A reggae legacy made available

VP Records’ subsidiary 17 North Parade has just re-issued Live at the Turntable Club. It’s the first ever live album recorded in Jamaica, and was originally issued on Trojan in 1975.

Dennis Brown, Delroy Wilson and Big Youth were all in their prime when this was recorded. The backing is provided by the always reliable Soul Syndicate. And the riddims are raw, sparse and with a no-nonsense approach. Just guitar, bass and drums engineered by King Tubby, Dennis Thompson and Errol Thompson.

Delroy Wilson and Big Youth rock their hit songs, while Dennis Brown performs the well-known Cassandra along with the lesser-known Rock With Me Baby and Give a Helping Hand.

The Turntable Club was the place to be in Kingston in the 70’s, and Winston “Merritone” Blake was the man in charge. The CD booklet includes a thorough interview with him, where he tells his story and gives a glance of a music industry full of hope and enthusiasm.

Live at the Turntable Club is a piece of music history made available for the first time in almost 40 years.

The unique sound of Jahtari

German reggae and dub label Jahtari has a special approach to reggae music. It might have to do with the founder’s background in techno music or their many hours in front of classic 80’s video games.

I’ve interviewed Disrupt – one half of the label – about his influences, the importance of technology and his all-time favorite video game. This interview is one of the most interesting I’ve done. Check it over at United Reggae.

Fresh talents for the future

Each decade has stars that top the charts and sell out concerts all over the world. In the 60’s it was singers and vocal groups such as Slim Smith, Desmond Dekker, The Techniques and The Paragons.

In the 70’s reggae went truly global because of reggae icon Bob Marley. Big labels such as EMI, Capitol, Island and Virgin all took a great interest in reggae and signed artists such as Burning Spear, Jimmy Cliff, Toots & The Maytals, Jacob Miller & Inner Circle, Third World, The Gladiators and The Mighty Diamonds.

In the 80’s reggae went digital – Wayne Smith voiced the immortal Sleng Teng riddim that was a huge success at least in the Jamaican dancehalls, and Barrington Levy dropped his anthemic Here I Come.

In the late 80’s and early 90’s several reggae artists were signed by major labels, and the smash reggae/pop hits started to invade the charts. Shaggy’s Oh Carolina, Shabba Ranks’ Mr. Loverman, Ini Kamoze’s Here Comes the Hotstepper and Chaka Demus & Pliers’ Murder She Wrote went gold and platinum around the world.

Sean Paul conquered the early 21th century with his second album Dutty Rock, an album that has sold more than six million copies and includes the successful singles Gimme the Light and the Billboard Hot 100 topper Get Busy, on the Diwali riddim. No other reggae artist comes close to Sean Paul’s success, even though there are other big sellers, such as Wayne Wonder’s No Letting Go, actually also on the Diwali riddim.

But who will carry the torch forward? Who will score the next worldwide smash hit? It’s of course impossible to know who will be the next big reggae thing, but there are several artists worth keeping an eye on.

The list below contains ten artists, known and comparatively unknown, that I always check out on riddim compilations because of their vocal abilities and styles. These artists also have in common that none have dropped more than one official full-length album.

Jah 9
The first time I heard her breezy voice was on Protoje’s debut album The Seven Year Itch. Since then she has dropped the single Warning featured on Solid Gold Vol. 1. I expect big things from her.

Kayla Bliss
Has been rather quiet since she dropped her debut album Roads to Bliss in 2008, but has started to work with Xterminator Productions and recently put out the convincing Rock n Sway.

I-Octane
I-Octane has one foot in dancehall and the other in conscious reggae, and there has been a buzz around him for several years. In February he drops the highly anticipated debut album where he has hooked up with Shaggy’s former manager. Did anyone say hit potential?

Popcaan
Came to my attention in 2010 when he was featured on Vybz Kartel’s Clarks. He has recently started to work with contemporary dancehall masters Mixpak Records.

Chris Martin
Such a talented singer, most of his material is worth picking up. His Paper Loving and Top a Top on the Cardiac Bass and Fairground riddims are sublime.

Romain Virgo
Dropped his self-titled debut album in 2010, an album where he had teamed up with acclaimed producer Donovan Germain alongside Shane Brown. It has been followed up by several strong singles, where of I am Rich in Love is a certified scorcher.

Sena
Probably the most unknown singer on the list, but nonetheless very talented and interesting. She has recorded mostly in the hip-hop/roots reggae vein. Crucial cuts include Work It on Eyes on My Purpose riddim and Outcry in the City on Stronga riddim.

Da Professor
Recently released his excellent debut album The Laboratory for Jamaican producer Don Corleon. He is a versatile singer that is as comfortable singing funky soul as gritty dancehall.

Hollie Cook
Hollie Cook has music in her veins and her debut album was produced by Prince Fatty – one of UK’s finest and most interesting producers. Her jazzy tone could probably produce a bona fide chart topper.

Protoje
Has announced that his coming album will be heavier than his debut –a direction that may not lead to instant success. But his voice, delivery and melodies leave me longing for more.

They don’t call him Mr. Melody for nothing

Jamaican recording artist Singing Melody is back with his sixth studio album. Actually his first in ten years. During this time he has been singing in the all-star vocal quartet L.U.S.T and working as a promoter.

They Call Me Mr. Melody is produced by award-winning Tony “CD” Kelly and Lynford “Fatta” Marshall alongside Donovan Germain and Skatta Burrell. These four have a huge rate of successful singles and albums behind them. And this album might be predestined for a booming future as well.

It’s well-produced and jam-packed with bright melodies and catchy hooks. Singing Melody has a rich voice and sings from the heart with confidence.

This is a smooth and sophisticated album built mainly on one drop riddims with an RnB feel to them, but with one excursion into dancehall, one into ska and one into some kind of European David Guetta-styled house.

The tight reggae groove in the Stacious combination Must Be the Girl, with its hands in the air and wave them back and forth type of chorus, is one of several highlights. Others include Lymie Murray duet Reggae to the Bone on Coxsone Dodd’s Please Be True riddim and the heartfelt Call it the Blues.

They Call Me Mr. Melody is a mature set and something of a reggae equivalent to adult oriented rock.

C Sharp invite you to a wider reggae horizon

Jamaican bands such as Third World and Inner Circle was part of making reggae global in the 70’s. But they were not seen as authentic as Bob Marley, and was sometimes blamed for playing an uptown version of reggae with influences from the U.S. disco craze.

C Sharp can be seen as a modern version of Third World or Inner Circle, and their second album The Invitation – released in November last year – is a genre busting excursion with influences from pop, reggae, soul, americana, funk, dancehall and rock.

These five Edna Manley graduates are talented and versatile musicians. Just listen to the fierce rock guitar riff in album opener Family Man and then their cover of The Heptones Book of Rules, where the vocalists harmonize like The Band or Crosby, Stills & Nash. Or the tight reggae groove in Jezebel, the boasting dancehall in Busy Signal combination The Invitation and Heart of a Child, which is reminiscent of The Commodores’ classic Night Shift.

The Invitation might contain too many rock guitar solos for my taste and some may regard it as too lightweight. But this is not really a reggae album; this is a Jamaican pop album.

An uncompromising roots reggae album from General Smiley

General Smiley, half of the successful deejay duo Papa Michigan & General Smiley, a duo that recorded the excellent album Rub a Dub Style for Coxsone Dodd and the immensely popular Diseases for Henry “Junjo” Lawes, has teamed up with U.S. producer McPullish for his new album.

General Smiley Meets McPullish at Dub Cove – released in December last year – is a completely different story compared to the bubbling grooves General Smiley recorded in the 70’s and 80’s.

This is a modern roots and dub album with sparse arrangements and heavy bass lines. And mean heavy as in ultra-heavy. These thunderous bass lines could probably be of service if you’d like to try and force the doors to Fort Knox.

The eight vocal cuts – where of one is a combination with Sylford Walker – come with their dub counterpart. General Smiley’s voice has changed during the years and he doesn’t sound as vital as he did back when. It’s deeper and darker and not as melodic as it used to be. It might also have something to do with the style, since he on this set sometimes rather speaks than sings or deejays.

McPullish and General Smiley have created an uncompromising and hypnotic reggae album that doesn’t make an effort to please radio dj’s around the world. However, it might just blow a fuse or two when sound systems set tunes such I Wish or Natty Natty on heavy rotation.

Sparkling chemistry in Da Professor’s laboratory

Professor is a popular title in the reggae industry. You have Mad Professor and Professor Grizzly. But also three artists with just the title. Or almost anyway.

Groundation’s lead vocalist Harrison Stafford has an alter ego called Professor and in the 70’s and 80’s there was an Jamaican engineer who also went by the name. The latest addition is Da Professor, who was born and raised in Kingston, but has also spent time in Florida and New York.

His debut album The Laboratory is produced by Don Corleon – one of Jamaica’s most prominent contemporary producers, and well-known for his slick, polished and stylish productions, usually with a tasty feel for pop melodies and memorable hooks.

And Da Professor’s debut set is no exception. It’s smooth journey into Don Corleon’s blend of one drop reggae, dancehall and R&B.

His production is spiced up by Da Professor’s interesting vocal style, or styles. He can switch from soul-styled singing to gritty deejaying in a jiffy.

Even though the album boasts three duets – J Boog, Ken Boothe and Protoje – you can easily be fooled that it’s one more singer on board on several songs. When I listened to tunes such as By My Side or the upbeat Party Non Stop I could swear that another one singer handled the chorus and another the verses. But no. It is Da Professor all along.

 It must have been a great chemistry in the studio when this album was recorded, because The Laboratory is yet another strong effort from the Don Corleon camp.

The story of Soul Jazz Records and Studio One

Soul Jazz Records is one of the best reissue labels around, focusing not only on reggae, but also on soul, hip-hip, funk and many other genres.

One of the many highlights of the label’s output is the reissues of material from Jamaican foundation label Studio One. A few years back Soul Jazz stopped issuing Studio One releases, but since November last year they’re back on track.

I’ve talked to Soul Jazz founder Stuart Baker about the relationship with Studio One and the label’s future. Check the full interview over at United Reggae.

I-Octane is the fuse between reggae and dancehall

Jamaican singjay I-Octane has put out a veritable hit cavalcade for the last two years. Now he has signed with reggae giant VP Records and his debut album Crying to the Nation is scheduled for release in February. Reggaemani got a chat with him about his upcoming album.

The reggae industry is still largely based on singles rather than albums, and I-Octane is a proof that you don’t need an album to score huge success around the globe. Singles such as Nuh Ramp Wid We, False Pretenders, Puff It, Lose a Friend and Mama You Alone have made I-Octane a household name in both reggae and dancehall circuits.

Considered becoming an architect
Byiome Muir, better known as I-Octane, grew up in Sandy Bay in the parish of Clarendon in Jamaica. Just like many other Jamaican artists his passion for music started at an early age and he often sang at home or in school, where he could be found beating out a rhythm on the school desk. No schoolyard clash or concert was complete without an appearance from the aspiring singjay.

“It was an energetic thing,” says I-Octane on the phone from Jamaica.

Even though a career in music was an appealing choice for I-Octane, he didn’t neglect his studies and waited to venture into singing full-time.

“Mama said education comes first,” he explains on the poor and crackling phone line.

Initially he considered becoming an architect, partly because he had an affinity for sciences, but had no money to finish a degree.

“Instead of sitting at home and be a non-progressive element, I got into music,” he says, and adds that he might get into architecture later on to have something to do outside the music business.

Working with Donovan Germain
I-Octane started performing under the name of Richie Rich, and just like Buju Banton he started singing hardcore dancehall lyrics, but later switched to a more cultural approach.

“I grew with the music and I grew as an artist and found out the best side of me,” he explains, and adds:

“It’s my own flavor.”

I-Octane was picked up early by veteran producer Donovan Germain, and while working with the Penthouse label he decided to change his name to something more representative.

He chose his name because of the high energy level in high octane gas, and personalized it by substituting the “high” for “I”. And a star was born.

After three years he left Penthouse and signed with Arrows Recording, a label for which he had his first hit single – Stab Vampire. The single served as a catalyst for his career, and he was suddenly approached by several notable and established producers, something that broadened his repertoire.

“It’s very important to work with established producers. They pave the way,” he explains, and lines up a veritable who’s who in the contemporary Jamaican music scene for whom he has worked with:

“Don Corleon, Jukeboxx, Cashflow, Russian and Stephen “Di Genius” McGregor.”

Signing with VP
Today I-Octane is independent. He has started his own label, moderately named Conquer the Globe Productions.

But he has also signed a joint venture deal with VP and Scikron. The latter is a label owned and operated by Robert Livingston, a name that might not ring a bell for the broader public, but he is the man behind multi-platinum artist Shaggy and hits such as Oh Carolina, It Wasn’t Me and Boombastic. He has also worked with artists such as Super Cat and Tiger.

Blends reggae and dancehall
On Crying to the Nation I-Octane smoothly blends roots reggae with dancehall energy. And this is where he wants to be.

“I’m a fuse between reggae and dancehall. I’m a new version of reggae and dancehall in one,” he says, and describes the album’s theme:

“It’s about what’s happening in the streets and what’s going on in the world. It’s about keeping the Almighty close, keeping Jah close.”

“The music speaks for itself”
I-Octane has become known for his haunting crackling voice, frank lyrics with cultural topics and simple sing-a-long hooks. On Crying to the Nation he is set to continue in the same vein, which is communicated in the title.

“It’s a global topic, and a global title. It’s not only Jamaican. People across the globe can relate to it and feel the struggle. Crying to the Nation is the whole entire globe – America, Japan, Canada,” he says, and praises the musicians he has worked with:

“It’s a great album, and you can hear each and every person in there. You can hear the time and effort they put in. It’s one of the best albums I know of in this age, and the music speaks for itself. Any individual that comes in contact with it will like one song. It’s a great work, and I have great expectations on it.”

Favourite albums of 2011

Last year was a good year for reggae albums, especially for those in one drop mode. Single artist dancehall albums were rather absent as usual, even though Chino and Vybz Kartel dropped decent albums.

In late December I published lists covering the best tunes of 2011 and some general highlights. Now it’s time for the favourite albums of 2011 list. But rather than choose the titles all by myself I joined forces with my fellow United Reggae writer Angus Taylor.

Together we managed to agree on our 20 favourite albums from last year. Only those that showed up on both our private lists were selected for the final top 20. This list is unranked, and no reissues or compilations have been counted.

There were of course albums we couldn’t agree on. Therefore we made a separate section where these are listed. We’ve also compiled a list for free downloads at the end.

Looking into 2012 there are several highlights ahead. I’ve had a listen to Da Professor’s upcoming album The Laboratory for producer Don Corleon and it’s very promising.

Also worth keeping an eye out for is Mr. Vegas’ double album Sweet Jamaica Reggae/Sweet Jamaica Dancehall, Sizzla’s The Chant, Konshens’ Mental Maintenance, I-Octane’s Crying to the Nation, Sean Paul’s Tomahawk Technique, Skarra Mucci’s Return of the Raggamuffin, Groundation’s Building an Ark and new titles from both Etana and Queen Ifrica.

Stephen Marley – Revelations Part One: The Root Of Life
The second half to this two part concept series never surfaced this year as initially promised. But part one was a beautifully crafted tribute to Stephen’s father’s era of music and his finest platter yet.

Sizzla – The Scriptures
Every culturally minded album by Sizzla is hailed as a return to form but this one actually was: a wobbly opus using digitally enhanced Jammys rhythms from his son John John. The tracks actually felt like they had been chosen for a reason while Sizzla’s controversial falsetto never sounded better on the Beach Boys/Animal Collective-like Jah Is My Shield.

Takana Zion – Rasta Government
The Guinean chanter’s longplayers have gone from strength to strength and this was his masterstroke. Lyrically simple (but hey, the man speaks multiple languages), the messages were manna to roots reggae fans worldwide.

Hollie Cook – Hollie Cook
Punk had a curious relationship with reggae in the 70s. But today the ethereal voiced daughter of sex pistol Paul Cook created a head swimmingly retro lovers rock debut with unstoppable engineer Prince Fatty that pleased purists and public alike.

Alpheus – From Creation
When British Studio One prodigy Alpheus said he would never sing another modern reggae song it sounded bizarre. But that was before he and producer Robert Sanchez unleashed this note-perfect recreation of the days of Coxsone and Phil Pratt in the ska and rocksteady era which took the critics of Europe by storm.

Earl Sixteen – The Fittest
Dubby Dutch double team JahSolidRock and Not Easy At All trumped this list with two releases last year. This time they kept their hand in with a full showcase effort from prolific roots internationalist Earl Sixteen.

Richie Spice – Book Of Job
The unmistakable voice of Richall Bonner over Penthouse and other rhythms was an early favourite from Jamaica in 2011. My Life, a remixed adaptation of Randy Crawford’s Street Life, was an instant modern classic, while Richie’s singing on the Raging Fyah production Black Woman had a distinctly West African vibe.

Protoje – The Seven Year Itch
Lorna Bennett’s talented singjay son’s eclectic radio-friendly introduction silenced the doom and gloom merchants who had been writing off Jamaican music. The last-minute removal of strongest track Our Time Come (due to clearance issues over its Burning Spear sample) was a disappointment but the rest still held its own.

I-Taweh – Overload
Again the naysayers were silenced when a St Ann’s parish roots reggae artist took the Richie B album chart number one spot. Veteran session musician I-Taweh Cunningham’s story – like his record – was one of the most inspirational of the year.

Perfect – Back For The First Time
Another St Ann’s man, the ever dependable Perfect, linked up with Californian rhythm team Lustre Kings for a record that hit his highest heights since 2008′s Born Dead With Life. More of a grower than that album it was a unanimous choice in our office nonetheless.

Joggo – Modern Rockers Vol. 1
Yet another strong rootsy album from the Netherlands. Clarence Seedorf’s brother Joggo’s direct and desperate tone along with several sing-along choruses made this a very memorable set.

Uprising Roots Band – Skyfiya
The debut album from one of the several bands that have surfaced in Jamaica in recent years. This is eerie roots reggae that pays homage to pioneering Jamaican groups such as Culture and The Gladiators.

Luciano – Rub a Dub Market
His third full-lengther in less than a year, and Luciano continues to work with producers outside Jamaica with great success. This one was produced by Vienna-based Irie Vibrations and holds many familiar Luciano ingredients – beautiful harmonies and grandiose choruses.

Sara Lugo – What About Love?
The little lady from outside Munich with the room-silencing voice decided not to make a straight reggae album for her debut. Even so, it was a prodigious statement that played on the close relationship between soul and reggae, and announced the rising of a new star.

I Wayne – Life Teachings
I Wayne’s Third Record for Loyal Soldiers caused a dilemma for liberal listeners. His proscriptive lyrics seemed preoccupied with sexual behaviour but the music was stronger than anything he had released before.

J Boog – Backyard Boogie
The Hawaii based singer’s cracked-voiced crooning seemed well at home on the more Jamaican sounding rhythms of his second disc. This versatile, hugely popular artist delivered one of the best slices of “island pop” this year.

Ziggi Recado – Ziggi Recado
Ziggi’s third album showed a brand new side to him. This was an adventurous blend of reggae, soul, hip-hop, funk and even rock. In some cases it would have sounded disunited, but it’s actually a cohesive whole.

Midnite – Kings Bell
On their fifth album in 2011, and about the 45th during their career, Midnite is more accessible than ever before. But it doesn’t mean that Kings Bell offers extravagant harmonies or na-na-na’s. It’s still the same Midnite, but – thanks to producer Andrew Bassie Campbell and his top Jamaican session musicians – with clearer melodies and more memorable hooks.

Raging Fyah – Judgement Time
Singer Ray Darwin’s former band mates have found a new singer, and on their promising opening set they play skanking, uplifting reggae as it was played in the 70’s.

Little Roy – Battle For Seattle
The reggae covers industry took a bold step beyond the safer choices of Easy Star Records. Little Roy’s second album in 2011 deservedly moved him into the mainstream as he highlighted the uplifting quality to Kurt Cobain’s songs across a series of Nirvana covers. It’s the second appearance on our list from producer/engineer Prince Fatty whose daring concept showed he is as interested in taking reggae forward as looking back.

Other essential albums that didn’t make the list (i.e. we couldn’t agree!)
Reggae Regulars – If Only
Tappa Zukie – X Is Wrong
Gappy Ranks – Thanks & Praise
Little Roy – Heat
Deadly Hunta – Speak My Mind
Etana – Free Expressions
Joey Fever – In A Fever
Ray Darwin – People’s Choice
Alborosie – Two Times Revolution
Warrior King – Tell Me How Me Sound

Free downloads
Collie Buddz – Playback EP
Kabaka Pyramid – Rebel Music EP
Mark Wonder and Zion Roots – The Dragonslayer
Mandinka Warrior and Mr Williamz – Dancehall Nice Again
Jahmali – Sounds with a Purpose