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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
Blue Glaze Mento Band - We Will Wait Before ska, rocksteady, reggae, dub or dancehall, Jamaica gave us mento. It was and is the music affiliated with the island’s rural regions, and like the calypso music from elsewhere in the Caribbean, mento is a melodic examination of topical matters, cultural concerns, longstanding traditions and human quirks. There’s likely to be a few cheerfully bawdy lyrics in the picture as well, albeit with a subtlety that makes warning stickers unnecessary. The Blue Glaze Mento Band have been masters of the style since 1967 but haven’t recorded many albums, so this new release of theirs is a must for anyone wanting an earful of delightfully deep Jamaican roots. And I’m talking real roots. The instrumentation is an all-acoustic mash of guitars, banjo, percussion and anchoring rhumba box providing low end in place of a bass. Such an array is precisely what’s needed to accompany the rustic, comfortably worn lead vocals of front man and main composer Vernal Morgan as he weighs in on celebratory matters (“Wheel and Turn Me,” “Skanking Mood”), everyday struggles (“Suffering Time”) and humorous anecdotes (“Parson, Don’t Bury the Man,” “Mo Bay Chinaman,” “Night Food”). Some heavyweight guest artists give the whole affair even more of a classic feel, including Stranger Cole providing suitably resilient singing for his composition “Rough and Tough,” Toots Hibbert in finest gospel mode on “Great Jehovah” and Bunny Wailer likewise calling out to a higher power on the title track. While such names suggest that reggae fans will find enjoyment in this album, the jaunty, thumping rhythms (seasoned throughout by another esteemed guest, percussionist Sticky Thompson) assure as much. For all its vintage shadings, We Will Wait sounds perfectly fresh and ready to provide repeated listening pleasure. -Tom Orr Bilmon Productions	The Green - Ways & Means I was plenty impressed by last year’s self-titled debut from The Green, a young Hawaiian outfit that nailed the nuances of roots and pop reggae with strong songwriting, solid riddims and rich singing marking them as one of the very best reggae acts to represent the 50th state. (I believe I mistakenly referred to them as The Green Band when their first one came out, for which I apologize.) It’s good to see and hear them back with a follow-up so soon, this time on the noted independent reggae label Easy Star. They haven’t dropped so much as a notch in quality; in fact, Ways & Means is better than its predecessor. The music is more confident, and as the titles and lyrics of such songs as “Keep On,” “Gotta Be” and “That’s The Way” show, The Green know their strengths and play to them. Such strengths include both love songs and consciousness, some comfortable mixing of pop structure hooks with reggae beats and keeping it real so far as using all-real instruments goes. They’re pretty free and easy with their arrangements, too. Listen to how “Decisions” ditches the beat and goes ballad at the end or the tightness with which the title track jumps from one drop to near-ska and makes room for guitar and keyboard solos in the process. Respect is due to the additional musicians who augment the four Greens and to Jacob Hemphill of SOJA, who roughs up the smoothness of “Come In” with his guest vocals. The grass is getting greener for The Green, and spending your green on this sweet release is advised. -Tom Orr Easy Star Records
Digitaldubs - Digitaldubs #1 You could take the name of this Brazilian collective as “dig ital dubs,” since they add a good deal of organic embellishments (such as real bass, percussion and horns) to keyboards and programmed drums. The result is a dynamic, hard-hitting blend of roots accents and modern pulses. Reminders of the music’s Brazilian origins are to be heard in Dada Yute, Tiano Bless and Jeru Banto’s vocal contributions, but mainly it’s Jamaican and U.K. reggae/dub echoed here. Ranking Joe, Earl Sixteen and Aswad’s Brinsley Forde step up to the microphone as well, each in good form and adding to the international feel. A handful of instrumental tracks guide the way in between vocal selections, with “Kaliman Dreams” a standout via its kalimba-fueled melody. Vocally, everyone rises to the occasion. Ranking Joe is at his syllable-rolling best, Banto chants mightily in praise of both Jah and herb, Earl Sixteen decries modern day piracy and Forde, interestingly, sings atop the track that most skillfully joins Jamaican and Brazilian rhythms, “Your Love is Overdub.” And like Banto, Yute and Bless show how well Brazilians have absorbed reggae and worked their own linguistic and musical angles into it. As a roots lover, I found a lot of satisfaction in this album. But it’s likely that those who want their reggae to sound contemporary in equal measure will also find Digitaldubs’ skillful blending of old and new quite absorbing. -Tom Orr ROIR	The Simpkin Project - Everything You Want The latest from the Huntington Beach, CA-based Simpkin Project is another smart set of inspired and dance-inducing reggae from a band that’s on the rise and sounding great. Their players of instruments -two guitarists, two keyboardists, bassist, drummer and percussionist -lay into the opening instrumental “Showtime” with the expertise of a crack Jamaican studio band, fortified by the blazing addition of Jah Horns. The title track of Everything You Want takes up a more somber beat in pleading to a lover and provides the first sign that the group’s always dependable lead and harmony vocals are going to be as solid as the musical backing. “Check Yourself” goes a little Latin and keeps the lyrical delivery smooth even at its most rapid fire. There are tunes that lament (“Harder,” “What Seems to be the Problem”), songs that make sweet reggae music of opposing factions (“Good Times,” “Bad Things”) and tales of more personal concerns (“That Girl,” “Tell Me So”), all served with the Simpkin gents’ expert blend of Jamaican riddims and American additions evident in the high quotient of guitar solos and distinctly California-mellowed vocals. Never ones to rush through a song, the band here stretches out on 14 tracks and more than 79 minutes of reggae that comes from the heart, reaches the same and is welcome to take all the time it wants getting there. The Simpkin Project’s previous releases Walk On Tall and In The Wake are both recommendable, and this latest work of theirs is the best showcasing of them yet. -Tom Orr Hughes Drive Productions
Jahmel and the Rhythm Factory - Reflections Jahmel, a Jamaican who, like many an island ex-pat, calls Los Angeles home, has been heading up his band the Rhythm Factory for quite some time. He knows his reggae and can always be depended on for quality. Reflections holds to that standard nicely, a collection of truths and a few trifles that are made to enrich both dance floors and dread reasonings. The disc starts off in conscious mode with “Ethiopian Anthem,” “Dreadlocks Congo,” “Third World Countries” and “Freedom Song” before easing into such lighter fare as “Girl Like Mine,” “Lover Like U,” “This Love of Mine” and “Puppy Love.” I suppose the intent was to clearly show the artist’s roots and lover’s rock sides, though a more interspersed approach wouldn’t have hurt any. Vocally, Jahmel might remind you a bit of Horace Andy here and a touch of Sugar Minott there, taking on an ease-up air that suits both of those sides mentioned earlier. Given the backing riddims’ tendency to sound nakedly digital at times (as though the factory might be heavily automated these days), the producers here have compensated with ear-tugging touches like ricocheting sound effects or chiming steel pan. And the concluding “Guiding Star” is bright enough to make you forget the unexceptional track or two that may have come before it. -Tom Orr JMRF	10 Ft. Ganja Plant - Shake Up The Place America’s hands-down absolute finest anonymous reggae and dub band is back, dropping planeloads of redder than red roots vibes in undisclosed locations all through the night. We still don’t know for sure the full personnel of the 10 Ft. crew, but some ongoing leadership by former John Brown’s Body frontman Kevin Kinsella is now by and large acknowledged. The group’s profile has risen considerably, thanks to the brisk (though never seemingly hurried) pace at which they put out albums and the collaborators (credited or not) whom they attract. On Shake Up The Place, Jamaican vets Prince Jazzbo and Sylford Walker each voice a couple of tracks, the Meditations’ Winston Watson sweetens the deal with harmony vocals, and the ‘70s-heavy sound that 10 Ft. Ganja Plant is known for not only shakes up the place but makes it pleasantly smoky as well. Mastering engineer Kevin Metcalf (who’s had a hand in making many a reissue from the U.K. Blood and Fire label sound so good) put on the finishing touches, lighting a slow fire under the instrumental pieces, serving the vocals raw and elegantly channeling the group’s classic ways. Walker’s opening statement of intent, “My Roots,” (to which the words “and culture” are naturally added) begins a journey through nothing but as real instruments play in real time and real voices at the mic chat up a mix of eccentric, ominous and blissful. 10 Ft. Ganja Plant continues to have some of the deepest roots outside of Jamaica and Shake Up The Place is another example of the riches flowering as a result. -Tom Orr ROIR
Cornerstone - Cornerstone This disc’s leadoff track “Run To The Hills” is an immediate grabber of a song, with the sound of an explosion giving way to insistent vocals, a riddim to match and apocalyptic lyrics. It had me taking a second look at a fairly nondescript cover image in order to see the name of the band responsible. I haven’t heard anything else by Santa Barbara, CA’s Cornerstone, so I’ll have to be content to let this self-titled slab of fresh roots music be my introduction to them. Check the way the CD cover is meant to resemble a worn-out vinyl sleeve, and then find upon listening that the songs likewise have the feel of old friends revisited. There are a number of expert deejay breaks taking double-tracked vocals higher and tighter on songs of pure pleasure (“Sweet Spot,” “Lover’s Rock”), and urgent business (“Make Up Your Mind,” “Talking About My Freedom,” “Breaking Down,” “Country”). Occasional hip hop cadences do not detract from the genuine reggae vibe; in fact the vocals are as dynamic as the rock-hard musical backing laid down with all real instruments and suitably aggressive drums and bass ably leading the way. Subtle guitar and sax punctuation add gritty grace to the steady forward motion of several selections, but the main attractions here are the sense of committed consciousness with which Cornerstone delivers their reggae and the fiery talent that’s equally important in enabling them to do so. -Tom Orr Mesa Music Productions	Alborosie - 2 Times Revolution I was lucky enough to catch this guy live last year when he was out touring in support of his previous release Escape From Babylon to the Kingdom of Zion. The club in which he performed was packed and Alborosie delivered, putting on a high-energy show full of roots vibes and dancehall looseness. There can be no doubting that the man born Alberto D’Ascola in Italy did right by moving to Jamaica to embrace Rastafari and reggae music. Alborosie’s records attest to the fact as much as his stage presence, and “Rolling Like A Rock,” the opening track from his new 2 Times Revolution, makes it lyrically clear just how much forward momentum he has in his favor as he continues to win over the worldwide reggae massive. His gruff but bubbling singjay style bounces easy atop roots statements “I Wanna Go Home,” “Grow Your Dreads” (something Alborosie has certainly done), “Jesus Is Coming” and “Tax War” as well as mixing it up nice with Etana on the lovers rock mellowness of “You Make Me Feel Good” and sharing some “One Blood” sentiments with Junior Reid on “Respect.” You’d be correct in assuming that the gun-shaped guitar Alborosie brandishes in the accompanying photos means he’s got militant concerns in mind, but for better or worse he’s not above occasionally getting a bit loopy. Witness the slaphappy “Camilla” (apparently a new term for herb) for a good example and skip the forced-sounding “Ragamuffin” (the only unappealing track to be heard) to avoid a bad example. The disc ends strongly with “What If Jamaica,” a nyabinghi/dancehall/mento mash up that envisions a more utopian island home from which Alborosie shall certainly continue his runnings. I’m not a deep enough thinker to fully understand the distinction between the “good” and “right” revolutions advocated in this album’s liner notes, though the varied, hard-hitting reggae it contains clearly points to victory on both fronts. -Tom Orr VP Records
Stephen Marley - Revelation Pt. 1 The Root of Life There’s no denying that the recorded works of Bob Marley’s children have at times been spotty, hit-and-miss affairs. Of course, when it’s fair game to criticize someone for everything from sounding too much like Bob Marley to sounding too little like Bob Marley to straying too far from the reggae roots Bob Marley planted, it can be hard to win. Putting all excess baggage of the family name aside, the new release by Stephen Marley (who’s always been considered the closest to Bob vocally and I’m inclined to agree) is a crackling good disc of primarily roots reggae that may well be his best work to date. And yes, I know he’s recorded only one other album under his own name, but he’s also had a hand in many projects within and without the Marley family that any complete discography should include. Stephen starts Revelation Pt. 1 The Root of Life off in nyabinghi mode with “Made in Africa,” praising the Motherland’s glory alongside the cast of the Broadway musical “Fela” and the (unfortunately obtrusive) rapping of someone named Wale. From there, a rich roots wave is ridden through “False Friends,” “Break Us Apart” (featuring Capleton in good form), “Can’t Keep I Down,” “No Cigarette Smoking” (with Melanie Fiona sweetly chiming in) and “Freedom Time.” “Jah Army” goes more ragga and features Buju Banton in a larger supporting role than is really necessary, but the remainder of the disc flows satisfyingly between conscious tunes, a few passages detouring into dancehall and lovers rock that includes the truly beautiful “Pale Moonlight.” As is typical, there are other Marleys in on the action: Damian helps make “Tight Ship” tight and Ziggy joins his brethren on a striking version of the previously obscure Bob Marley song “Selassie is the Chapel.” The backing tracks, provided by players like bassist Chris Meridith, drummer Wilburn Cole, percussionist Sticky Thompson and Stephen himself on a large measure of guitar and keyboards, sound modern without sounding cold, and are a smart fit with the similar warmth of Stephen’s many vocal moods. Revelation Pt. 1 The Root of Life is indeed something of a revelation, and very well done all around. -Tom Orr Tuff Gong / Universal Republic	Takana Zion - Rasta Government A Rasta government? Well, that would make the question of ganja legalization a no-brainer and quite likely cut down on superfluous weaponry. Guinea’s Takana Zion may not have such visions in mind, but on this album’s horn-laden title track he does paint a righteous picture of what such a ruling class could be like. He’s got a lot to say about the evils of slavery, the greatness of God, the power of music and the necessity of love as well. Born into a Muslim family, Zion left home at 17 to trod the path of Rastafari. That path took him to Jamaica for the recording of his third album. His first two were plenty good thanks to Zion’s melodious singjay style and the guiding hand of Mali-based French bassist/producer Manjul, but he’s really hit his stride here. Singing mainly in English and taking the majority of his cues from the classic roots sound of the pre-dancehall era, Zion sets the tone with “Give Thanks to Jah” and keeps it burning all the way through to the concluding Satan-debunker “Three Six Clash.” The vocals come across clear and strong as Zion avoids syllabic clutter and excess scatting while still proving to be a most nimble combiner of song and chat. A guest spot from Capleton on “Glory” adds an extra measure of just that to Rasta Government, a most recommendable disc whether you’re a head of state or just want a head full of great reggae. -Tom Orr Soulbeats Records
Kevin Kinsella - Great Design Though still a reggae band of considerable power and creativity, John Brown’s Body hasn’t been quite the same without Kevin Kinsella. But once a solo career beckoned, Kinsella (who’s also part of the mysterious reggae/dub collective 10 Ft. Ganja Plant) heeded the call. He frequently focused his works on the inspiration of the Almighty when he was part of JBB and that hasn’t changed, as songs like “Faith,” “Light of Love” and the title track of his new album Great Design show. What’s different is that Kinsella is trying his hand at non-reggae arrangements. Risking the possibility of putting off some longtime fans with such a move, he does a respectable job spinning tales of militancy (“No Battlefield”), longing (“Lovers in a Time”) and mankind striving to get it right (“Turn it Around”) while harnessing reggae, acoustic rock, down home twang, bits of techno and whatever else fits his expanding musical view. Of the tracks that aren’t reggae, I’d have to peg “Let Me Be,” with its Afrofunk feel and empathetic message, as the best. And the ones that are reggae? All first rate, as is to be expected from an artist of Kinsella’s caliber. At less than 40 minutes in length, Great Design is perhaps not enough of a good thing. Nonetheless, it’s an exceptional set by a singer/songwriter/guitarist who has reggae as his starting and ending points and covers some sturdy and thought-provoking ground in between. -Tom Orr ROIR	David Solid Gould vs. Bill Laswell - Dub of the Passover Another breakaway from John Brown’s Body is bassist David “Solid” Gould, who, like Kevin Kinsella, often has spiritual matters in mind when he makes music. Gould and his Temple Rockers band created one of reggae’s most intriguing pieces of cross-religious syncretism a couple of years ago with Feast of the Passover, a blend of Jewish and Rasta mysticism set on a foundation of reggae as rootsy as the Old Testament is old. The not-of-this-world vibe of the original is recaptured and in ways accentuated on the killer dub version, even though the cantor-like vocals that characterized much of the first album are minimal or merely implied here. Gould’s bass is the anchor alongside the drumming of Tommy Benedetti, still a member of John Brown’s Body but lending his considerable skill. Laying down the dub mix around that core and many other fine players besides is Bill Laswell, who has gotten quite a bit better at mastering the balance of restraint and creativity necessary when it comes to dubbing reggae. His hand is particularly effective in putting some chill to the ska heat of “Who Knows Dub?” and opening up cavernous expanses of space to let “Divine Dub,” “May the Dub Arise” and the rest roll forth on the strength of minor-key melodies, bubbling tar pit riddims and Laswell’s added sonic jolts. Even if you haven’t heard the album from which such a fine, divinely inspired dub disc is spun off, passing over its dub successor would be meshugge. -Tom Orr Tzadik
See-I – See-I Brothers Arthur “Rootz” Steele and Archie “Zeebo” Steele have been active on the Washington DC reggae scene for quite a few years and sound more than ready to step beyond. An ongoing affiliation with the eclectic and innovative band Thievery Corporation gave the Steeles a knack for infusing their reggae with funk, soul and hip hop shadings while keeping the Jamaican pulse at the center. Their self-titled first album manages to be both edgy and danceable, opening with a lyrical statement as unequivocal as “things are getting dangerous” but not for one minute letting that potential danger get in the way of a good time. Indeed, tracks like “Haterz 24/7,” “Talkin’ About the Peace” and “Disturbancy (Face to Face)” combine irresistible grooves with conscious chatting and rhyming (in a manner that tends to remind me of the late great Gil Scott Heron) so unassumingly that you may well find your waistline winding several seconds in advance of your head wrapping itself around the words seeping into it. Or maybe you’ll find the opposite to be the case. Either way, “Soul Hit Man” and “Soul Universe” work their mojo as handily as “Reign in 2 Light” (voiced with harrowing elegance by Candice Mills), “Homegrown 2011” and “Seasons (Come On)” go nice and deep by mixing layers of dubby effects with ghostly repetition. The reggae beat is not always prominent, yet the dub factor is consistently high enough to please the mix-minded. This isn’t roots or reggae in the traditional sense, but it’s got riddim, it’s got rhyme and it’s got much more going for it besides. Well worth checking out. -Tom Orr Fort Knox Recordings	Saritah - Ancient Forward Not strictly a reggae artist, Australia-based Saritah nonetheless has enough Jamaican flavors in her music to please the reggae massive. Plus she’s got a voice that’s equal parts angelic and sassy, she plays a variety of instruments and she mixes things up in ways that are unexpected yet totally embraceable. Check, for example, how “Blessings” goes from folksy reggae to Latin dance, or the intriguing blend of dancehall beats and Brazilian percussion that underpins “Most High.” But while this CD might easily be filed in the ever-dicey “world music” category, reggae lovers will no doubt appreciate the jaunty nyabinghi feel of “Serious Times,” guest toaster Ranking Roger providing sharp commentary in response to Saritah’s testifying on “Time Will Come,” the sparse electro-ska tempo that jolts “Do What Lifts,” the melodica-kissed utopia of “Our Future” and an emphasis on heartfelt matters of the spirit all throughout the album. Even when the sound is at its most lively, Saritah maintains a relaxed, meditative air that lets both music and message get across. It’s an approach that suits the then-and-now implications of the album title, the celestial imagery of songs like “Sunrise” and “Stargazing” and Saritah’s visionary outlook. There is an unabashed, optimistic sweetness to Ancient Forward that makes it instantly appealing, and the appeal holds fast after repeated listening. Reggae fans take note, along with anyone else looking for music that’s a balm for what pains you. -Tom Orr Time to Shine Records
Danny I - To Your Majesty The first time I heard Virgin Islands reggae artist Danny I, which was on his 2007 release Unchangeable, I was struck by the similarities between his voice and that of Jamaican veteran Ijahman Levi. Humble but assertive, relaxed yet urgent, Danny I’s singing is a large measure of what makes his new one To Your Majesty so good. Another sizable factor is the backing by I Grade Records’ group of fine in-house musicians, who compliment Danny’s delivery in a manner that brings renewed confidence that the roots are back to stay in reggae. The album’s spiritual starting and ending points -the title track and the acoustic “Hailing Tafari”- bookend a first rate collection with no weak tracks and its heart in the right place throughout. “Pure Lovers Rock” offers as much in spades with guest vocals from Dushane, and Danny shows equal affection for “My Island Home” on another of the disc’s lighter moments. But it’s mostly business as “On the Streets Again” laments those who hustle for a living, “Sometimish Rastaman” stresses authenticity in one’s ways, “All Skin” takes a surreal look at Ethiopia from atop Mount Kilimanjaro and “Never Lay Down” sticks to its guns as persistently as “Hold On.” Don’t be concerned about the vocal comparison made earlier (with which you may not even agree); Danny I is a rootsman to embrace on his own terms no matter who he may sound like, and To Your Majesty is reggae done absolutely right. -Tom Orr I Grade Records	Youssou N’Dour - Dakar-Kingston Well, what do you know. Senegal’s Youssou N’Dour, one of the greatest voices in African music (or any sort of music, for that matter), has made a reggae album. Actually, I had read a lukewarm review of Dakar-Kingston in the U.K. press last year and wondered two things: if it was really as unexceptional as the reviewer opined, and if the album was going to be available over here in America. Now that Dakar-Kingston has apparently gotten distribution on these shores, let’s address the first question. To my ears, this disc is, though no masterpiece, a highly enjoyable and well constructed melding of reggae one-drops, Senegalese m’balax beats and N’Dour’s soaring singing. A number of re-done songs from N’Dour’s Afropop back catalogue are given shots of reggae riddim, plus a few new ones hint at an affinity for reggae that seems to have existed all along. Reggae is, after all, highly popular and respected in its African spiritual home, and N’Dour has always been an active supporter of worthy causes (such as human rights through Amnesty International) that any conscious reggae artist could rally round. It certainly helps that the bulk of the album was recorded at Kingston’s Tuff Gong Studios with such greats as guitarist Chinna Smith and keyboardist/arranger Tyrone Downie lending a hand and guest spots by Mutabaruka and Morgan Heritage further seeing to the reggaefication of N’Dour’s African visions. Remakes of songs like “Medina,” “Pitch Me,” “Don’t Walk Away” and “Africa Dream Again” represent both the pop-inclined and more traditional sides of N’Dour’s past works, and if originals like “Marley” and “Black Woman” sound a little trite in comparison, they’re still pretty good. Actually, the only really sour spot on Dakar-Kingston is the version of “Redemption Song” that wraps things up. It’s a noble attempt to give the tune a new African lilt, but it just doesn’t work. That weak ending aside, N’Dour does an appreciable job of helping to prove the assertion that reggae music has always been an African music. -Tom Orr Universal/Emarcy
Professor - Madness Not to be confused with U.K. dubmaster Mad Professor, Madness is the latest side project from Harrison Stafford (aka Professor), leader of California reggae band Groundation. Unlike Rockamovya, his collaboration with jazz guitarist Will Bernard, this one’s closer to straight up roots though a bit funkier and not quite as meditative as Groundation’s best work. No problem, since the 16 cuts here (eight songs and as many dubs) are amply loaded with consciousness and spirit. Stafford’s customary way with pertinent lyrics and melodic hooks is evident all through “Jah Sending Out,” “Intifada,” “East Jerusalem,” “Madness” and the rest. He’s also toned down some of the usual gruffness in his voice, so he’s sounding better than ever. I’m not sure who all else is in on the act, but one of the faces on the back of my sleeve-only copy of the CD is that of drummer Leroy “Horsemouth” Wallace and it’s either U Roy or someone who sounds a lot like him toasting on one of the tracks. I suppose naming names isn’t so very important; suffice to say that Stafford must be in great company, since the method to his newfound Madness is great reggae. I hope he continues to do his thing with Groundation, but if he wants to step away to do some other professing now and then, Jah bless. -Tom Orr Groundation Music / Soulbeats Records	Sheya Mission - Nine Signs & Heavy Bliss While Sheya Mission is new to me, I recognize the name of Jonahgold, who produced Nine Signs & Heavy Bliss, co-wrote most of the songs, plays keyboards and had a similarly sizable hand in Daweh Congo’s Ghetto Skyline from a few years back. He’s done a good turn with Nine Signs & Heavy Bliss, applying an echoey, dub heavy atmospheric grace that fits the album’s mystical title. But as to the name above that title, she’s a bit of a mystery as well. There’s no picture of her on the outside or inside of the CD packaging, and the sparse promotional materials that accompanied the disc describe her simply as “a young woman of African descent growing up in a Western metropolitan environment.” It seems she didn’t like that environment much and traveled to Jamaica to soak up a better one. It was there that she was taken in by a kindly Rasta elder whose teachings provided the inspiration for this album. And inspired it is, informed by an almost new age aura where water images (“Feels Like Rain,” “Come Rain,” “Show Me The River”) abound and the seeking of the Almighty’s guidance (“Pray,” “Never Let Me Down,” “Reveal Thyself”) is key. Vocally, Mission is equal parts Sade and Bim Sherman, and the music that surrounds her -reggae for sure but with detectable influences from outside Jamaica- is alternately dread serious and silky smooth. Apart from an interesting cover of George Gershwin’s “Summertime,” this release is original on more than one level. It’s roots, it’s progressive, it’s reggae as you know and love it, yet it’s not quite like any reggae you’ve heard before. Get it. -Tom Orr Goldheart Music
Richie Spice - Book of Job His stern, Mutabaruka-like countenance is all business and thus it comes as no surprise that Richie Spice’s Book of Job is an album that’s got a concern or two or more to address. And if you’ve heard this conscious artist (of whom I’ve had the chance to hear not nearly enough), you know he’s got the means to sing up a storm or just bring on the threat of one when he’s not at his most tightly wound. Spice doesn’t have it anywhere as bad as the Bible’s most renowned sufferer, but as a spokesman for Job and his ilk, he sure does sing like he understands. Opening shot “Better Tomorrow” has Spice pleading vocally for the hope of just such a thing in a nimbly unpolished singing style that drops into a growl as easily as it slips its moorings and breaks away into falsetto territory. He then proceeds to preach like a prophet of new on “Find Jah” and “Jah Never Let Us Down,” disclose the details of “My Life,” endorse reggae music with a “Soothing Sound” and give “Mother of Creation, “Black Woman” and “Serious Woman” due respect to the ladies on divine and earthly levels. The production, primarily by Donovan Germain, rolls forth in a combination of real and digitized instruments that enhances such sumptuous musical backing as the nyabinghi grandeur framing “Legal” and quietly rousing backup vocals on “Father.” Book of Job would be a real page-turner if it weren’t a CD, but this nod to the lessons of that Biblical tome by means of powerful modern roots reggae will no doubt hold listeners similarly absorbed. -Tom Orr VP Records	The Ambassador - New Roots A reggae artist from down San Diego way, Stephen Gabriel Lewis seems to have embarked on a diplomatic mission of sorts, though his assumed name The Ambassador doesn’t mean he’s in the pocket of any government or politician. No, he’s bringing reggae to the table, and after one listen I’m ready to begin full diplomatic relations. This Ambassador has brought along a finely sharpened crew of musicians, a knack for composing melodies and lyrics that both hit hard, a clear and convincing vocal style and guitar chops that enable and entitle him to throw in a rockish intro or solo from time to time and do some fine acoustic playing. Further, he knows that reggae is good time music as sure as it’s hard times music, and he covers both ends of the spectrum and much of the middle ground. An easy skanking love song like “Reunion,” for example, lightens the load after such serious declarations as “Fighting Song” and “Rise and Shine” (the latter a sharp jab at Babylon’s ongoing thievery). I’m betting that Lewis has given a good listen to the many reggae greats whose names he drops into the words of “A Tribute,” ‘cause he’s following very handily in their footsteps on New Roots. Keeping to that title and such songs as “Change (Got to Have It)” and the redemptive “One,” The Ambassador is making great contemporary reggae inspired by the old and bringing a clear-minded diplomacy of love and overstanding to all. -Tom Orr Self Released
Dub is a Weapon - Vaporized After being knocked out by some of this band’s online videos, it’s a joy to have a CD of theirs find its way to my front door. Dub is a Weapon is the fruition of an idea by Dave Hahn, a New York City guitarist and dub organizer who’s played in such Jamaican-flavored outfits as the Slackers and David Hillyard and the Rocksteady 7. It was his vision to form a group that could play live dub as deep and mind-bending as the studio creations of Jamaican masters like King Tubby. Sure, Vaporized is a studio recording, but it was one done with the entire band playing together and Hahn’s dub effects rendered on the spot. The results are dazzling. But let’s be clear- this is not just a copping of the classic Jamaican dub sound. The tempos tend to be a little faster than most reggae riddims, and there is an abundance of rockish lead guitar that further stretches the boundaries without breaking them. Hahn’s guitar often shadows or trades melodic jabs with the tenor saxophone of Maria Eisen as hard-chopping grooves blaze away underneath, rhythm guitar and keyboards nail the offbeats, shots of echo and other brain-altering sounds are tweaked in and out and drums and bass seal it airtight. Deeper roots are provided by veteran Jamaican percussionist Larry McDonald, whose array of African, Caribbean, Latin and Brazilian accents punctuate perfectly. The nine lengthy tracks are instrumentals save for “Forwarding Home” a Rasta-centric bit of reasoning nicely voiced by Rob Symeonn. There are numerous ways I could attempt to be clever in describing this sonic weaponry: that it’s dynamite, it’s fully loaded, it’s of a very high caliber, it’s killer, and so on. All would be applicable. But none would take the place of actually hearing it, something any lover of reggae and dub needs to do. -Tom Orr Harmonized	The Expanders - The Expanders The Los Angeles-based Expanders have been around for a while, building a fan base and providing backup for some of the Jamaican vets who pass through California. Their self-titled debut disc has been a few years in the making, and as to whether or not it’s been worth the wait, one listen will have you proclaiming “Yes, I!” and subsequent spins will do nothing to dampen that enthusiasm. The Expanders know just how deep the roots of reggae go and what can be gleaned from them, but, true to their name, they expand upon those roots to create a sound as powerful as the album cover suggests with its depiction of music repelling Babylon soldiers. Opening track “Evilous Number” gets right down to it, hitting the mark with a bubbling ‘70s vibe, an Abyssinians-like spirit and superb vocal harmonies by rhythm guitarist Devin Morrison, lead guitarist John Butcher and bassist Chiquis Lozoya. Then there’s no lapse in niceness as the disc continues through the self-examination of “Something Wrong,” conscious declarations like “Think Ruler” and “Merciless Deeds,” the wistful “Gone Away” and the oddly moving love-gone-wrong song “Snow Beast” (a depiction of which would seem to be on the CD’s rear cover). The backing tracks- all real instruments and expertly played to boot -are lean and stark, with sonic influences of Studio One, Channel One and Lee Perry’s Black Ark in evidence. A couple guys from Hepcat lend their voices to “Merciless Deeds” and Jah Faith adds a side of toast to “Turtle Racing,” further strengthening an already very impressive inaugural album. The Expanders are clear standouts in a region with a lot of reggae and, for that matter, among the very best you’re going to hear in the larger picture of homegrown U.S.A. reggae. -Tom Orr Broken Complex Records