Dennis Brown, Junior Reid, Augustus Pablo, Black Uhuru, Sugar Minott, Prince Alla, Frankie Paul and Johnny Osborne, they’re all here in spades. Just as importantly, this collection showcases artists and songs that didn’t reach the same level of lasting notoriety in the reggae history book but had their best brought out with Jammy’s help just the same. So enjoy such relative obscurities as Black Crucial’s “Conscience Speaks,” U Black’s “Natty Dread At The Controls” and Natural Vibes’ “Life Hard A Yard” alongside the better-knowns. Thrill to the dubby hardness of riddims laid by the likes of Sly, Robbie, Chinna, Ansel Collins, Tommy McCook, Sticky Thompson and many more key players, sharpened to murky perfection in Jammy stylee. Fall under the spell of some extended versions that sweeten the deal. This is deep roots indeed, and you’ll be missing out if you don’t immerse yourself deeply in it. -Tom Orr Greensleeves
Indubious - Cosmic Seed The accompanying promotional materials for this CD refer to Oregon-based Indubious as “Intergalactic Reggae Revolutionaries,” and the combination of up-to-the-minute technology and discernable roots in their sound makes the description as apt as the outta space implications of the album title. A trio comprised of Spenser Burton on vocals, bass and beats, Evan Burton on vocals and keyboards and Bobby Templin handling drums and beats, Indubious will likely strike listeners as a dancehall outfit at first, given the modern ambiance, the predominant deejay cadence to the vocals and the way electronic keyboards do most of the melodic work (though Templin also supplies guitar on a couple of tracks). Prick up your ears, though, and the lyrical goodness of songs like “Be Kind,” “Golden Tongue” (featuring Prezident Brown), the Sleng Teng-inspired “2R2R,” “Blessed With Success” and “No More Enemies” breaks through. The disc saves most of its heaviest hitters for the latter half, with the awareness of “Live Indubiously” and raw atmospherics of “Pirates Rum” coming off particularly well. Definitely a good album and in places a great one, but I’d like to hear this band tone down some of the more heavily produced and processed aspects of their sound and go for less sonic eccentricity. Such a move might make them sound more run-of-the-mill, but their purely musical strengths would shine through all the more. - Tom Orr Righteous Sound	Queen Makedah of Zion - Spiritual Healing Never heard of this gal before her music reached me, and what a joy she proves to be. Queen Makedah, who if my amateurish research is correct (and it may well not be), hails from Jerusalem and lives in Northern California, possesses a Sade-like voice and an unfailingly positive outlook. As you’d guess from titles like “Praise Him,” “Healer,” “Lift You Up” and “Happy Is He,” it’s The Most High she’s primarily focused upon, and her sincere approach reaches the heart as easily as her smooth roots riddims make the body sway. Favorable comparisons could be made between Makedah and any one of the I-Three in solo mode, and her style also put me in mind of similarly spiritual American reggae singer Zema. But this Queen stands alone (well, with Jah by her side anyway) and Spiritual Healing, despite being of a rather short running time, has every bit the medicinal quality the title suggests. The saxophone-punctuated “Yah Yireh” and “Tell Me” are particularly nice, as is “I Got Mine,” an ex-lover comeuppance tale that shows Makedah is no pushover. So do your part to help coronate a new member of reggae royalty and get this album. -Tom Orr Oriyah Music
Henry "Junjo" Lawes - Volcano Eruption Jamaican producer Henry "Junjo" Lawes was an enigma for numerous reasons: he relied on an unfailing ear for quality rather than technical know-how; he struck deals that allowed him unprecedented label access for widespread distribution of releases recorded for his own Volcano imprint; the circumstances surrounding his 1985-91 U.S. prison term and 1999 U.K. murder remain mysterious, and so on. No one's even sure how he got his nickname. What remains clear is that for the first half of the '80s, Junjo was one of the most prolific and successful producers in reggae. It was a time when the roots style was evolving into early dancehall, bass lines were punctuated by full-on snare drum hits more than rimshots, deejays were just as respected as singers and the music was looser but still cultural. With the High Times and Roots Radics bands at his disposal and a heap of emerging and veteran vocalists tearing it up on productions bearing his name, Junjo had a hand in hit after hit. 40 of them are collected on Volcano Eruption, including such certified classics as John Holt's "Police in Helicopter," Frankie Paul's "Pass the Tu Sheng Peng," the Wailing Souls' ever-rousing "Fire House Rock," Eek-A-Mouse's ever-loopy "Wa Do Dem" and Yellowman's yes-it-is-pronounceable "Zungguzungguguzungguzeng." A lot of these tracks showed up on vinyl in the U.S. in the '80s via the Greensleeves label, and the way the music moves unpretentiously between roots themes (Barry Brown's "Give Another Israel a Try") and matters of a more humorous kind (Billy Boyo's "Wicked She Wicked") recalls how much ground reggae was covering at the time. Within a few years the word "dancehall" came to be affiliated with a tiresome approximation of American rap (a condition from which it has recovered to a degree), but under Junjo's guidance there was no doubting it was true reggae. In addition to a good many killer selections on Volcano Eruption's two CDs, there's a bonus DVD with footage from an '80s dancehall session featuring many of Junjo's key artists and a documentary about the greatness of the man himself. Detailed liner notes that include track-by-track descriptions sweeten the whole package further. Consider it a must for your collection. -Tom Orr 17 North Parade	Alborosie - Escape From Babylon to the Kingdom of Zion Before Alborosie (born Alberto D'Ascola) came along, I'd be at a loss to name a reggae star who hails from Italy. Granted, Alborosie moved to Jamaica to immerse himself in Rastafari and his music of choice, and he's sounding every bit the authentic dread because of it. In some ways he wears his influences on his sleeve, harnessing his vocals to an old Horace Andy track on "Money," covering Steel Pulse's "Steppin' Out" with help from David Hinds and referencing other classic riddims and riffs. He even features a long-deceased Dennis Brown on "Can't Stand It," but he's just as determined to show an original side. A lot of the instruments on this disc are played by Alborosie himself, crafting a sound along with co-producer C. "Specialist" Dillon that's very much modern roots and matching the tone with his gruff vocal style that's more deejay/singjay than straight-up singer. Thematically he's true to the album's title and the leader-of-the-masses cover illustration on songs like "One Sound" (featuring Gramps Morgan), "I Rusalem" and "Promised Land," coming on conscious enough that such bits of jaunty fun as "Mama She Don't Like You" and "Blue Movie Boo" (the latter his only lapse into slackness) show another side without breaking the flow. An ambitious and satisfying release from an international artist who has found both a home and his sound in Jamaica. -Tom Orr Greensleeves Records
Sanchez - Now and Forever Sanchez has been singing lover's rock for a long time, and if anything's changed it's the fact that he just seems to get better and better at it. Of course, love songs now make references to things like texting that weren't around a few years ago. So the game has changed and Sanchez rolls with the changes while keeping his vocals strong and heartfelt but never sappy or maudlin. And like Gregory Isaacs in lover's mode, Sanchez manages to give his love songs depth and nuance beyond standard issue pouring out of one's heart. He's at it again on Now and Forever, produced in a smooth and dapper style by Donovan Germain and sporting a warm, inviting sound throughout. Sanchez may dress like a playboy with a healthy bank account, but he sings like a guy with 'nuff vulnerability on "Who Am I Without You," "Longing to Come Home," "When Someone Says I Love You" and the title track, exhibiting such easygoing tenderness that when a song like "Bet Any Amount" portrays him as possibly having the upper hand romantically, he almost comes across as a cad. He's ever the gentleman, though, and he graces the riddims here in unfailingly fine form, even while going for a more universal perspective on the closing "Enjoy Life." This is reggae to enjoy and dance to with the one you love, and if you haven't yet found that person, Now and Forever provides ample pleasure in the meantime. -Tom Orr VP Records	Various Artists- Covers For Reggae Lovers A lot of reggae fans, be they casual or hardcore, are attracted to the music for the spiritual, militant and cultural themes expressed in it. So reggae love songs have always been a little on the dicey side. An entire album of reggae love songs is even more dicey, and an album of love songs that are cover versions done inna reggae style, well, that could be off-putting to both fans of roots reggae and those who value originality. Even with all that potential baggage, Covers For Reggae Lovers is pretty good. Having been out of touch with mainstream pop for more than 20 years, I'm unacquainted with many of the originals reconfigured here. But the ones most familiar to me- Kenny Rogers' "Through The Years" (covered by Luciano), Foreigner's "I Wanna Know What Love Is" (done by One Third) and "Someday We'll All Be Free" (original by Donny Hathaway, cover by Ian Andrews) -all went down quite nicely. Plus Sanchez, Tarrus Riley and Winston Francis all unsurprisingly show a knack for crooning on "Love We Had Stays On My Mind," "Stay With You" and "I Call It Love" respectively. Similar good romantic vibes are generated by names new to me, including Janet Kay, Calvin Richardson, Prilly Hamilton and Lee Francis. Yeah, a few of the songs are just plain corny or sweetened to the point of sounding like completely anodyne goo to my ears. This is still a recommendable collection though, given that even candied apples are bound to have some bad ones in the bunch. -Tom Orr VP Records
Various Artists - Joyful Noise The Virgin Islands-based I Grade label has been a home to numerous artists committed to the revival of consciousness in reggae, and this collection showcases a good many of them singing and chanting atop four riddims produced by the Zion I Kings team- "Discipline," "Grasslands," "Harvest" and "Flying High" -currently favored by the roots crowd. Many of the tracks feature the voices of the VI's finest including Midnite, Danny I, Batch, Pressure, NiyoRah and Sabbatical Ahdah, though Jamaica is capably represented by Lutan Fyah, Norris Man and Messenjah Selah, Trinidad by I-Sasha and Queen Omega, Guyana by Arkaingelle and Jahdan Blakkamoore and even the motherland of Ethiopia by the duo Nazarenes. Midnite's Vaughn Benjamin is in typically stream-of-consciousness hypnotic form on his pair of selections, Danny I's cautious delivery commands attention both by itself and in combination with Batch and NiyoRah, Queen Omega stands mighty as the lone female voice and the way the songs run a gamut of introspection from the opening "Hard Times" to the concluding "Power of Love" bespeaks an unassailable spirit felt at all points between. I'm not usually fond of compilations that repeat riddims (I definitely draw the line at single-riddim sets) but every artist brings something so different to the table (even those who were lesser-known to me and may be to you as well) that there's barely a hint of repetitiveness. A joyful noise unto the Most High is indeed being made here, and you'll want to listen closely, share in it and rejoice. -Tom Orr I Grade Records	Jah Mex - Firm Soundation It's always great to see those who were already doing 'nuff good works in reggae getting wider recognition. Southern California's Jah Mex, who has played keyboards for Marcia Griffiths, the Melodians, the Mighty Diamonds, Jr. Reid and many others, has now gone a step further with his own solo release. And it's a beauty. Produced by bass legend Fully Fullwood and counting guitarist Tony Chin among a cast of supporting players, Firm Soundation shows Mex to have a way with singing, writing and arranging in addition to supplying a heap of sharp keyboard riffs and accents. He's got an assertive but soulful voice that serves him well on songs about the state of world ("Blues in the News," "Babylon Victim") and what can be done about it ("Conscious Revolution"), the joys of herb ("Lamb's Bread") and young love ("You Got My Eye"). The instrumental backing is tight and nimble and Mex matches it with subtle variations in his vocal approach, employing deejay-like phrasing over a rocksteady beat on "Truth Hurts," an imploring everyman approach perfectly suited to "Why" and- true to his name -a Latin tinge here and there. The foundation upon which Firm Soundation stands is clearly constructed of solid, durable roots, and Jah Mex shows similar strength and resolve with this very satisfying music. -Tom Orr Family Vybez Records
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