Lutan Fyah never surrenders

This year seems to boast at least two album releases from the prolific and fierce Jamaican chanter Lutan Fyah. He has the Music Never Dies album coming in June from I Grade Records and a collection of 14 tracks recorded between 2002 and 2006 in the UK with Jah Warrior Records, also set for launch in June.

The latter is however actually already available as exclusive pre-release on Reggae Music Store.

Never Surrender My Faith was mainly recorded and mixed at Conscious Sounds with musicians such as Steve Mosco, Dougie Conscious, Crispy Horns, Digistep, Jonah Dan, Hughie Izachaar and Jerry Lyons.

You get a lot of Lutan here. There are no combinations and back-up singers on this in your face album with its no-nonsense and warrior-like approach. It’s strictly fire and brimstone UK roots with relentless bass lines and pounding drums accompanied by horns, guitar, organ and dub wizardry in the mixing chair.

Never Surrender My Faith presents Lutan Fyah at his best, even though the set would have been even better with a little more variation. It gets a proper digital release in June when it will be available via all major download stores.

The obscure Zion Hill Dub reissued

After an excursion into easy-listening reggae UK reissue label Pressure Sounds is back in the comfort zone with an obscure and difficult release.

Zion Hill Dub by keyboardist and melodica player Bobby Kalphat and producer Phil Pratt has never had a full release until now and the original has only been available as a white label. Rare as hen’s teeth in other words.

The reissue comes with the original ten tracks that collected a series of Bobby Kalphat’s 7” and adding another seven bonus songs. All recorded at either Channel One, Dynamic, Randy’s or Lee Perry’s Black Ark in the mid 70’s.

It balances dub versions with pumping melodica and scorching keyboard lead instrumentals. A number of the originals are familiar, such as the Heptones’ Party Time, John Holt’s Strange Things, Horace Andy’s Money, Money, Dennis Brown’s What About the Half and Ken Boothe’s Artibella.

Bobby Kalphat is probably best known for his work with Phil Pratt, but prior to their relationship he played with Bobby Aitken’s Carib-Beats, Lynn Taitt & The Jets and Tommy McCook & The Supersonics. According to the excellent liner notes by Steve Barker, Bobby Kalphat also claims he started to arrange tunes with melodica as a lead instrument prior to Augustus Pablo’s big hit Java in 1971.

Since Zion Hill Dub was not properly released back in 1977 it didn’t have cover sleeve and this gave Pressure Sounds design agency free hands to complete a new one. I’m no graphic designer, but the sleeve is kind of odd and looks like a soft drink ad. Nothing wrong with that, but it doesn’t say anything about the moody, introvert and simmering music.

Zion Hill is now available on CD, double LP and digital download.

Million Stylez yesterday and today

Three years ago I interviewed internationally-renowned Swedish singer and former rapper Million Stylez. The interview was supposed to have been published in Woofah, but last year I found out that the magazine would cease its business.

Instead of just throwing away a few hours of work I contacted Million Stylez again to complement the piece with some of his most recent and upcoming projects, including two EP’s and one album. Check the full story over at United Reggae.

The Mighty Diamonds presented in the best possible way

The Mighty Diamonds are Jamaica’s longest-serving vocal group and have been together since 1969. They also happen to be one of my favorite vocal harmony trios and that’s why I’m excited about the second release on UK’s Hot Milk Records.

It’s a reissue of The Mighty Diamonds (though credited to The Diamonds on the sleeve) Planet Earth and its dub companion Planet Mars Dub by The Icebreakers with The Diamonds, both sets originally released in 1978 on Richard Branson’s label Virgin.

The label has now taken both albums and put them on CD in a showcase style, meaning each song is followed by its dub version. The material is sourced from the original Virgin master tapes and the audio quality is flawless and sounds slicker and more polished than the original LP’s.

The Mighty Diamonds have borrowed a lot from their U.S. soul contemporaries, especially those coming from Philadelphia. Sugary harmonies, excellent songwriting and great feel for melodies are some of the main components in their music.

The Mighty Diamonds’ debut album I Need a Roof aka Right Time is a militant affair, whereas this album leans more towards their heavily criticized Ice On Fire album produced by U.S. soul and R&B giant Allen Toussaint.

The album was recorded with a number of notable Jamaican session musicians at the then newly built Compass Point Studio in Bahamas. The riddims are smooth, the harmonies delicate and lead vocalist Donald “Tabby” Shaw sings more heartfelt and pleading than ever before, just listen to the aching title track, with lyrics as relevant today as they were more than 30 years, or the beautiful Sweet Lady, the album’s only cover.

The dub versions lean more towards instrumentals and most of the songs are left more or less intact with vocals snippets dropping in and out of the mix.

The Mighty Diamonds have over the years put out soundtracks for revolutions and for romancing between the sheets. This catchy set contains a little of both and is now presented in the best possible way.

Available now on CD that comes with a booklet containing a long and informative essay by John Masouri.

Yellowman broke barriers and new ground

Producer Henry ”Junjo” Lawes, singer Barrington Levy and deejay Yellowman together ushered a new era in reggae music – dancehall. Yellowman also helped to bring deejaying to a new level and established slack lyrics in the recording studio.

Yellowman has also won several tough battles in his life, including overcoming the social stigma of being an albino in Jamaica and recuperating from an invasive jaw surgery he had to go through because of cancer. He was actually given only six months to live, but he is still with us and tours regularly around the world, even though he doesn’t record much these days.

His influence on reggae and dancehall is massive and when spinning the new, powerful two disc set Young, Gifted & Yellow it’s possible to follow his musical journey.

He was at his peak in the early 80’s when he combined cheeky, witty and nonsense-like lyrics with an unbeatable flown and some of the toughest riddims around. He’s certainly versatile and often plays with both melodies and words.

At a time every producer in Jamaica wanted a taste of Yellowman and reputedly he recorded nine albums in one year, so some of his albums are not very consistent to say the least. But his work with Henry Lawes was usually above par and ten of his productions are collected the compilation, including show-stoppers such as Nobody Move Nobody Get Hurt, Duppy Or A Gunman and Morning Ride.

Yellowman’s single best track – Operation Eradication – was however recorded for Lloyd Campbell and is happily also included. It features his sparring partner Fathead and they make a good team, even though Yellowman is a way better deejay.

Yellowman has broken barriers in his life and has given Jamaican outcasts a glimmer of hope. He helped to pave the way for deejays such as Peter Yellow and Mellow Yellow.

His prolific career is overwhelming and shows that anything is possible regardless of color or class. Good faith, self-confidence and humor are some of the main ingredients in Yellowman’s recipe for success.

Solid roots reggae grooves from Meta & The Cornerstones

Senegalese singer Meta Dia started his music career rapping in the streets of Dakar. After a move to the U.S. and New York City in 2002 he fell in love with reggae and formed his band The Cornerstones and together they released their acclaimed debut album Forward Music in 2008.

Their second set Ancient Power – recorded in Jamaica with a number of notable musicians and produced by Meta Dia and Sidney Mills from Steel Pulse – arrived today after being delayed for almost a year.

I received a copy last year and instantly fell in love with the uplifting, warm sound, Meta Dia’s Bob Marley-tinged singing, his positive lyrics and approach and the soulful roaring groove. Unfortunately the track list on the almost flawless promo I received and the actual release differs a bit. Included now are at least three tracks that doesn’t belong there – the rock ballad Without Heart, its piano version and an odd live recording with poor audio quality.

Fortunately the rest of the album is dynamite and includes ten roots rocking minor masterpieces that would have made Bob Marley proud.

Ancient Power is solid and bright and manages to balance influences from the Caribbean, the U.S., the Middle East and Africa. Highlights include the upbeat Bound to Glory with a rocking slide guitar, the pumping Damian Marley combination My Beloved Africa and the mystic, nyabinghi-inspired title track, definitely one of the fiercest and greatest single tunes this year.

A great set that manages to excel the debut album. Available now on CD and digital platforms worldwide.

Jah Sun rises to the top

Californian singjay Jah Sun impressed last year with his third album Battle the Dragon recorded for a variety of European and U.S. producers. Now he’s back with his fourth set and the recipe is the same, but this time the formula has been perfected.

The singles that have preceded Rise as One – Everyday of the Week and the Kabaka Pyramid combination Foundation – show just how great this 15 track album is. It’s loaded with energy, excellent vocal arrangements, memorable hooks and pop melodies as well as pulsating one drop riddims and bouncy hip-hop jams.

As with Jah Sun’s previous albums this set also offers positive and conscious lyrics along with several notable combinations, for example Never Stray with Gappy Ranks, a tune with a hook that sticks like glue, or the playful Top Ranking with Chronixx. On No Matter Sizzla shows good old skills and Can’t Live, with Richie Spice singing the chorus, has a distinct melody and irresistible groove.

On the title track Jah Sun sings “This is the song that mainstream would never play, this is the chant that was banned by every DJ, no radio or TV would a touch it, why? Cause this a the real reggae music, this a the real ragamuffin… Commercial top ten a get bun up everyday”.

That’s sadly the reality, but don’t let that stop you from check out Rise as One, because Jah Sun has together with producers such as Bost & Bim, Bizzarri, House of Riddim and Oneness created one of the best albums this year. It might not be strictly authentic Jamaican in its approach, but it shows that European and U.S. reggae is a force to be reckoned with and Jah Sun has definitely risen to the top of the game.

Snoop Lion’s pop journey

Last year I wrote a short piece about hip-hop superstar Snoop Dogg’s Selassie praising Rasta alter-ego Snoop Lion and his debut single La La La. I wrote that his spiritual transformation seemed like a clever marketing ploy directed by hipper than hip producer Diplo from Major Lazer, but that the single, with its haunting Artibella sample, was very tasty.

Same goes for the full album that arrived a few days ago. The Rasta gimmicks are too much and the album isn’t profound or spiritual in any way. But a majority of the 16 tracks – only twelve on the U.S. edition – shouldn’t be ashamed of themselves.

Reincarnated is a clear departure from Snoop’s previous hip-hop albums and he has also abandoned rapping and changed his delivery to a more singing-oriented approach. As a rapper Snoop is the essence of smooth, but as a singer he isn’t as talented and has to rely on backing vocalists or one of the 14 guest artists, guests that on several occasions outshine him, especially Mavado, Popcaan, Angela Hunte, Jahdan Blakkamoore and Miley Cyrus. Yes, it’s the Miley Cyrus, and yes, it’s quite a surprise to hear her flexing her skills over a smooth reggae beat.

The album was mainly recorded in Jamaica with Diplo and Dre Skull – responsible for several rougher than rough dancehall riddims over the past years – handling production. They’ve cooked up a charming blend of sunshine reggae, smooth ballads, blasting electro, echo-laid dub and hip-hop beats with pounding drums and rolling bass lines.

It also samples vintage dancehall and has several nods to pastime classics, including an erratic take on the Sleng Teng riddim and a sample from Michael Palmer’s Don’t Smoke the Weed.

Highlights include Remedy, where Busta Rhymes sounds like Burro Banton, So Long, a version of Glen Washington’s There’s A Joy, the slow pumping Lighters Up, where versatile reggae singer Jahdan Blakkamoore lacks credit, and the sing-a-long friendly No Guns Allowed.

Reincarnated contains plenty of nonsense lyrics and homage to marijuana, but also bright and memorable melodies. And even though the album is credited to Snoop Lion it’s more a compilation hosted by him thanks to the guest performers.

Not sure about the target audience for this album. His hip-hop fans will probably loathe it, while the reggae crowd will view him as a fake. No one can however overlook the overall pop appeal of Reincarnated.

Junior Kelly serves up a delicious pie

A new Junior Kelly release is always special since this devout Rastafarian isn’t as prolific as many of his contemporaries. He’s selective and doesn’t voice just any riddim and it’s usually several years between his album releases. His last album Red Pond was put out in 2010 and Tough Life before that one dropped in 2005.

Three years have gone by and now it’s finally time again for a new album. Piece of the Pie is Junior Kelly’s tenth album and boasts 15 tracks –most of them previously unreleased – mixing reggae and dancehall with hip-hop and even some salsa.

Piece of the Piece is empowering and positive reggae music with filled with engaging melodies and conscious and cultural content. Junior Kelly shows his excellent songwriting skills and vocal talent throughout the set. He’s a versatile performer equally at ease with emotive and melodic singing, spitting lyrics or smoothly riding the riddim deejay style, as he does on the excellent None A Jah Jah Children relick Lots of Herbs.

Junior Kelly is one of the most consistent reggae artists today and that’s probably because he’s picky, passionate and chooses his material carefully. And in a music industry currently flooded with poor productions with almost no mastering that’s quite an achievement.

This well-crafted set is now available on CD and digital platforms.

Major Lazer breaks barriers on Free the Universe

Major Lazer is the electo-dancehall brainchild of U.S. DJ and producer Diplo and UK DJ and producer Switch. For Major Lazer’s brand new album Free the Universe Switch has jumped the ship and is replaced by Jillionaire and Walshy Fire. The result is in the same frenetic vein as the debut set Guns Don’t Kill People… Lazers do.

Free the Universe is a fierce party-starting brew of dubstep, reggae, R&B, dancehall, tropical bass and electronica and is not for the fainthearted. The guest list is of biblical proportions and ranges from dancehall dons Elephant Man, Leftside, Vybz Kartel and Busy Signal to pop singer Bruno Mars, rapper Wyclef Jean and rock singer Amber from Dirty Projectors.

The album was preceded by three excellent and very different singles – the ambient Get Free, the relentless Jah No Partial, which samples Johnny Osbourne’s Mr. Marshall, and Watch Out For This (Bumaye), where Busy Signal chats over a pounding bass drum accompanied by horns sampled from salsa champions Willie Colon & Ruben Blades’ Maria Lionza.

On Free the Universe Major Lazer breaks down barriers between genres and manages to create a modern album filled with distorted voices, skull-cracking drums, soulful reggae-flavored R&B and broken rhythm patterns that will have your neighbors banging on the door asking to turn-down the bass or to join the party.