Reggae Music

Confrontation [Bonus Track] [Remaster] b...

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Reggae Pulse, Vol. 4: Christmas Songs by Various Artists (CD - 10/12/2004)

"Reggae Pulse, Vol. 4: Christmas Songs" (10/12/2004) Reggae Various Artists, Sanctuary (USA)While no one is about to mistake Kingston for Bethlehem anytime soon, there is actually a little bit of a tradition in Jamaica of redoing Christmas songs in whatever beat style is prevalent in the yards and dancehalls. The end result can be a bit baffling, like when John Holt sings about sleigh bells in the snow over a tropical reggae rhythm in his version of "White Christmas," or when Culture, known for hard-edged social commentary, goes all mushy singing "Rudolph the Red-Nosed Reindeer," or Yellowman delivers a dancehall rap in the middle of "We Wish You a Reggae Christmas," and it is hard not to think the whole thing is a little bit of a joke, but this set will make you smile, if only for the entertaining thought of Rudolph going Rasta. ~ Steve Leggett

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Confrontation [Bonus Track] [Remaster] by Bob Marley & the Wailers (CD - 07/31/2001)

"Confrontation [Bonus Track] [Remaster]" (07/31/2001) Reggae Marley, Bob, IslandBob Marley & The Wailers: Bob Marley (vocals, guitar); Junior Marvin (guitar, background vocals); Tyrone Downie (keyboards, background vocals); Earl Lindo (keyboards); Aston Barrett (guitar, bass, percussion); Carlton Barrett (drums); Alvin Patterson (percussion). I Threes: Rita Marley, Marcia Griffiths, Judy Mowatt (background vocals). Additional personnel includes: Glen DaCosta (tenor saxophone); David Madden (trumpet); Nambo (trombone); Devon Evans (percussion). Producer: Bob Marley & The Wailers, Errol Brown. Reissue producers: Bill Levenson, Maxine Stowe. Recorded at Tuff Gong Studio, Kingston, Jamaica. Digitally remastered by Ted Jensen (2001, Sterling Sound, New York, New York) Personnel: Bob Marley (vocals, background vocals); Aston Barrett (guitar, percussion); Julian Marvin, Junior Marvin (guitar, background vocals); Glen DaCosta (tenor saxophone); David Madden (trumpet); Nambo (trombone); Tyrone Downie (keyboards, background vocals); Earl Lindo (keyboards); Carlton "Carlie" Barrett (drums); Devon Evans, Alvin Patterson (percussion); Judy Mowatt, Marcia Griffiths, Rita Marley, I-Threes (background vocals). Audio Mixers: Errol Brown ; Chris Blackwell; Aston Barrett. Recording information: Tuff Gong Studio, Kingston, Jamaica; Tuff Gong Studios, Kingston, Jamaica. Photographers: Lynn Goldsmith; Neville Garrick; Dennis Morris. An interesting collection of singles and posthumously archived material created in the same way as Hendrix's CRASH LANDING and The Beatles "Free as a Bird," (albeit with most of the original musicians), CONFRONTATION is more consistent than one would expect and includes at least one certified classic in "Buffalo Soldier." The record features some very tasty guitar, good vocal performances and the always rock-steady rhythm section of the Barrett brothers. While not absolutely essential, it should certainly be the next purchase for anyone who already owns all of the official Marley albums. While the disc is perhaps a little light on variety, it's still a Bob Marley album and thus as good as the best work of many other artists. Overall, CONFRONTATION is great mellow summertime listening and a worthy addition to any reggae collection. A posthumous collection produced by Rita Marley, based on work left behind by Bob upon his death. Some of his best post-Wailers work is here, with songs like "Buffalo Soldier," "Chant Down Babylon," and "Blackman Redemption." Given that he wasn't alive to do the production that he usually helped in, this album seems remarkably true to the general vision of Bob Marley's albums. Other somewhat lesser-known tracks also help to fill in all of the cracks with some remarkable material. Case in point: "Jump Nyabinghi," a nice danceable groove with perhaps less of the usual politics mixed in, but with just as much musicality. Overall, any Bob Marley fan ought to own this album. For the uninitiated, Legend is always the starting point, but, after that, this may not be such a bad choice for additions to the collection. [The 2001 reissue offers a remix of "Buffalo Soldier"] ~ Adam Greenberg

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The Best of the Early Years: 1990-1995 b...

Dancehall Classics [1/25]

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The Best of the Early Years: 1990-1995 by Buju Banton (CD - 05/23/2005)

"The Best of the Early Years: 1990-1995" (05/23/2005) Reggae Banton, Buju, VP RecordsPersonnel includes: Buju Banton, Heavy D, Nadine Sutherland, Wayne Wonder, Dean Fraser, Sly Dunbar, Robbie Shakespeare, Dave Kelly. Producers include: Donovan Germain, Winston Riley, Sly Dunbar, Clifton "Specialist" Dillon, Dave Kelly. Engineers include: Andre Tyrell, Dave Kelly, Michael "Coolie" Cooper. All tracks have been digitally remastered. Recording information: MIxing Lab; Studio 2000; Studio Channel; Studio Digital B; Studios Penthouse Recording. Or more accurately "Buju Banton: The Penthouse Years," for this compilation rounds up a robust crop of singles all cut at Penthouse studio. Obviously then, much of this compilation was overseen by Penthouse label head Donovan Germain himself or by his prot?g?, Dave Kelly, with another student, Bobby Digital, putting a hand in, while a Sly Dunbar production and a Winston Riley one complete this fulsome set. Banton's breakout year in Jamaica was 1991, and from that date on the hits flooded out nonstop. Even the uproar that followed the release of the homophobic "Boom Bye Bye" in 1992 barely stemmed the tide. The following year, the DJ inked a deal with Mercury and unleashed Voice of Jamaica in the States, but it was his switch to culture with 1995's 'Til Shiloh that opened the door to a wider public. That shift in direction was heralded by Banton's 1993 masterpiece, "Murderer," but you'd never note that change from this set, which doesn't contain a single cultural track within. This is a pure party album, filled with ragga anthems dedicated to the dance, the chase, and women's most striking attributes. The themes may be well trodden, but Banton gives them all a freshness, and whether he's romantic, admiring, overcome with desire, or just nice-ing up the dance, the DJ's quick tongue and utterly convincing delivery made him (and keep him) a dancehall hero. There are a few notable omissions -- his Penthouse debut, "Man Fi Dead," and the huge hits "Love Mi Brownie" and "Yardie" all spring immediately to mind. But you do get such smashes as "Bogle," "Good Looking Gal," the awesome "Batty Rider," and the controversial "Boom." There isn't a weak track within and the rhythms are all top-notch, sizzling dancehall raggas laid down by the likes of Steely & Clevie, the Firehouse Crew, Danny Browne, and Kelly and Digital themselves. Relive the magic of Banton at his bad-boy best. ~ Jo-Ann Greene

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Dancehall Classics [1/25]

"Dancehall Classics [Sequence]" (01/25/2005) Reggae Various Artists, SequenceThis is a continuous in-the-mix CD compiled and mixed by Max Glazer. Recording information: Mixing Lab, Kingston, Jamaica.

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True Reflections...A New Beginning by Ja...

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True Reflections...A New Beginning by Jah Cure (CD - 08/07/2007)

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Catch A Fire [Remaster]

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Catch A Fire [Remaster]

"Catch a Fire [Bonus Tracks] [Remaster]" (06/12/2001) Reggae Marley, Bob, Island Records (USA)Bob Marley/Bob Marley & the Wailers: Bob Marley; Aston Barrett (bass instrument); Peter McIntosh, Bunny Livingston (background vocals); Carlton "Carlie" Barrett. Personnel: Bob Marley (vocals, acoustic guitar); Peter McIntosh (vocals, guitar, piano, organ); Bunny Livingston (vocals, congas, bongos); Wayne Perkins (guitar); John "Rabbit" Bundrick (Clavinet, organ, synthesizer); Tyrone Downie (organ); Aston Barrett (bass guitar); Carlton "Carlie" Barrett (drums); Winston Wright, Chris Karan (percussion); Marcia Griffiths, Rita Marley (background vocals). Additional personnel: Robbie Shakespeare (bass instrument); Francisco Willie Pep (percussion); John "Rabbit" Bundrick, Marcia Griffiths, Rita Marley, Tyrone Downie, Wayne Perkins, Winston Wright, Chris Karan. Recording information: Dynamic Sound Studios, Kingston, Kingston, Jamaica; Harry Jay's Recording Studio, Kingston, Jamaica; Island Studios, London, England; Randy's Studio 17, Kingston, Jamacia; Randy's Studio 17, Kingston, Jamaica. Photographers: Adrian Boot; Arthur Gorson. Arranger: Bob Marley. It is nearly impossible to imagine a time when reggae was not part of the cultural currency. Though Bob Marley and the Wailers cannot be said to have invented the style, they certainly brought it to the world stage, and this album was the torch that lit the way. CATCH A FIRE hit with the force of a revelation when it was released in 1973, and though Chris Blackwell tailored its sound with a rock audience in mind, the album was still unlike anything that had ever come down the pike. Ironically, even given its relatively full production and electric guitar solos, CATCH A FIRE sounds more organic and rootsy than any of the Wailers' subsequent releases. While the percolating rhythms and burbling bass lines of the Barrett brothers, and the sweet, impeccable harmonies of Peter Tosh and Bunny Wailer soothe and move, CATCH A FIRE also introduces the conscious, politically minded themes that would remain at the center of Marley's songwriting for the rest of his career. "Concrete Jungle," one of the towering standout tracks, addresses the trap of inner cities, while "Slave Driver" and "400 Years" take on racial/historical issues. Yet Marley's penchant for gorgeous love songs is evident here too on his all-time classic "Stir It Up." Even after everything that followed, and the cult of idolatry that formed around Marley, this remains soulful, message-driven music that goes straight to the blood. Utterly essential. For a majority of the world, Catch a Fire was not only the introduction to Bob Marley & the Wailers, but to reggae as well. The intimate and organic nature of the band's compositions coupled with its trademark mantra-like rhythms attracted the attention of producer and musical entrepreneur Chris Blackwell. So smitten was Blackwell that he commissioned the band to record for his primarily rock-oriented Island Records label. Although greatly encouraged by the Wailers' efforts, Blackwell was likewise cognizant of creating a fuller and more polished effort aimed specifically for the ears of the burgeoning "album rock" consumer. His idea was to "flesh out" the sonic atmosphere that supported and drove Marley and company's otherwise stark and unadorned folk songs. With the blessings of Marley and under the direction of Blackwell, sporadic instrumental augmentations were made, featuring Wayne Perkins (guitar), John "Rabbit" Bundrick (keyboards), Robbie Shakespeare (bass), and Tyrone Downie (organ). Although Catch a Fire was their international debut, Marley and fellow Wailer Peter Tosh used the medium to conjure and translate universal themes of love ("High Tide or Low Tide") and hope ("Stir It Up"), as well as the pain ("400 Years") and fear ("Slave Driver") of not only Jamaicans, but all humanity. Like Bob Dylan and John Lennon before him, Marley could project not only for his people and time, but also for those who would come before and after. The 2001 remastered version also comes with two bonus tracks that were not issued on the original LP, "High Tide or Low Tide" and "All Day A

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Uprising [Bonus Tracks] [Remaster] by Bo...

The Best of Sizzla: The Story Unfolds by...

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Uprising [Bonus Tracks] [Remaster] by Bob Marley & the Wailers (CD - 07/31/2001)

"Uprising [Bonus Tracks] [Remaster]" (07/31/2001) Reggae Marley, Bob, Tuff GongBob Marley & The Wailers: Bob Marley (vocals, acoustic & electric guitars); Aston "Family Man" Barrett (guitar, piano, bass, percussion); Junior Marvin (guitar, background vocals); Tyrone Downie (keyboards, background vocals); Carlton Barrett (drums, percussion). The I Threes: Rita Marley, Marcia Griffiths, Judy Mowatt (background vocals). Producer: Bob Marley & The Wailers. Reissue producers: Bill Levenson, Maxine Stowe. Recorded at Tuff Gong Studio, Kingston, Jamaica. Originally released on Island (9596). Digitally remastered by Ted Jensen (2001, Sterling Sound, New York, New York). Personnel: Bob Marley (vocals, acoustic guitar); I-Threes (vocals); Aston Barrett (guitar, piano, percussion); Julian Marvin, Junior Marvin (guitar, background vocals); Tyrone Downie (keyboards, background vocals); Earl Lindo (keyboards); Carlton "Carlie" Barrett (drums, percussion); Alvin Patterson (percussion); Judy Mowatt, Marcia Griffiths, Rita Marley (background vocals). Audio Mixers: Chris Blackwell; Errol Brown . Recording information: Tuff Gong Studios, Kinston, Jamaica. Photographer: Adrian Boot. Bob Marley generated a staggering number of great records during his brief time in the world's spotlight. Although he cut his first recordings in the early 1960s, it was not until the 1973 release of CATCH A FIRE that Marley and the Wailers became international stars. Eight years later Marley was dead, a victim of cancer. In between, he recorded eight studio albums and several live albums, all of excellent quality. UPRISING is Marley's final album, and it's also one of his best. As on all his recordings, Marley's writing displays the gift for melody that helped non-Jamaican audiences gain access to his music even when he was singing about the details of island life and the doctrine of Rastafarianism. The most popular tracks here, "Could You Be Loved" and "Redemption Song," are pop masterpieces, but so too are lesser known tracks "Coming In From The Cold," "Pimper's Paradise," and "Bad Card." And except for "Redemption Song," a stunningly poignant protest song that features only Marley on vocal and acoustic guitar, you can dance to it. What more could you ask for? Uprising would be the final studio album featuring Bob Marley & the Wailers to be released during Marley's lifetime. Prophetically, it also contains some of the band's finest crafted material, as if they were cogent that this would be their final outing. The album's blend of religious and secular themes likewise creates a very powerful and singular quest for spirituality in a material world. Although it is argued that an album's graphic design rarely captures the essence of the work inside, the powerful rebirthing image of a rock-solid Marley emerging with his arms raised in triumph could not be a more accurate visual description of the musical jubilation within. Musically, the somewhat staid rhythms often synonymous with reggae have been completely turned around to include slinky and liquid syncopation. "Work," "Pimper's Paradise," and the leadoff track, "Coming in From the Cold," are all significant variations on the lolloping Rasta beat. The major differences are the sonic textures that manipulate and fill those patterns. The inventive and unique guitar work of Al Anderson -- the only American member of the original Wailers -- once again redefines the role of the lead electric guitar outside of its standard rock & roll setting. "Zion Train" is awash in wah-wah-driven patterns, creating an eerie, almost ethereal backdrop against Marley's lyrics, which recollect images from Peter Tosh's "Stop That Train" all the way back on Marley & the Wailers' international debut, Catch a Fire. The final track on the original pressing of Uprising is "Redemption Song." Never has an artist unknowingly written such a beautiful and apropos living epitaph. The stark contrast from the decidedly electric and group-oriented album to this hauntingly beautiful solo acoustic composition is as dramatic as it is visionary. Less than a year after the release of Uprising, Marley would succumb to cancer. The 2

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The Best Of Gregory Isaacs: The Millenni...

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The Best of Sizzla: The Story Unfolds by Sizzla (CD - 05/23/2005)

"The Best of Sizzla: The Story Unfolds" (05/23/2005) Reggae Sizzla, VP RecordsPersonnel incudes: Sizzla, Jah Cure, Luciano (vocals). Producers include: Phillip "Fattis" Burrell, Dean Fraser, Cedrica "Soljie" Hamilton, Fire House Crew, Bobby "Digital" Dixon. Compilation producers: Joel Chin, Barry Wilson. Includes liner notes by Rob Kenner. All tracks have been digitally remastered. Editors: Paul Shields; Joel Chin. Photographers: William Richards; Anderson Ballentyne; Koji Yawata. Sizzla's success is no mystery. He is a lightning-tongued DJ who can ride a rhythm and spout creative rhymes with the best of the dancehall chatters, and while he's no crooner, he is a better-than-average singer who presents his Bobo Dread beliefs with an appealing combination of rootswise devotion and gruff, aggressive certainty. And ever since attaching himself to Fattis Burrell's acclaimed Xterminator crew, he has done so to the accompaniment of the best dancehall and neo-roots rhythms available. This very useful two-disc best-of gives a good overview of Sizzla's work since the mid-'90s. Interestingly, the program de-emphasizes somewhat the gleeful depictions of fiery Babylonian destruction and the fierce homophobia that are typical of so many Bobo Dread albums (including Sizzla's) in favor of more generally palatable songs addressing broader issues of faith ("No Other Like Jah," "Show Us the Way") and upright behavior ("Good Ways," "Love Is Always There"). Still, the preachiness would be harder to take if the rhythms weren't so consistently great and if he weren't such a talented singer. The combination tracks are a mixed bag; there are only two, and one ("Jah Blessing," featuring Luciano) is wonderful, while the other ("King in the Jungle," with a whiny Jah Cure) is bearable. Highly recommended overall. ~ Rick Anderson

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Very Best [T.P.] * by Thriller U (CD - 0...

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The Best Of Gregory Isaacs: The Millennium Collection by Gregory Isaacs (CD - 04/03/2007)

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Welcome to Jamrock [PA] by Damian "...

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Very Best [T.P.] * by Thriller U (CD - 09/13/2005)

"Very Best [T.P.] *" (09/13/2005) Reggae Thriller U, T.P. RecordsPersonnel includes: Thriller U (vocals); Fire House Crew; Dean Fraser, Chris Meredith. Engineers: King Jammy, Bobby Digital, Fat Man Recorded at King Jammy's Recording Studios, Kingston, Jamaica. Recording information: King Jammy's Recording Studio, 38 St. Lucia Road, Erin; Kingston II Jamaica West Indies.

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Rastaman Vibration [Bonus Track] [Remast...

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Welcome to Jamrock [PA] by Damian "Junior Gong" Marley (CD - 09/13/2005)

"Welcome to Jamrock [PA]" (09/13/2005) Reggae Marley, Damian, Tuff GongPersonnel: Damian "Junior Gong" Marley (programming); Dan Warner (guitar); Stephen Marley (keyboards); Shiah Coore, Paul Fakhourie (bass guitar); Jazzwad, Craig "Niteman" Taylor, Willburn "Squidley" Cole (drums); Eek-A-Mouse, Nas, Black Thought, Bobby Brown , Rovleta Fraser, Sean Diedrick, Owen "Dready" Reid, Noel Davey, Bounty Killer. The huge success of "Welcome to Jamrock," released as a single early in the summer of 2005, raised expectations for Damien Marley's same-titled full-length. Fortunately, everything--from the progressive blend of reggae, hip-hop, trip-hop, pop, and roots within, to the crisp production from brother Stephen Marley--lives up to the hype. While it would be an easy commercial move for Damien to replicate the positive roots vibe of his father's reggae, he instead builds on the consciousness of that music and updates the sound for the 21st century. Tinged with overtones of dancehall ("Khaki Suit") and urban contemporary R&B (the silky smooth "Beautiful," which features a cameo from Bobby Brown), WELCOME TO JAMROCK is a melting pot of an album, one as well suited to the streets of Brooklyn as the neighborhoods of Kingston. The cover image--which depicts Marley in militaristic garb surrounded by corrugated metal fences--indicates that Marley means business, a fact confirmed by this fresh, edgy music.

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Trojan Beatles Tribute Box Set [Box] [3/...

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Rastaman Vibration [Bonus Track] [Remaster] by Bob Marley & the Wailers (CD - 06/12/2001)

"Rastaman Vibration [Bonus Track] [Remaster]" (06/12/2001) Reggae Marley, Bob, IslandBob Marley & The Wailers: Bob Marley (vocals, acoustic & electric guitars, percussion); Aston "Family Man" Barrett (guitar, bass, percussion); Earl "Chinna" Smith (guitar, percussion); Al Anderson, Donald Kinsey (guitar); Tyrone Downie (keyboards, bass, percussion, background vocals); Carlton Barrett (drums, percussion); Alvin "Seeco" Patterson (percussion). Additional personnel: The I Threes (background vocals). Reissue producers: Bill Levenson, Maxine Stone. Recorded at Harry J Studios and Joe Gibbs Studio, Kingston, Jamaica. Originally released on Island (59383). All tracks have been digitally remastered. Personnel: Bob Marley (vocals, acoustic guitar, percussion); Aston Barrett (guitar, electric bass, percussion); Earl "Chinna" Smith (guitar, percussion); Donald Kinsey, Al Yasha Anderson (guitar); Tyrone Downie (keyboards, percussion, background vocals); Carlton "Carlie" Barrett (drums, percussion); Alvin "Seeco" Patterson (percussion); I-Threes (background vocals). Audio Mixer: Aston Barrett. Recording information: Harry J Studios (1975-1976); Harry J. Studios (1975-1976); Joe Gibbs Studio, Kingston, Jamaica (1975-1976); Joe Gibbs Studios, Kingston, Jamaica (1975-1976). Photographer: Neville Garrick. RASTAMAN VIBRATION's burlap-esque jacket design couldn't be more appropriate packaging-this is a load of Natty knowledge delivered in simple, raw fashion. And there's a real beauty in the weave. This 1976 release finds Bob dropping ever more lyrics on human entanglements both local and global, his transcendent voice threading wisdom through it all. "Positive Vibration" and "Roots, Rock, Reggae" are anthemic in character, inviting all listeners to quit their negativity and start a-dancin'. "Want More" is a promise of bad karma for back-biters everywhere, leadened fearfully by solemn bass lines and seamless production. Perhaps most compelling here is "War," a musical setting of a 1968 speech on global justice by the Emperor Haile Selassie I of Ethiopia. Bob's echoing fade with the words, "Good Over Evil" is positively haunting. While Peter Tosh's voice is absent, the classic exchange between Marley and the I-Threes (backing vocal divas, for those not in the know) shines all the more brightly in the spotlight. Funky organs are everywhere. Every track on RASTAMAN VIBRATION is an excellent piece of vintage roots reggae, proving just how powerful and tight Bob's studio sessions could be. For Bob Marley, 1975 was a triumphant year. The singer's Natty Dread album featured one of his strongest batches of original material (the first compiled after the departure of Peter Tosh and Bunny Wailer) and delivered Top 40 hit "No Woman No Cry." The follow-up Live set, a document of Marley's appearance at London's Lyceum, found the singer conquering England as well. Upon completing the tour, Marley and his band returned to Jamaica, laying down the tracks for Rastaman Vibration (1976) at legendary studios run by Harry Johnson and Joe Gibbs. At the mixing board for the sessions were Sylvan Morris and Errol Thompson, Jamaican engineers of the highest caliber. Though none of these cuts would show up on Legend, Marley's massively popular, posthumous best-of, some of the finest reality numbers would surface on the compilation's more militant equivalent, 1986's Rebel Music set. "War," for one, remains one of the most stunning statements of the singer's career. Though it is essentially a straight reading of one of Haile Selassie's speeches, Marley phrases the text exquisitely to fit a musical setting, a quiet intensity lying just below the surface. Equally strong are the likes of "Rat Race," "Crazy Baldhead," and "Want More." These songs are tempered by buoyant, lighthearted material like "Cry to Me," "Night Shift," and "Positive Vibration." Not quite as strong as some of the love songs Marley would score hits with on subsequent albums, "Cry to Me" still seems like an obvious choice for a single and remains underrated. Though record buyers may not have found any single song to be as strong on those terms as "No Woman No Cry," Rastaman Vibration s

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Putumayo Presents: World Reggae [Digipak...

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Trojan Beatles Tribute Box Set [Box] [3/22]

"Trojan Box Set: The Beatles [Box]" (04/05/2005) Reggae Various Artists, Trojan (Cityhall)Hardly the most crucial entry in Trojan's ever-growing Box Set series, but Trojan Beatles Tribute contains just enough sweet soul to make it worthwhile for fanatics and more than enough kitsch and camp for the curious. Pat Kelly wrings every last bit of emotion out of "A Hard Day's Night," as does Marcia Griffiths' take on "Don't Let Me Down," but truly dedicated moments like these are few and far between. Plenty of the Fab Four's numbers get rattled off without much effort or insight, but the people at Trojan have done a good job of mixing the track list, dropping the drab numbers between the more interesting ones. The collection goes outside the proper Beatles songbook by including some solo numbers, best of which has to be Byron Lee's suitably over the top "Live and Let Die." Some thin and synthetic ragga numbers spoil the fun, save Dawn Penn's relaxed "Here Comes the Sun" and Desmond Dekker's effervescent "Blackbird." The reggae hardcore are going to cobble together a more purposeful single CD from this all, but Beatles fans with pools, hot tubs, or sunny vacation plans can let the whole breezy set play with little harshing of their mellow. ~ David Jeffries The Beatles wrote songs that were not only seemingly instant classics blessed with sturdy and often breathtakingly beautiful melodies, but that were also remarkably flexible vehicles for musical exploration, and have been covered in all manner of styles. Since the musicians of Jamaica have never met a tune that they couldn't tip over into one reggae phase or another, it's not really a surprise that there are enough Beatles covers from the island to easily fill this three-disc, 50-track collection. It's a fun listen, with lots of surprising little versions, including Willie Lindo's jazzy lounge take on "Norwegian Wood," Ernest Ranglin's graceful and spirited guitar instrumental version of "You Won't See Me," the Paragons' vocal harmony-drenched "Blackbird," Toots Hibbert of the Maytals turning "Give Peace a Chance" into a full-tilt island revival meeting and a delightfully casual dub instrumental rendering of "In My Life" by the Pioneer All-Stars which manages to somehow convert the reflective resignation of John Lennon's original into a thing of joyous hope. In the end, what impresses with this set are the gazillion different ways one can approach a song by the Beatles, and also the manner in which reggae works like a giant rhythmic sponge to bring everything under its umbrella, even the Fab Four. ~ Steve Leggett

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Legend by Bob Marley & the Wailers (...

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Putumayo Presents: World Reggae [Digipak] by Various Artists (CD - 02/24/2004)

"Putumayo Presents: World Reggae [Digipak]" (02/24/2004) Reggae Various Artists, PutumayoLiner Note Author: Jacob Edgar. Illustrator: Nicola Heindl. Photographers: Susan Bulkin; Bob Gruen; Eric Aubry; Bobby Holland. Reggae's infectious and adaptable one-drop shuffle rhythm, coupled with the music's tendency to deal with social and political issues, has made it a popular genre for musicians worldwide, and when combined with pop and hip-hop elements, has made for some fascinating hybrids. This Putumayo collection reflects both the diversity and the unified cohesiveness of these reggae-based forms, and makes a fascinating introduction to reggae in the 21st century. The disc opens with the bright-sounding "Pas de Problemes" by the French group Kana, which features some solid and efficient Jamaican-inspired horn work. Nigeria's Majek Fashek drops bits of highlife into the reggae stew with the Bob Marley-like "African Unity," while the French group Gnawa Diffusion fuses rap, rai, reggae, jazz, and funk into a patchwork quilt version of "Ya Laymi." The Welsh/Spanish conglomeration known as Mas y Mas adds a dose of Celtic fiddles to the mix on "Agua." French Guiana's Chris Combette (who sings "it's a rastaphobe world" in his selection, "Babylone Buildings") draws on East Indian elements, including an impressive sitar break, played here by Mungel Patasar. Perhaps the biggest name on this compilation, the Ivory Coast's Alpha Blondy, sings "Lalogo" in the Bambara language, a track that was recorded at the legendary Tuff Gong studio in Jamaica. As a sampler of the ever evolving international reggae community, World Reggae opens a wide window into some fascinating new music. ~ Steve Leggett

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Easy Star's Lonely Hearts Dub Band [Digi...

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Legend by Bob Marley & the Wailers (CD - 02/12/2002)

"Legend" (02/12/2002) Reggae Marley, Bob, Island Records (USA)This remastered version of LEGEND contains a 28 page booklet, and two bonus tracks. Personnel: Bob Marley (vocals, guitar, percussion); Peter Tosh (vocals, guitar, piano, organ); Tyrone Downie (vocals, keyboards, percussion); Bunny Wailer (vocals, percussion); Aston "Family Man" Barrett (guitar, bass, percussion); Julian "Junior" Marvin (guitar, background vocals); Al Anderson, Earl "Chinna" Smith, Donald Kinsey (guitar); Earl "Wya" Lindo (keyboards, percussion); Touter (keyboards); Carlton Barrett (drums, percussion); Alvin "Seeco" Patterson, Joe Higgs (percussion). The I Threes: Rita Marley, Marcia Griffiths, Judy Mowatt (background vocals). Producers: Steve Smith, Bob Marley and The Wailers, Chris Blackwell, Errol Brown. Reissue producer: Bill Levenson. Recorded between 1972 and 1981. Originally released on Island (90169). Digitally remastered by Ted Jensen (2001, Sterling Sound, New York). Disc One of LEGEND: DELUXE EDITION contains a remastered version of LEGEND with two bonus tracks. Disc Two contains 1980's remixes of songs from LEGEND. Bob Marley & The Wailers: Bob Marley (vocals, acoustic & electric guitar, percussion); Peter McIntosh (vocals, guitar, piano, organ); Bunny Livingston (vocals, bongos, congas); Earl "Chinna" Smith (guitar, percussion); Julian "Junior" Marvin (guitar, background vocals); Donald Kinsey, Al Anderson (guitar); Bernard "Touter" Harvey (piano, organ); Tyrone Downie, Earl "Way" Lindo (keyboards, percussion, background vocals); Aston "Family Man" Barrett (bass, percussion); Carlton Barrett (drums, percussion); Alvin "Seeco" Patterson (percussion). I Threes: Rita Marley, Marcia Griffiths, Judy Mowatt (background vocals). Producers: Bob Marley & The Wailers, Errol Brown, Chris Blackwell. Compilation producer: Bill Levenson. Includes a 28-page book with lyrics and photos. Digitally remastered by Ted Jensen (2001, Sterling Sound, New York, New York). There are few musicians whose music has indisputably advanced humanity. Reggae figurehead Bob Marley--a songwriter, poet, activist, and visionary--is one of them. The idea that a single-disc collection could represent the depth, breadth, and power of Marley's achievement is far-fetched, but LEGEND makes an excellent attempt. Every single one of its tracks is outstanding, and the artist's different faces--revolutionary ("Get Up Stand Up"), romantic ("Is This Love"), devout Rastafarian ("Buffalo Soldier"), and prophet ("One Love/People Get Ready") are equally represented. In addition to his moving message of love and unity, Marley is a master songwriter, as the timelessness of songs like "Stir It Up," "I Shot the Sheriff," and the gorgeous, poignant "Redemption Song" proves. Of course, a true sampling of Marley's output would require some early ska material, the Wailer's debut (CATCH A FIRE), the definitive NATTY DREAD, and his later-period opus EXODUS, but LEGEND provides a highly satisfying, if brief, overview of Marley's genius. A record well suited to any location, season, or time of day, it has proven universal in its appeal. The music herein is as essential as air. (Note: The Deluxe Edition includes two bonus tracks and an additional disc of remixes.) There are few musicians whose music has indisputably advanced humanity. Reggae figurehead Bob Marley--a songwriter, poet, activist, and visionary--is one of them. The idea that a single-disc collection could represent the depth, breadth, and power of Marley's achievement is far-fetched, but LEGEND makes an excellent attempt. Every single one of its tracks is outstanding, and the artist's different faces--revolutionary ("Get Up Stand Up"), romantic ("Is This Love"), devout Rastafarian ("Buffalo Soldier"), and prophet ("One Love/People Get Ready") are equally represented. In addition to his moving message of love and unity, Marley is a master songwriter, as the timelessness of songs like "Stir It Up," "I Shot the Sheriff," and the gorgeous, poignant "Redemption Song" proves. Of course, a true sampling of Marley's output would require some early ska material, the Wailer's debut (CATCH A FIRE), the d

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Music of the Sun by Rihanna (CD - 08/30/2005)

"Music of the Sun" (08/30/2005) Reggae Rihanna, Def Jam (USA)Personnel: Rihanna (vocals); Elephant Man, Kardinal Offishall (vocals); Vybz Kartel, J-Status (rap vocals); Mikkel Se (various instruments); Carl Sturken (guitar, piano, keyboards, programming); Richard Locker (cello); Larry Glazener (bass instrument); Full Force, Sharina Sharpe (background vocals). Taking its cue from the rhythms of dancehall and reggaeton, Rihanna's MUSIC OF THE SUN is a dance-pop record with enough distinctive accents and flavors to make it stand out from the crowd. Rihanna's debut takes island-influenced beats and Jamaican-inflected accents and superimposes them on straight-up contemporary R&B. The combination works nicely, as evidenced by "Pon de Replay," the album's incredibly infectious lead-off track and single. Rihanna effectively synthesizes reggae's cadences into her singsong melodies, bringing some of that genre's sunny beauty to the urban pulses of modern dance-pop, making MUSIC OF THE SUN a perfect soundtrack for the club dancefloor and outdoor summer parties alike.

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