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Various Artists - We Roots Chuck Foster is a familiar name to many a reggae lover, particularly those who live in Southern California. He's the longtime host of KPFK's Sunday afternoon "Reggae Central" radio program, author of two lovingly researched books on Jamaican music and for years wrote the highly informative "Reggae Update" column that graced the pages of The Beat magazine (which sadly ceased publication a few years ago). But he's in the producer's chair for We Roots, a terrific compilation of female artists who've helped make the So Cal reggae scene what it is. Foster had a hand in writing all the songs as well, and a nice lot they are. First up is Zema, who was fixture in L.A. reggae before relocating to Jamaica. Her song "Rock Steady" is an instant grabber, with a riddim suggestive of the post-ska era the title bespeaks and a bounce that practically dares you not to dance. The title track comes courtesy of Universal Speakers, a duo whose reggae/dancehall offering is as conscious as it is infectious. Queen P, who formerly fronted revivalist ska band Ocean 11, is both sweet and authoritative on "Love Sees All" while Jessica Burks mixes twangy Heartland inflection with California cool on "Hollywood Sign" and "Ride All Night." Shayna Dread (a radio cohort of Foster's) contributes cautionary pieces "Don't Fight the Youth" and "Fire is Burning," and Jordan Mercedes' "The Sun is Gonna Shine" wraps it all up over a mixture of reggae pulse and tuba-punctuated good wishes. Every song except that last one is followed by a dub version, so we also get to hear the nuances of what lies beneath these fine tunes and taste the skills of the players who created them, a mainly Californian crew who know their stuff in spades. Very high marks to all the ladies (and gentlemen) involved in the making of We Roots. Y'all rock, and so does the music. -Tom Orr Catch Me Time Records	Lee "Scratch" Perry and Friends - Disco Devil: The Jamaican Discomixes Lee Perry was and is a trailblazer in many ways, but he didn't invent the 12-inch discomix single. It didn't take him long to realize the commercial, artistic and sonic possibilities of the format, though. By 1976 his Black Ark studio was putting out discomixes at a steady pace, extended head trips on which a song by one of his stable of artists would stretch out into a dub portion that would be topped by deejay patter, sound effects, riddim enhancements, rants by Perry himself or whatever else his mad-genius mind decided to include. Disco Devil is two CDs, each well over 70 minutes long. The title track is a bit cluttered (the riddim it rides has certainly been put to better use), though apart from that there's more than enough wicked and wild to make this compilation a must. Essentials like the Congos' "Neckodeemus" (sic) and Junior Delgado's "Sons Of Slaves" are simply drawn out to mesmerizing proportions, while others such as Devon Irons' "Ketch Vampire" (a tune for our times if ever there was one) are layered with additional instrumentation and voices as well as deejay sections. Absolute classics the caliber of The Heptones' "Party Time" are included along with more obscure delights- Carlton Jackson's "History (Of Civilization)" was new to me and a real discovery. Perry's own 12-minute "Free Up The Prisoners," one of his best outings as vocalist and studio experimenter, is a mind-bending standout, and prime works by singers (Max Romeo, Junior Murvin, Leroy Sibbles) and deejays alike (Dillinger, Doctor Alimantado) benefit from Scratch's one-of-a-kind primitive/cutting edge production style. Make room in your reggae collection for this release, because not getting it is not an option. -Tom Orr Sanctuary/Universal
Groundation - Building An Ark This album's been out for quite a few months and has probably already been reviewed by all those reggae scribes who, unlike me, know what they're talking about and are punctual to boot. So I apologize for my lateness and am going to opt for a simple approach even though Groundation's music does not lend itself to simple analysis. This Californian reggae band, which was formed at Sonoma State University in the late 1990s and enjoys considerable international success, has been singled out for its jazz underpinnings, its guest spots from such reggae greats as Don Carlos and Cedric Myton, its crafting of reggae that is at once Jamaican and American and any number of other reasons. They're favorites of mine, but the reasons why are difficult to articulate. Certainly, the way they combine the easygoing feel of reggae with the intensity of their own approach to it is a factor. Building An Ark (the first Groundation release since their debut to feature no guest vocalists) carries on what has become a signature sound for the band: lengthy meditative tracks, expertly crafted riddims and arrangements, cryptic lyrics, jazzy solos, Latin-flavored percussion in with the nyabinghi, wordless passages that blur the line between instrumental and dub and the gruff voice of lead singer/guitarist/songwriter Harrison Stafford. Actually, he's toned down some of that gruffness but still retains at least enough vocal eccentricities to make for interesting contrasts when Kim Pommell and Kerry-Ann Morgan, both essentially backup singers, take the lead for a line or two. As far as the songs go, they retain that good old Groundation mystique. The opening title track could well be a love song, "Merry-Go-Round" seems to trace a generation of haters back to Columbus, "Daniel" riffs philosophic on what to do once the lion's den has been survived, and so on. As with Groundation's previous discs (this is their seventh), it's best to just let the whole album ease it's way into you, whether you find neat-and-pretty straightforward meaning in the songs or are content to enjoy rooted yet progressive reggae music that raises more questions than it answers. Building An Ark is another exceptional album from a band that has yet to produce an unexceptional one. Give it some time to grow on you. It will. -Tom Orr VP Records	Crucial Reggae From Outside Jamaica Vol. 4 Everyone knows there's plenty of worthwhile (or better) reggae that's not straight outta yard, but the occasional reminder doesn't hurt. The latest volume in an ongoing series courtesy of Skank Records is an hour's worth of goodness from Ivory Coast, Dominica, Ghana, the U.S., Trinidad, the Virgin Islands and the Philippines. Every track is good and a few are truly great, my particular favorites being Brother Ayouba's "Treading," Josh Heinrichs and BW quietly mashing it up on "Stand," Bambu Station's brooding "How T'ings Ah Go," "Madness" from Groundation's Harrison Stafford in side-project mode as Professor with toasting assistance by U Roy and "Mabuhay Revolution" a horn-charged offering from Jeck Pilpil & Peacepipe. You'll likely have your own faves and if you've heard the previous releases in this series, you can rest assured that quality is a given. If you haven't, feel free to start here and work your way backward. Reggae is music for the whole world, and the tunes here are strong enough to get us all dancing as one. -Tom Orr Skank Records
Tchiya Amet - Celestial Folk Music Celestial Folk Music? There's a new category for you. Does it have any appeal for reggae fans? Yes. Tchiya Amet, who's from Chicago and of Native American and Moorish heritage, harnesses reggae beats on many of this album's tracks, and while the end result is not as reggae-heavy as the one other album of hers that I have (2003's Black Turtle Island), you could file Celestial Folk Music under reggae and not be too far off the mark. The album is indeed folksy in its laid-back feel, but Amet's got serious concerns like the environment and keeping things in balance on her mind, and in addition to reggae she knows how to use jazz, African, Brazilian, new age and indigenous musics to their best advantage. Celestial Folk Music is thus an enjoyably wide-ranging disc that varies from the playful sensuality of "Love & Joy" to the creation mythos of "Where The Dog Ran" and infectious Afro-Latin jazz that percolates through vocal and instrumental versions of "Egyptian Bluez." Amet's delivery is unfailingly sweet and gentle, even on a tune as plainspoken as the comparatively shocking "Fucked Up System," and it's easy to find crossover potential in some of these songs, a few of which wouldn't sound out of place on an album specifically for children. Drawing upon her experiences as (among other things) herbalist, home-schooler, yoga instructor and holistic healer as well as a musician, Amet has created a melodically and culturally engaging album that's warm and inviting for music lovers of all kinds. -Tom Orr Milky Way Records	Mr. Vegas - Sweet Jamaica I find it hard to take a performer with such a name seriously. Mr. Vegas? Sounds like a smarmy lounge lizard in a tuxedo who sings overwrought songs for tacky tourists in Sin City. Does that gripe have anything to do with this review? Only the fact that preconceived notions play a part in it. Okay, this album- when I saw that it was one disc of dancehall and one of reggae, I quickly made up my mind that I was gonna like the reggae and not like the dancehall because, well, I just don't like contemporary dancehall. And much as I'd like to say I was pleasantly surprised and wound up liking both, such is not the case. The dancehall disc is as banal as anything that's been released since dancehall became more like American rap and less like Jamaican reggae and thus gets an unequivocal thumbs down from me. The reggae disc is loads better, sporting heartfelt love songs, conscious sentiments, surprisingly good cover versions (even "Ob-La-Di-Ob-La-Da," for crying out loud), updatings of classic melodies ("Gimme A Light" cops "Israelites;" "Things Ruff" barely conceals "You Can Get It If You Really Want," etc.) and a celebratory air that leaves slackness in the toilet where it belongs. One disc bad, one disc good. That's my opinion and I'm sticking to it. -Tom Orr MV Music
Jahmark and the Soulshakers - 2012: Book of Redemption I - The Beginning / 2012 Book of Redemption II - The Rebirth Jahmark was Jamaican born but has done most of his music making in the U.S., in such locales as Miami (where he befriended the Marley family), New York City and, since the early '90s, Los Angeles. His latest work, the two-volume 2012: Book of Redemption, is a kind of historical/cultural lesson set to the riddims of reggae music and imparted from a Rasta-centric perspective. And to clarify that perspective from the outset, the first disc kicks off with "Rootsman Time," a joyous skanker that sets the tone for what's to come. In between songs pinpointing particular key times in history when human foibles changed things for better or worse ("Khemet 4500 B.C.E.," "Conversion 350 C.E.," "Columbus 1492," "Space Shuttle 1999") come tunes addressing concerns that have never been far from the minds of anyone who considers themselves civilized ("Stop the War," "International Revolution," "Unity"). It's an ambitious couple CD's worth of reggae and it would come across as overly pedantic if Jahmark hadn't done his homework. Thankfully he did, and the result is true roots and culture music to be savored sonically, absorbed lyrically and enjoyed fully. The backing accompanying Jahmark's reasonings of past and present is crisp modern roots lovingly laid down by players from the CA and JA scenes, with bassist and co-producer Mike Irwin anchoring the proceedings in terms of both groove and finished product. (Mixing and mastering by the ever-dependable Fabian Cooke doesn't hurt either.) I suppose you could call these concept albums, but better they should be labeled as simply great reggae, assuming you like reggae that gives your mind plenty to wrap around while your feet and waistline are in perpetual motion. Recommended. -Tom Orr Banana Boat Records	Island Head - Punky Reggae Party What's wrong with a band that releases an album comprised of six instrumental versions of Bob Marley songs and one original? Nothing, as far as I can see and hear. The septet that is Island Head includes a pair of veteran reggae guitarists- Andy Bassford and Mikey Chung -plus players who've made their names primarily in other sorts of music. But as drummer/producer/organizer Billy Messinetti asserts, it was a passion for reggae that brought these guys together. The passion shows, and the group lovingly jams their way through "I Shot The Sheriff," "So Much Trouble In The World," "Wake Up And Live," "Get Up Stand Up," "Punky Reggae Party" and "Burnin' And Lootin'" with chops to spare. There are no lyrics, but the familiar power of the melodies comes through and the players (who also include bassist Neil Jason, keyboardist David Frank, saxophonist Tim Capello and trumpeter Don Harris) stretch out the tunes to include riffs and solos that turn this disc into pretty much a jazz/reggae affair not unlike Monty Alexander's Caribbean-flavored material. And the one original tune, "Reggae Island," fits in with no problem, mon. Sure, this stuff takes anthems of Trenchtown sufferation and turns them into music that would sound just fine at an upscale Kingston hotel, but that goes to show how universally adaptable the Marley catalogue is and how the deeper roots can be enhanced without being negated. Well done. -Tom Orr Island Head
Synrgy - Synrgy These guys get around. They formed in Flagstaff, Arizona in 2007, soon relocated to Humboldt County to immerse themselves in the Northern California reggae scene and presently are based in Ashland, Oregon. I don't think they're running away from anything or looking to stay one step ahead of the authorities, just that they're going wherever their creative impulses lead them. Thankfully, they've settled down long enough to record this self-titled record, a hot slice of rockish reggae that's both a party and a serious aside. A five-piece (drummer, bassie, keyboardist, lead guitarist and rhythm guitarist/singer), they've got a good feel for Jamaican roots (check the stripped-down ska jam "Rupie" and rocksteady romp "Cast Those Stones") and plenty 'nuff creativity to forge a sound that might put you in mind of American reggae bands like Rebelution yet doesn't come across as copycatting. Their reggae is often a notch faster than most, and front man Brian Zach has a refreshingly tongue-tripping vocal style that rides the tightness of his bandmates' grooves expertly. The result is infectious, highly danceable reggae that tackles familiar topics like herb, the love of a good woman, keeping pace in an ever-changing world and the ongoing abuses of those in power. This is, I think, Synrgy's second full-length release, and it's an impressive one. -Tom Orr Synrgy	Western Standard Time - Big Band Tribute To The Skatalites Vol. 1 Consider Western Standard Time a West Coast ska super group. And when I say super, I mean not only the fact that all its members are highly skilled players with loads of experience under their belts, I'm talking about sheer size as well. Note the title of the CD and believe it. This is indeed a big band, with multiple saxophones, trumpets and trombones swelling, swirling and jamming around a core of drums, standup bass, piano and guitar. The tunes they cover here include Skatalites classics like "Freedom Sounds," "Guns of Navarone," "Latin Goes Ska" and "Eastern Standard Time," and if you're thinking it's no big deal 'cause lots of bands have covered those songs, well, you haven't heard 'em quite like this. The massive horn sections create walls of sound that inject new thrills into the old and familiar, and nearly every track is extended and expanded upon to make more room for greater ensemble dynamics, a higher volume of solos and an increased quotient of pure ska pleasure. This being ska, the horns are showcased predominantly, but listen to how snugly that rhythm section is locked in as well and you'll be ready for the sort of endurance-testing "drop some legs" dancing that this music was made for. No matter how many rocked-up, punked-up, whatever-up permutations ska has gone through, there's nothing like the real thing, and this superb release is the real thing made even better, a blazing testament to ska's jazz roots. Can't wait for Vol. 2, though listening repeatedly to the first installment will be a great way to pass the time. -Tom Orr Tom Orr Simmerdown Productions
Soothsayers - Human Nature Soothsayers, those U.K. masters of Afrobeat and jazz-laced reggae, are back. And while in the past part of their notoriety stemmed from their collaborations with such reggae stars as Johnny Clarke, Michael Prophet and Linval Thompson, they're on their own on Human Nature. No problem. This is a fantastic outfit in peak form. Despite sizable hints of dubwise experimentation on Soothsayers' first two albums, the band really started going in a largely reggae direction a few years back with One More Reason, a disc that still sounds great (as does its dub version) and paved the way for what they've got going on here. Band leaders Robin Hopcraft and Idris Rahman, both horn players (Hopcraft plays trumpet, Rahman sax), really come into their own as first rate vocalists also, often forming a harmony triumvirate with Julia Biel over arrangements that invoke the spirit of Fela Kuti as often as the Wailers, the Roots Radics or Lloyd Parks and We the People. But don't think for a moment that Soothsayers are lacking in the originality department. Indeed, now that they've found their inner voice(s), they've also tapped into a spirited energy that injects songs like "We're Not Leaving" (a meditation on being able to call a certain place home), the take-heed title track and the wistful "Streets of London" with the kind of conviction that personalizes the music and sends it deep into the heart of the listener. These, then, are sounds to be truly felt as well as heard, and you'll be missing out if you don't get yourself a copy of this disc and immerse yourself in it repeatedly (after first getting a gander at the clever cover illustration of a money-grubbing fat cat juggling the earth like it's a soccer ball). Yes, Human Nature is that good, and let's hope there's a dub followup forthcoming. -Tom Orr Red Earth Records	Destroy Babylon - Long Live The Vortex They're based in Boston, they've been around since 2001 and they take their name from a song by Bad Brains, but I'd never heard of Destroy Babylon until a copy of Long Live the Vortex came my way. The band is influenced as much by punk rock as reggae (two genres that have been allied in their outsider status for decades), but despite the anger behind such songs as "Mr. Money Bags" and "Something Very Wrong," it's the reggae side of the equation that gets the upper hand on most of the tracks. Still, fans of traditional reggae may be put off by the rockish overtones that invade here and there. I was, though I found enough real reggae to make the first half of this disc at least satisfying. The second half is dub versions, and they're better. The basslines are beefed up, the roots essence is forwarded and the anger is generated via subtlety. So Destroy Babylon manage (marginally) to have it both ways, thanks in part to co-producer Craig Welsch, who has worked with John Brown's Body, 10 Ft. Ganja Plant and Pressure Cooker, and here balances the sonic dualities of rock and reggae implied on the vocal tracks and more fully realized on the dubs. It's those dubs that make this release a keeper for me, though many of you may well appreciate the whole package. -Tom Orr Young Cub Records
Jimmy Cliff - Rebirth Rebirth, indeed. You could easily peg this as Jimmy Cliff's greatest work since the days of The Harder They Come. And since longtime Cliff fans are going to make more specific comparisons within his body of work, I'll weigh in by saying that Rebirth is the best he's done since 1981's Give The People What They Want. The first thing that grabs you is the CD cover photo: Cliff in silhouette, sporting a porkpie hat, a corona-like aura surrounding him. Got to be some very special music inside, yes? Yes. Due in healthy measure to production and instrumental assistance by Tim Armstrong of Rancid (a band I admittedly know very little about but enough to know what a splendid job Cliff does with their "Ruby Soho"), Rebirth abounds with the sort of soaring singing, anthemic choruses and Jamaican-hardened rhythms that made Cliff one of the earliest pioneers-turned-longstanding-veteran musicians to bring reggae to the world. Indeed, the track simply entitled "Reggae Music" handily sums up Cliff's contributions from the ska era onward, and does so with the same drive and passion that fuels the entire album. Even though this is clearly a return-to-roots effort, there's still the variety and versatility that Cliff has always brought to the table. So maybe the reggae rock of "Bang" (which bears a melodic resemblance to Burning Spear's "Swell Headed") will grab you the most, or perhaps a blistering take on the Clash's "Guns of Brixton" (who better to sing that "feels like Ivan" lyric than Jimmy Cliff, eh?), or maybe the Waterhouse-style scatting that propels "Rebel Rebel." If picking favorites isn't your thing, feel free to enjoy the whole disc as one big burst of greatness. From the opening remake of the Jimmy Cliff/Joe Higgs composition "World Upside Down" to the hard ska alternate version of "One More," what we have here is a legendary reggae artist who's back to making the kind of music that made him legendary in the first place. Rebirth is an absolute must. -Tom Orr Universal	Easy Star All-Stars - Easy Star's Thrillah I can well remember when Michael Jackson's Thriller album and Jackson himself dominated popular music, just as I can easily recall his descent from music superstar to mega-famous oddity. But I'm not here to speak ill of the dead or reminisce. Nor can I review Thrillah completely on its own musical terms, since comparisons to the original are warranted. I wasn't one of the millions of people who bought a copy of Thriller, but the album's songs were inescapable. And I liked them, until Michael-mania got so bloated I became almost entirely turned off and stayed that way. So that's where I'm coming from as I review the Easy Star All-Stars reggae remake of an admittedly landmark album. They don't go it alone, of course. As on their past remakes, this one's loaded with guest stars. The likes of Michael Rose, Luciano, Steel Pulse, Mojo Morgan, The Green, Ruff Scott, Cas Haley and Kirsty Rock, to be more specific. When that kind of talent is on board, plus taking into account what a crackling good band Easy Star All-Stars are, you get the feeling a crazy idea like this (at least as crazy as their previous reggae remakes) might just work. I was surprised right off the bat to find "Wanna Be Startin' Somethin'" done much closer to Afrobeat than reggae. Okay, pretty good so far. Next comes The Green featured on "Baby Be Mine," a pleasant nugget of pop reggae. On to "The Girl Is Mine" (with Mojo Morgan and Steel Pulse), which improves vastly on the yawn-inducing original. Then it's time for the real proof triumvirate: The title track, "Beat It," and "Billie Jean." The first, with Mikey General singing and Spragga Benz commentating, is a clever and catchy rendering. The other two, voiced by Michael Rose and Luciano respectively, aren't bad but seem to lack something. Maybe they're just too shoehorned in reggae arrangements. Cas Haley fares better on "Human Nature," a more comfortable fit as far as groove goes. Likewise Kirsty Rock's "P.Y.T.," a playful take with a busy but bright feel. "The Lady In My Life" is sensual and sincere, benefiting from Christopher Martin's lead vocal and the melodica that punctuates it. Then come the dubs- "Dub It" and "Close To Midnight," both of which get suitably wicked, hypnotic treatment and end the album strongly. And there it is. I don't know what hardcore Michael Jackson fans will make of this disc, assuming they bother with it at all. From a strictly reggae perspective, it's got enough ideas, twists, respect for the source material and overall goodness to make it recommendable. -Tom Orr Easy Star Records
Mark Wonder - Working Wonders The arrival of this CD prompted me to recall how much I enjoyed the same singer's 2007 release Victory- The Mystery Unfolds (though I'm sure he's done other things between then and now). Born Mark Thompson and taking his adopted name from Stevie Wonder, Mark Wonder is a Jamaican with an eye on what's happening globally (evidenced by tracks like "The World Needs Love" and "As The World Turns") and a voice quality he can switch from urgent to caressing depending on the subject matter of the song. He makes his perspective known on the opening "Ancient Of Days," invoking Ethiopia, Haile Selassie and the importance of consciousness as one goes about life's journey. That upful vibe is maintained throughout, with minor digressions into a couple of cut-above love songs (one of which, "Distant Lover," is for some reason not listed on the back cover) but mostly taking on serious concerns. Wonder doesn't just brood or point fingers, though. He's optimistic about the future of mankind, laying out "On This Day" as a vision of a people guided by unity and letting us know that "Jah Love Is So Amazing" as to conquer all. The musical backing, mostly real instruments plus a bit of programmed embellishment, is clean and solid, with a few dubby moments tossed in. There are also guest turns by Sizzla, Natural Black and Mikey Melody, lyrical nods to Ken Boothe and Burning Spear, great female harmony vocals (by an overdubbed Sista Lou) and a good deal more to love about Working Wonders, an album of first rate reggae that hooks you from the start and just gets better. -Tom Orr Oneness Records	The Archives - The Archives This band out of Washington DC has been making quite a splash with their live shows and self-titled debut album, and it's easy to see and hear why. They don't try to fix what isn't broken by messing about with the basics of reggae. What they do is make reggae that has the best possible combination of musical tightness, lyrical substance, vocal strength, varied instrumental sounds and tunes that'll get you onto the dance floor while keeping your brain fully engaged. Yes, reggae the way it should be- a total package for mind, body, spirit and well-being. It's the spirit they touch upon at the start, proclaiming in the midst of "Who's Correct?" that "how you find Jah don't bother me." The same sort of clear-headedness informs "More To Life," "Message For The Messenger," "Why Can't We Live Together" and plenty more songs that advise choosing faith, basic goodness and common sense over money, politics and similar strictures. But long before all that sets in, you'll notice how simply great the music sounds. The Archives is comprised of players and singers who know exactly how much finesse and subtlety reggae requires, and they don't miss a trick. So "Melodica Funk" is a killer instrumental with a jazz tinge, "Boof Baff" channels the delights of early dancehall, "Sensibility" touts the herb without sounding stupefied and a cover of The Clash/Mikey Dread tune "One More Time" makes you want to hear it many more times. Produced by Eric Hilton of Thievery Corporation and loaded with some of the freshest, most finely crafted reggae in recent memory, this one's a winner all around. -Tom Orr ESL Music
Urban Tribe Stockholm - Better Days Glad to see this band out of Sweden is still around (having read some online commentary a couple of years ago suggesting otherwise), and of course I'm equally glad that they're continuing to make quality reggae. Previous Urban Tribe Stockholm releases Bob's Bar, Who Is The Enemy? and Roots are all albums that any lover of genuine reggae could and should embrace, and Better Days is more of the same in the best possible way. The band remakes a few earlier songs- "Bad Man," "Fool With a Gun" (a tune which, sadly, just gets more and more timely) and "Soul Rebel" (not the Wailers song of the same name)- and offers a nice cover of "Hello Carol" complete with toasted commentary a la U Roy courtesy of band member Bamma B. Otherwise it's all originals and very good ones at that. Opener "Stand Tall" does a slow burn into a message of self-assurance, "Monkey Off My Back" goes beyond overt addiction analogies to dispel what ails us, and a first foray into a key reggae subgenre is taken via "Howard's Dub." Lead singer/guitarist/main songwriter Adam Atterby is in prime form, though he shares lead vocal duties with his wife Charlotte (who does harmonies on all UTS albums) on the lengthy, meditative closing track "Open Your Heart Now." Turns out Mrs. Atterby has a pleasantly understated voice, so giving her a turn at the mic was a smart move. Among the band's other similarly wise choices are the use of all real instruments (including horns) and giving their songs just enough pop accessibility to make UTS the same sort of potential hitmakers as (for example) UB40. Sweden is hardly the first country that springs to mind when it comes to reggae, but this committed and talented group of music makers ensures that it certainly isn't the last. -Tom Orr Rub-a-Dub Records	Louie Fleck - First Taste Is Free Louie Fleck has been involved with such riddim-oriented outfits as the NYC Reggae Collective and the Mot!ves Project, but it wasn't always that way. He once was (and possibly still is) a rock and roller who also dabbled in musical theatre before he chanced to buy a bunch of vinyl records from a guy on the street. The stack he purchased included a copy of Bunny Wailer Sings The Wailers, which proved to be something of a game changer. Hearing that collection prompted Fleck (a white Jew from the Upper West Side, as he points out in the liner notes of First Taste Is Free) to learn more about reggae and begin composing and playing his own take on it. And I must say, for reggae that appears to be largely of the do-it-yourself variety (three tracks feature guests on drums, keyboards and cello), this disc is quite good. While Fleck isn't a great singer and doesn't try to sound like he's from anywhere but New York, his average-guy tones are effective in revealing his knack for writing lyrics seemingly about everyday concerns while often spinning off into the surreal (check out "Donkey Dance" in particular). His arrangements are quirky yet authentic, leaning toward the roots for sure and sometimes throwing in unexpected turns like the sitar-ish sounds on "Countless Tears." There are 11 songs and 10 instrumental/dub versions of same, adding up to an album that's unconventional and refreshingly loose, but unmistakably the work of one who understands reggae and makes it his own in an unpretentiously fun manner. -Tom Orr Self-Released
Prince Fatty Presents Hollie Cook in Dub I was as baffled by the name Hollie Cook as I was perplexed by the Day-Of-The-Dead type characters pictured dancing on the cover of this CD. Time to investigate. Some very rudimentary research led me to find that Hollie Cook is the daughter of Sex Pistols' drummer Paul Cook, a member of the most recent lineup of the Slits and someone who describes her own music as "Tropical Pop." As to what could possibly be compelling such a skeletal pair to express themselves through movement, a listen to the disc ended that mystery. It's real authentic dub mixed in classic '70s style by one Prince Fatty, another new name to me, yes, but a bloke who clearly knows what he's doing when it comes to capturing the sound that the deepest dub lovers love. The drums and bass guide and groove, hypnotically decorated with eerie echo, guitar and keyboard chops that come and go, percussion flourishes, pensive melodica and enough of Cook's voice to show a clear influence by such singers as Phyllis Dillon and Hortense Ellis. Covers of "For Me You Are" and "Walking In The Sand" indicate a healthy regard for female vocal groups as well. I now find myself committed to going out and finding the original disc that this one dubs. I'll bet it's a dandy. Meanwhile, the dub version is excellent and primed for repeated listening. -Tom Orr Mr. Bongo	The Spy From Cairo - Arabadub Fusing Arabic sounds with Jamaican riddims is nothing new, though the resulting subgenre probably isn't big enough to merit its own section at your local record store (in the unlikely event you still have one). This guy Moreno Visini, who calls himself The Spy from Cairo and is also known in some circles by the much more covert name Zeb, does an admirable job making his desert melodies pulsate on Arabadub, some of his work recalling earlier fusionist Badawi. Programmed drums aside, the instruments are real but hardly the lineup you'd expect to hear played on the average reggae album. Oud, cifteli and saz are among the stringed axes that lead the way, often along with orchestrations inspired by Egyptian cinematic music. Then add a bass backbone as steady as anything that's ever anchored a track cut in Kingston and a darbuka rattling away in place of a nyabinghi drum, and all the pieces are set. Despite the title, the disc isn't consistently dubby. The largely instrumental pieces (with a bit of chanting or wailing here and there) are nonetheless solid, with "Egyptian Pulse" a standout through its lovely flute textures and "Thicker Than Hookah Smoke" leading to speculation that it wasn't just tobacco being fired up. Zeb doesn't seem the sort of spy who's determined to extrapolate information at all costs, but after a dose of his mind-pleasing, hip-shimmying music, you might well be inclined to give up the goods. -Tom Orr Wonderwheel Recordings
Junior Toots - A Little Bit of Love Son of Jamaican music legend Toots Hibbert, Clayton "Junior Toots" Hibbert understandably has music coursing through his veins and proves it with this impressive album. Vocally, the similarities between father and son are not always as obvious as might be expected. The younger Hibbert has some of the same soul/gospel inflections as his dad, and the way he soars on the high notes and accentuates certain words and phrases with scatty spontaneity shows a direct line as well. But he also has enough of his own style (perhaps reflective of his having been born in Jamaica but residing in the U.S. since his teens) to keep things original, and the family ties are not as sonically apparent as those of some other notable reggae offspring. Plus, it's worth mentioning that cover versions of songs made famous by the non-Junior Toots are nowhere to be found. A Little Bit of Love is mostly roots with a couple of dancehall asides, and Junior handles both with consciousness and style. Reggae's ancestral foundations get their due on "Ready to Come Over," "Ethiopian From Birth" and "If Africa is Not Free," and the unity-minded perspectives of "Physically Spiritually," "Only Love" and "Let's Get Together" likewise show this emerging artist's heart to be in the right place. Produced by Junior, Fabian Cooke, Aston "Familyman" Barrett and Junior's brother Hopeton Hibbert, and with sharply laid riddims that match the strength of the vocals, A Little Bit of Love is a sizable helping of reggae goodness. -Tom Orr Crown of Fire Records	Giant Panda Guerilla Dub Squad - In these Times/Country Rochester, N.Y.-based Giant Panda Guerilla Dub Squad has been touring an awful lot since the release of their debut studio album Slow Down in 2006. In fact, they've been on the road so much that it took them a long time to get back into the studio. They've now done so. The result is not one but two new albums, and I'll get to the more surprising of the two in a moment. First, there's In These Times, a very fine collection of alternately laid back and fiery reggae that should appeal to longtime fans like yours truly and all those people GPGDS has played to live. Beginning with the harmonica-punctuated "Change You," the band shows where their heads have been at for the last half dozen years, extolling the power of their art on "All Night Music" (featuring backing vocals by Hawaii's The Green), pledging to "Love You More," peering into the wherewithal of the privileged on "Pockets," making "Moonshine" sufficiently intoxicating and rolling out the title track as a simple plea for human beings not to make each others' lives unnecessarily difficult. The band's arrangements sway and skank (with a couple of assists from the horn section of John Brown's Body), they go a little dubwise here and there, their harmonies are quite nice and the arrival of In These Times shows them to be among the finest American reggae outfits. But wait. Versatile though they are within the reggae realm, Giant Panda Guerilla Dub Squad show an entirely different side with Country, an acoustic record of Americana music that's jam band-packed full of banjo, fiddle, slide guitar, harmonica, brushed drums, upright piano, more sweet harmonies and only a few traces of the reggae beat. It's a bold step, and it's a delightfully successful one. Being on the road obviously gave the band a lot of insight about alternate sorts of music and the social issues facing this nation, and Country is the sound of lessons learned well. Some of the pieces are unplugged reconfigurations of songs also on the In These Times disc, and both those and the ones unique to Country are as warm as a welcoming blaze in a stone fireplace. -Tom Orr Controlled Substance Sound Labs
The Devastators - Lights of Tomorrow Their debut disc Frontline was plenty impressive. Their followup Better Days managed the not-easy task of topping the first one. Now, with Lights of Tomorrow, this San Diego band reaches and surpasses the bar they set so high. The Devastators' mix of roots reggae, funk and dub has had hometown audiences dancing for more than a decade, and the way they lay down a recorded sound minus any interference from pitch correction or drum machines gives their releases a natural feel that lets the music hit hard and strong. Lead vocalist/bassist Ivan Garzon has a voice that's a perfect combination of soul testifier and reggae mystic, paving the way for guitarist/keyboardist/vocalist Brian Teel, keyboardist Alex Somerville (who also expertly produced, mixed and mastered the album) and drummer John Allen to add the rhythmic muscle and melodic hooks that every track here has to spare. Despite their name, the Devastators are more often concerned with edification rather than destruction, as they show on the lovers rock of "Sunshine" and the faith-affirming "I Know" and "Jah Love." Even so, it would be wise to heed warnings like "Shellshock" and "Babylon is Fallen," lest actual devastation be the alternative. The 10 songs here are further enriched by percussionist Eric Hartwell and the guest harmonies of Big Mountain's James McWhinney, ex-John Brown's Body frontman Kevin Kinsella and Luis Castillo (featured on guitar as well) from P.O.D. Plus, in keeping with previous Devastators releases, Lights of Tomorrow wraps up with a few dub versions that bring the inner workings forward and provide deeper layers of pleasure. Get this CD without delay and surrender to the urge to listen repeatedly. -Tom Orr Peaks and Valleys Productions	The Black Seeds - Dust And Dirt The New Zealand reggae scene is going strong and going international, with Katchafire, Fat Freddy's Drop and The Black Seeds in particular getting rightly deserved recognition. In The Black Seeds' case, it's been a matter of expanding a basic roots sound into a broader palette including funk, soul, Afrobeat and a sense of adventure. It's evident from the first strains of "Out Of Light," the opening track on Dust And Dirt (the band's debut release for the U.S. Easy Star label), that this isn't going to be any standard issue reggae album. The song is a downtempo chill of an affair, with a near-psychedelic drone and a reggae connection in its unhurried backbeat. Then the title track brings us into more clearly defined reggae territory, sporting a vintage sound on the all-real instruments and the same ethereally treated vocals that give this album as haunting a quality as the Seeds' previous Solid Ground. "Pippy Pip" (now there's a song title) follows, a kind of Afro-skiffle that lyrically implores one to "bring soul business" and scores through sheer catchiness. Actually, such catchiness never lets up through all the unpredictability that follows, whether it's tensely structured funk with reggae overtones ("Wide Open," "Cracks In Our Crown"), straight ahead roots ("The Bend," "Gabriel's Strut Dub") or quirky but satisfying tunes named for physical maladies ("Loose Cartilage," "Frostbite"). Luckily, The Black Seeds have not only the eccentricity, but also the versatility to pull it all off. They know what sounds to employ (particularly in the keyboard department) and never, despite their determination not to be just another reggae band, do they come across as anything resembling a novelty act. Rather, they musically explore the outer boundaries of reggae, and what they find there is quite wonderful. -Tom Orr Easy Star Records
Rebelution - Peace of Mind Forget about doubling your pleasure. Rebelution triple it with their latest release, a three-CD set with 12 new tracks, acoustic versions of same and a full set of dubs. From their start in 2004, Santa Barbara, CA- based Rebelution has crafted a finely original reggae sound with just enough rock, pop and crossover elements to appeal to a broad fan base. Guitarist/vocalist/lyricist Eric Rachmany, keyboardist Rory Carey, drummer Wesley Finley and bassist Marley D. Williams are a rock-solid reggae quartet with chops and inspiration to spare, and the collaborators they have on board for Peace of Mind bring many a measure of additional niceness. SOJA frontman Jacob Hemphill shares lead vocals on "Meant to Be," his gruff delivery contrasting compellingly with Rachmany's smoother tones, and a similarly inspired combination hits the mark when Lutan Fyah chimes in for "Good Vibes," a tune suggestive of early-80s Studio One with its percolating riddim and use of syndrums. Of course, that's well after the band has already hooked you in with the opening "Sky is the Limit" and "Comfort Zone," the former a horns-charged shot of reggae funk that celebrates human potential, the latter easily rousing you out of any complacency the title might suggest. There's also some lyrically substantial lovers tunes, classy additions of strings, oud and bouzouki, an unhurried herb song standing in smoky contrast to harder tracks that add rock to the reggae, a bit of guest harmonica by John Popper, and it's all lovingly treated by a team of producers which includes Jamaican vet Errol Brown and Easy Star's Michael Goldwasser. Very good stuff, and that would be the end of the story if there was only one disc to review here. Still, I'll be brief and say that the acoustic versions of the songs (featuring Rachmany on vocals, guitars and piano and Finley moving from drumset to percussion) keep tempos, pulses and soulfulness intact, easily stand on their own and add nuances with their minimal approach. As for the dubs, Goldwasser has them well in hand with his murky, echoey approach, extra instrumentation and balance of the familiar and the unexpected. As three solidly distinct discs or as one mightily impressive whole, Peace of Mind is a highly recommended piece of work. -Tom Orr 87 Music	10 Ft. Ganja Plant - 10 Deadly Shots Vol. II Is 10 Ft. Ganja Plant a band that relies heavily on proven formulas? They've kept their membership a secret (despite the acknowledged participation of guys from John Brown's Body), kept to a classic analog sound and kept to a steady release schedule of about one album a year. So the answer to the question would seem to be yes. Does that mean they're stuck in some kind of rut and need to change their ways? That would be an emphatic no. They're one of the most crucial pure roots outfits, not only in the U.S. but in the world, and messing with that would be as criminal as, well, possession of a real 10 Ft. herb stalk (and I won't get started on what sort of changes are needed in that mindset). 10 Deadly Shots Vol. II follows up on 2010's first installment, and like that one is all instrumental. That's pretty much where the similarities end. While Vol. I was mainly 70s-style roots, Vol. II is more of a throwback to the rocksteady and early reggae era. 10FGP has a history of guest artists in their otherwise anonymous ranks, and this time it's Roger Rivas of the Aggrolites on keyboards. Rivas' swirling, perfectly placed organ riffs recall the work of such great Jamaican players as Ansel Collins, Glen Adams and Jackie Mittoo, and the guitars, bass, drums and percussion that chug away underneath sound straight out of a Kingston dance party circa 1969. Hints of psychedelia, soul and r + b surface here and there, but the jerky rhythms are for fans of the sort of reggae that some may say they just don't make anymore. 10 Ft. Ganja Plant handily disprove such contentions. They do indeed make reggae that recalls a time when the music had a freshness and spark which this band seems to come by naturally with each and every release. All previous 10 Ft. Ganja Plant albums are must-haves for roots aficionados, so it's no surprise that this scorcher is yet another. -Tom Orr ROIR
Roots Nation - Temperature's Risin' Don't get this New Hampshire band confused with Natty Nation, Dub Nation, Roots Foundation or any number of other similarly named reggae outfits. And don't be thrown by the fact that Roots Nation includes a couple of ex-members (keyboardist Rider McCoy and drummer Glen Grant) from another group with the same sort of moniker, Boston's Dub Station. Do understand, however, that Roots Nation is clearly here to rock the nation with just what it needs: hard-charging reggae and dub. Unusual in the fact that their main vocalist and songwriter is their trombonist (a talented chap named Greg Pearlman), Roots Nation hits an immediate mark with the opening title track of Temperature's Risin', a punchy piece of reggae-funk that's indeed likely to make the mercury surge. Next comes the Studio One tribute "Do The Downbeat," leaving no doubt as to where the roots of Roots Nation come from. That connection is furthered by the presence of veteran reggae guitarist Andy Bassford throughout the album, playing his licks through a vintage amplifier once used by the house musicians at Coxsone Dodd's legendary Kingston studio. But Roots Nation doesn't copy the murky Jamaican aesthetics of old. Their modern roots sound is all-original save for a skillfully done cover of Willi Williams' "Dungeon," and they pierce right to the heart of the matter on plainspoken conscious material like "Unchanted Vibes," "I'll B. Goode," and "Chalice Of Love" (something from which this band has likely taken a few healthy sips). Crackling riddims, topflight musicianship, passionate lead and harmony vocals, strong songs and shadowy dub versions- Temperature's Risin' has them all, and I expect we'll be hearing more great things from Roots Nation. Remember the name. -Tom Orr Rare Roots Records	SOJA - Strength to Survive I missed out on the music released by Washington, D.C-based SOJA between 2005's Get Wiser and their new Strength to Survive, so for the sake of updating my brain I took a closer look before I had a close listen. Seems they've permanently condensed their name from their prior designation as Soldiers of Jah Army. Plus, their publicity materials now refer to them as a 7-piece band, whereas they were a quintet last time I checked. But what really counts is what hasn't changed, specifically the fact that SOJA are still obviously committed to making reggae that matters, whether lamenting the plight of the world due to war and waste on "Mentality," taking neither God nor man for granted on "Everything Changes," touching the heart through "Tell Me" and "Let You Go" or recalling times "When We Were Younger" with graceful introspection. Lead singer/guitarist/songwriter Jacob Hemphill's plaintive, gravelly delivery continues to wrench the most out of lyrics that range from conventional to cryptic to clever, and the instrumental chops that allow these guys to fill their tunes with an abundance of sonic hooks have only gotten better. Plus the two new members are horn players, which makes the better bigger and punchier. What might cause longtime SOJA fans to bristle a bit is the touch of producer John Alagia (known for his work with Dave Matthews and John Mayer), who goes for a feel that's more pop-friendly and less bottom-heavy reggae. A happy medium between the two would have been preferable. Strength to Survive is a very good piece of work just the same, and a worthy addition to SOJA's past achievements. -Tom Orr ATO Records
Ashaka - Time The title of Illinois-based singer Ashaka's debut album could just as easily be something like "It's About Time," given how long a while he's taken to get to this point. Born Linval Thomas in Jamaica, he was in his teens when he recorded one Prince Buster-produced song before moving to the U.S. and spending 22 years in the Air Force. That service ended in 1997, but it took a few more years for Thomas to adopt the name Ashaka and give music another try. I'm glad he did. Time has a fresh, punchy modern roots feel to it, with all real instruments including horns storming in support of Ashaka's here-I-finally-am vocals, which have more than a hint of Dennis Brown influence to them. The songs are an impressive bunch and cover a lot of territory- I certainly can't think of another reggae singer who would put songs entitled "Muddy Waters" and "Claude Monet" on the same album, let alone do each subject justice in unexpected ways. Lovers rock gets a nod on the title track and elsewhere, as does an earlier musical era on "Ska Groove," a lyrically loopy bit of pure fun. More serious concerns like "Conflict," "Yesterday" and "Why?" show the depth of an artist who's had plenty of life experiences and now gets to unleash the desire to sing about them. Time is a pleasure from start to finish, but be sure you also latch on to Ashaka's EP entitled Ooh, Ooh Girl, a three-song, three-dub sampler that includes the heartfelt "Save Darfur" and "Belt-Up," a humorous poke at hip hop fashion that's sure to skin a grin. Nice to see a new reggae artist getting his shot no matter how belatedly, and even nicer that the music's as good as it is. -Tom Orr Ramjam Records	Fyah T and the Next Generation Family - Family Wise By all accounts, there's a healthy reggae scene in Germany. Having never been there, I have to rely to some degree on such accounts, but more empirical proof exists in the form of homegrown German reggae artists like Munich's Fyah T. A Bobo Dread singjay whose vocals might put you in mind of Lutan Fyah (who, probably not coincidentally, guests on Family Wise's "Woman of Virtue"), Mr. T comes on hard and strong but no more so than is necessary to get his conscious points across. He doesn't suffer fools easily, as songs such as "Be Honest" (a word of advice to politicians), "Don't Trust Them" and "Backstabba" (featuring Jah Mason, another likely influence) indicate. Check the full-throated intensity of "Still Holding On," "Lion" and "Herbalist" lest you doubt how unwavering his command of the mic is. Still, his delivery doles out the heat in measured doses, never supposing that maximum impact is going to be achieved simply by trying to shoehorn as many lyrics as possible into the available space. And the space merits the breathing room he affords it, given the tightness and expertise of his Next Generation Family backing band, a crack outfit who provide fully developed riddims on real instruments that add roots to Fyah T's dancehall-structured rhymes, even stretching out in ska stylee with "World of Music" and skillfully tagging several tracks where they play on for a while after the vocals have ended. But Family Wise is Fyah T's show, and the strength of his convictions is the foundation upon which this solid and satisfying musical house is built. -Tom Orr Oneness Records
Marty Dread - It Sometimes Rains in Paradise Maui's Marty Dread has been making reggae for a long time and worked with several noteworthy collaborators, emerging as one of the finest Hawaiian ambassadors of Jah music. Despite the meteorological implications of his latest album's title, it doesn't look like any degree of precipitation is going to slow him down. Beginning with a cover of "What I Am," as thoughtful a statement of assuredness for Marty Dread as it was for Edie Brickell, It Sometimes Rains in Paradise rains down roots, lovers rock and pop reggae and leaves you as cleansed and refreshed as a healthy shower ought to. Marty's got a few friends in the house while waiting for the sun to break through, and chatting alongside Pluto Shervington ("Sending Flowers"), gracing a classic riddim in the company of Oshen ("Set The Waters Free") and anticipating nocturnal seduction with Nara Boone ("Late Night Special") are a few of the reasons the disc is a treat. Some of the others include "Search I," an irate account of ganja-related persecution, and "Gave It Up For Love" featuring impeccable backing vocals by the Mighty Diamonds. Then there's the trio of tracks produced and arranged by Gaudi, the same guy who put some old songs by Nusrat Fateh Ali Khan in brilliant dubwise setting a few years ago and here brings echoey mysticism to "What I Am," the dub version of same and the ominous "Nuclear Ting." It Sometimes Rains in Paradise is fine reggae for all occasions, weather permitting or not. -Tom Orr Five Corners Music	The Pinstripes - I A reggae/ska/rocksteady/dub/soul band every bit as sharp as their name would lead you to believe, the Pinstripes have been local favorites in their home base of Cincinnati for a few years and possess the goods to grab the attention of the massive well beyond. I, their third release, is full of diverse touches and unexpected turns that show these guys to be as much a lighthearted party band as serious contenders in the ever-growing Midwest U.S. reggae scene. The disc opens with a one-two punch on the topic of feminine charms, "I Might Be Her Fool" and "Alright Baby," before getting into conscious mode with "Dollar (In Our Pocket)," a reminder that freedom ain't free followed by a dancehall chat, "Dollar Don't Come," on a similar note. Wherewithal is also the focus of the rootsy "Money," but there are other concerns aplenty addressed. "One Drop" celebrates just how crucial that riddim element is to music of this sort, while the title of "The 1070 To 1963" might have you thinking it's some sort of throwback before it turns out to be a dub-treated meditation on tolerance sung partly in Spanish. "I'll Be Waiting" and "The Wokkabout" take turns into blues and soul respectively and are all the more fun for it. There's further divergence from Jamaican grooves on the brooding "Do What You Want," building anticipation for a return to familiar shores with "Give Some Love" and "Water," the latter a gospel-tinged blend of nyabinghi and mento that wraps up the disc with spirit-washing perfection. Apart from the Pinstripes' ample talents, a good measure of what makes I so successful is the production and instrumental input of Anthony Abbinanti from Chicago's Drastics, who sees to it that the many moods of the band are given likewise multifaceted sonic settings. A massively good CD by an outfit that grasps not only the roots of Jamaican music but how high and far those roots were meant to grow. -Tom Orr Collective Culture
Irie Time - In Another Time Having been to Houston, Texas on a couple of occasions, I can attest to the multicultural vibe of the place. Reggae is of course a key component, and a big part of that is Irie Time, a supremely skilled quartet of players and singers who also bring helpings of soca, dub, pop and jazz to their celebration. The title track of In Another Time, presented in both English and Spanish versions, is in fact more Trinidad carnival than Kingston sound system, as is the chipper “Wings of Love.” Plus, the brooding simmer of “The Calling” and measured pensiveness of “With You” show signs of rock and roll balladry. But reggae fans need not fear; their favored riddims are front and center on cuts like the Lucky Dube-ish “I know It’s True” and warm opener “I’d Choose You,” both of which are reprised as dub versions later in the disc. Then there’s “Won’t You Come Love Me” (again with corresponding dub), which is equal parts reggae and calypso. Guitarist and lead vocalist Scottie McDonald has just enough Texas gravel in his playing and singing to mark this as an album from beyond Caribbean shores, and with the able support of Abayomi Oluwole (keyboards), Jairus Mage (bass and vocals) and Yemi Ajayi (drums and vocals), things are tied up tight and yes, very irie indeed. I’m pretty sure this is the band’s second release, and it’s full of lively island music that’s guaranteed to please. -Tom Orr Inherent Music	Joshua Alo - Orchid Unknown A Hawaiian, a U.S. Air Force veteran and a singer/songwriter/guitarist, Joshua Alo made a pleasingly mellow reggae album called Answer Your Calling back in 2007. Seems he’s opted to take his own advice and continue making music, and that’s something to be glad of. On that first disc Alo was pictured hooded, eyes hidden and a bit mysterious. Open up the sleeve of Orchid Unknown and see how he appears four years later: dreadlocked, bearded, holding his baby daughter like a lion protecting a cub. I’m guessing he’s not a convert to Rastafari, since Christ Jesus is given prominent thanks in the liner notes and bigged up more than a few times lyrically. The big change is that the militant thrust of this new release comes across as appreciably harder (occasional ukulele riffs notwithstanding) and more rootsy than the fairly laid-back air of its predecessor. Alo’s singing is fresh and direct, with only a minimal edge of Jamaican accentuation and a delivery that oozes like molten lava throughout songs structured around classically structured one drop and rockers riddims played by a full band including horns and female backup singers. If that sounds like the basis for blazingly good reggae music, well, get yourself a copy of Orchid Unknown and have a listen. You might find the lover’s-rock-with-substance “Treasure In My Chest” a particular favorite, or think the soldierly tribute “Hold On” hits the mark no matter how much you abhor war. Perhaps the sincere spirituality of “Feel It In The Air,” “Lukewarm,” “Psalm 146” or acoustic closer “The Essence” will be more to your liking. Or maybe you’ll find the whole thing one fiery reggae statement that never ceases to burn bright. Quite impressive. -Tom Orr World Souljah Music
Various Artists - A Blessing of Love Vol. 1 The descriptions “Conscious Reggae Vibes” and “Niceness” are among the words spread across the blue sky/blue sea cover of this CD, and the music is a slackness-free selection that delivers as promised. With songs composed by Glenn Middleton and arranged and produced by keyboardist Michael Hyde, A Blessing of Love presents its title topic in both personal and divine terms. So roots and lover’s rock each get a share of the spotlight and each refresh in equal measure. Soulful crooner Carl Smith is the primary lead vocalist, sounding silky strong on love songs like “Don’t Fight the Feeling” and pop-ish “From Jah With Love” as well as travelogue endorsement “Sweet Belize.” The title track is sung with gusto by the Wailing Souls’ Lloyd “Bread” McDonald, who’s also in peak form on “It’s All About You.” Veteran guitarist Tony Chin provides typically sharp punctuation throughout the album plus lead vocals on “Cool Down Jah Children” and “Without Jah Love,” reminders of his often-overlooked singing skills. A real rarity is a lead vocal by drummer Santa Davis, who narrates the tale “Telling My Story” with take-heed authority. From opener “Living in Uncertain Times” to appropriately reassuring finish “Thank You Jah” (Carl Smith’s best vocal of the lot), A Blessing of Love will come in handy whenever you’re in need of music that will give your aching heart or flagging spirits a lift. -Tom Orr Rising Star Records	Dub Vision- Counter Attack! They get a lot of their licks in and earn a good part of their living as the touring backup band for Don Carlos, but Dub Vision is leading their own charge on Counter Attack! It’s a great listen, but before you cue it up, take a moment to get an eyeful of the cartoon cover art. An urban crowd of all types is seen dancing to music piped in by a trio of mysterious-looking dudes in a helicopter as a cop looks on sternly and one guy in the foreground runs away with his ears covered and his face looking pained. Count me in with the crowd from the get go. Counter Attack! opens with the title track, a scorching reggae/dub/ska instrumental hybrid followed by the mellow breather “Cool Summer” and echoey urgency of “Gimme Jah Love.” The dub heavy riddim and ghostly melodica of “Trod On” is enriched with conscious commentary from Don Carlos himself, one of three appearances he makes on the album. Another familiar voice, that of Wadi Gad, gives “Rebel Sounds” added potency atop a somber pulse and distantly thundering guitar chords. The inclusion of those guests would be enough to make the disc a keeper, but once you factor in the contributions of lesser-known but talented singers like Malika Madremana on the Afrocentric “Child of Israel,” another hard-hitting instrumental by way of “Double O Stash” and the band living entirely up to their name as they roll out the concluding “Extrication,” there’s enough variety and pure reggae satisfaction to push this one from keeper to killer. -Tom Orr Big Cup Music
Shango Trex - Shango Trex I don’t know where this guy is from or how his self-titled CD (apparently released in 2009) reached me. But whoever Shango Trex is, he can sing, and apart from a few tiresome girl-you’re-so-sexy sentiments, he’s singing about things that matter. He pleads for help for the younger set on “Fi Di Youts Dem,” gets smoky on “High Grade,” spells out what we all must do to bask in “Our Glory,” reads the “Writing On The Wall” and advises people everywhere to “Rise and Unite.” The backing, aside from some real guitars, horns and percussion, is mostly digital and the riddims mostly straight-up reggae with some dancehall and r & b in spots. The disc seemed pretty undistinguished the first time I listened to it, but on the second go some finer points, like strong background vocals and nyabinghi subtleties, began to emerge. I took a closer look at the credits and saw the familiar names of Jerry Johnson on sax and Glen Brown on kette drums, plus the fact that the disc was mastered (and presumably recorded) in New York City, which has certainly been one of Jamaican music’s second homes. Some truly outstanding songs aside, this isn’t really killer or crucial reggae. But if not great, it’s certainly good. Shango Trex has a clear, assured voice, and with any luck at all, his next album will truly be the one that heralds his arrival on the scene. -Tom Orr Stashang/E2 Recordings	Zion - Crying For Freedom If you were to simply read the names of the songs on this CD, you’d conclude that it was one bummer of an affair. Aside from the title track, there’s “Freedom Cry,” “Crying To World Leaders” and “Can’t Stop These Tears.” Okay, there’s a theme at work here, and you’d be correct in assuming that weeping and wailing play major roles in it. Just don’t go thinking they’re the be-all and end-all. This is roots reggae (“the freshest on the planet,” according to the back cover blurb), and although the sense of truth that goes with such music can lead to the shedding of tears, the more hopeful and lighthearted aspects of reggae enter the picture during Crying For Freedom’s 70-minute running time. The last album by Dominica’s Desmond “Zion” Albert’s was 2010’s Strictly Roots, which managed to sound worthy of the title despite being recorded entirely by Zion himself on a Roland 2480. His new one takes the same approach (though I’m pretty sure I hear some female background vocals in there) and sounds just as good, with Zion’s Marley-ish vocals setting comfortably atop layered riddims comprised of drum, bass, guitar, keyboard and percussion parts that sound none the worse for being less than organic. And the songs are all strong, with “Man From Galilee,” Hearts Of Man,” “Is This The Way,” “Live As One” and “New World Order” particular standouts. You could easily compare Crying For Freedom to Strictly Roots and call it more of the same, but that “same” is crisp, high quality reggae from start to finish. Now let’s hear what this guy can do with a live band. I bet it’d be truly great. -Tom Orr Skank Records