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Songs of Freedom [Box] by Bob Marley & the Wailers (CD - 11/16/1999)
 

Songs of Freedom [Box] by Bob Marley &am...

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Songs of Freedom [Box] by Bob Marley & the Wailers (CD - 11/16/1999)
"Songs of Freedom [Box]" (11/16/1999) Reggae Marley, Bob, Island Records (USA)Personnel includes: Bob Marley (vocals, guitar); Aston Barrett (guitar, bass); Earl "Chinna" Smith (guitar); Dean Fraser, Tommy McCook (saxophone); Rita Marley, Peter Tosh, Judy Mowatt, Marcia Griffiths (background vocals). Producers include: Leslie Kong, Clement Dodd, The Wailers, Johnny Nash, Lee "Scratch" Perry. Engineers include: Lee Perry, Carlton Lee, Alex Sadkin. Includes liner notes by Rob Partridge, Rita Marley, Derrick Morgan, John "Rabbit" Bundrick and Timothy White. During his all-too brief life, Bob Marley established himself as one of the giants of modern music; he stands on par with the likes of Miles Davis and Bob Dylan, performers who took established musical forms and revolutionized them, who continually evolved their vision throughout their careers. From his first single, the bouncy "Judge Not," through a loose, live rendition of the haunting "Redemption Song" performed at his last stage appearance, SONGS OF FREEDOM documents Bob Marley's musical legacy better than any previous compilation, and probably, better than any likely to come. Marley was at his peak at the time of his death in 1981, meaning there is no filler or weak material here, only four solid discs of great songs. His philosophical evolution is easily seen: listen to a rude-boy anthem, like the early hit "Simmer Down," next to a later exploration of Rastafarianism, such as "Crazy Baldheads," and eventual statements of pan-Africanism in songs like "Zimbabwe" and "Africa Unite." Musically, Marley's music expanded just as far. He utilizes Stylistics-like harmonies on "High Tide Or Low Tide," incorporates early-80's R&B into the sound of "Could You Be Loved," and even throws a basic blues shuffle into the alternate mix of "Three Little Birds." SONGS OF FREEDOM is exhaustive and beautifully packaged. It is loaded with previously unreleased material, songs from the Ska years, the late-60's Lee Perry productions, and all of the highlights of the Island years. There are extended versions of famous singles like "Exodus" and "Jammin'" so that we can hear dub aspects of the music that only Jamaicans and hardcore fans were previously aware of. Outside Jamaica, reggae begins and ends with Bob Marley. SONGS OF FREEDOM goes a long way to explain why.

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

Rastaman Vibration [Bonus Track] [Remast...

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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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Very Best of Toots & the Maytals [Polygram] by Toots & the Maytals (CD - 04/25/2000)
 

Very Best of Toots & the Maytals [Po...

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Very Best of Toots & the Maytals [Polygram] by Toots & the Maytals (CD - 04/25/2000)
"Very Best of Toots & the Maytals [Polygram]" (04/25/2000) Reggae Toots & the Maytals, IslandToots & The Maytals: Frederick "Toots" Hibbert (vocals); Raleigh Gordon, Jerry Mathias (background vocals). Additional personnel includes: Ernest Ranglin, Jerome "Jah Jerry" Hinds (guitar); Lester Sterling (alto saxophone); Roland Alphonso (tenor saxophone); Baba Brooks (trumpet); Don Drummond (trombone); Jackie Mittoo, Harold Butler (piano); Steve Winwood (organ); Wally Badarou (keyboards); Lloyd Brevett, Lloyd Mason, Robbie Shakespeare (bass); Lloyd Nibbs, Paul Douglas, Sly Dunbar (drums); Densil Laing (percussion). Producers include: Warrick Lynn, Chris Blackwell, Byron Lee, Prince Buster, Leslie Kong. Compilation producer: Dana G. Smart. Includes liner notes by Dana G. Smart. Recording information: Ardent Studios, Memphis, TN; Dynamic SOunds Studio, Kingston, Jamaica; Federal Studios, Kingston, Jamaica; Harry J Studio. For those who don't want or can't afford to plonk out for the Toots & the Maytals' Time Tough: The Anthology, The Very Best Of provides the perfect solution, distilling down that two-CD, 41-track set to a single 19-song disc. There are a few subtle differences, however; for starters this set boasts two different versions of the band's reggae smash "54-46, That's My Number," as well as the original ska version of their Jamaican Song Festival winner "Bam Bam," unlike the anthology, which included only a later remodel. However, the "Never You Change" found on this set is not the trio's original ska hit, but a reggae-fied remake. The rest of the album pulls directly from the anthology, with the disc divided almost evenly between the trio and a solo Hibbert's pre- and post-Island career. Thus, for those who prefer the Maytals' ska and/or reggae hits, this is not the collection for you, as there are much better compilations of those periods. But for fans looking for a larger overview of both the band and Hibbert himself, this is an excellent place to start. ~ Jo-Ann Greene

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Beat This! The Best of the Beat by The English Beat (CD - 09/11/2001)
 

Beat This! The Best of the Beat by The E...

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Beat This! The Best of the Beat by The English Beat (CD - 09/11/2001)
"Beat This! The Best of the Beat" (09/11/2001) Reggae The English Beat, London/SireThis is a Hyper CD, which contains regular audio tracks and also provides a link to the artist's website with the help of a web browser. English Beat: Dave Wakeling (vocals, guitar); Rankin' Roger (vocals); Andy Cox (guitar); Saxa (saxophone); Dave Steele (bass); Everett Morton (drums). Includes liner notes by Malu Halasa. All tracks have been digitally remastered. A key element of the late-1970s/early-'80s UK ska revival, the English Beat nevertheless always had more pop smarts and a wider stylistic palette than compatriots like the Specials and the Selecter. As BEAT THIS! THE BEST OF THE ENGLISH BEAT makes clear, ska wound up being just one color in the band's musical paint box. Early on, the Beat showed a knack for re-imagining '60s pop tunes in patented two-tone style (Smokey Robinson's "Tears of a Clown," Andy Williams's "Can't Get Used to Losing You"). "Click Click" reveals the influence of punk, while "Doors of Your Heart" shows the group's skill with a straight reggae groove. The Motown-flavored chug of "Sole Salvation" and the jangly pop of "Save It for Later" show how the band was maturing towards the end of their tether, Dave Wakeling's lyrics growing ever more literate and Elvis Costello-esque as the music expanded. Unfortunately, though, the Beat eventually had to die so that offshoots General Public and Fine Young Cannibals might live. Lucky for us, we have BEAT THIS! as a memento of the English Beat's glory days.

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Roots Reggae (The Early Jamaican Album) [Box] by Toots & the Maytals (CD - 10/25/2005)
 

Roots Reggae (The Early Jamaican Album) ...

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Roots Reggae (The Early Jamaican Album) [Box] by Toots & the Maytals (CD - 10/25/2005)
"Roots Reggae (The Early Jamaican Album) [Box]" (10/25/2005) Reggae Toots & the Maytals, Trojan (Cityhall)Includes the complete albums THE SENSATIONAL MAYTALLS (1965), SWEET & DANDY (1969), MONKEY MAN (1970), THE MAYTALS GREATEST HITS (1971), STOOT SLATYAM (1972), ROOTS REGGAE (1974). This superb six-disc box set is the quintessential collection of early recordings by Toots & the Maytals. One of reggae's defining acts (reputedly the first to use the word, in a song entitled "Do the Reggay"), the Maytals blended rocksteady, soul, ska, and gospel into harmony-heavy, groove-saturated perfection, with a great deal of help from the killer pipes of lead vocalist Toots Hibbert. The Maytals continued to perform throughout the 1980s, 1990s, and 2000s, yet the group's most definitive music was recorded in the '60s and '70s. ROOTS REGGAE covers that material (including work recorded for legendary producer Leslie Kong), and includes classics like "54-46 That's My Number," the driving "Funky Kingston," and two gems from the film THE HARDER THEY COME: "Pressure Drop" and the percolating "Sweet and Dandy." Brilliant, buoyant, and full of life, ROOTS REGGAE is a sublime slice of classic reggae, and a sure-fire bet for any fan of the genre.

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Ultimate Collection by Madness (CD - 11/14/2000)
 

Ultimate Collection by Madness (CD - 11/...

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Ultimate Collection by Madness (CD - 11/14/2000)
"Ultimate Collection" (11/14/2000) Reggae Madness, Hip-O RecordsMadness: Graham McPherson (vocals); Chris Foreman (guitar); Lee Thompson (tenor & baritone saxophones, background vocals); Cathal Smyth (horns, background vocals); Mike Barson (keyboards); Mark Bedford (bass); Dan Woodgate (drums, percussion). Additional personnel: Creighton Steel Sounds, The Pentecostal First Born Church Of The Living God. Compilation producer: Dana G. Smart. Recorded between 1979 and 1985. Includes liner notes by Sara Cody. Digitally remastered by Jim Phillips (Universal Mastering). Inevitably, if one calls one's compilation Ultimate Collection, you're going to have some smug journalist replying, "Ultimate collection? I think not." Then again, Madness chalked up quite an impressive list of hits, and even at a generous 19 tracks, this album couldn't fit them all. So then it's down to choices. Chart placement obviously wasn't a factor, or "Driving in My Car," a British Top Five, would be here and "Yesterday's Men," a lowly number 18, wouldn't, while A- sides would not have been supplanted by their flips. Sometimes listeners get both, as with "Tomorrow's (Just Another Day)" and its B-side "Madness (Is All in the Mind)." But best of all, we're offered the original 45 take, not the album versions later most fans are now familiar with. Thus their debut single "The Prince" comes in its singular robes, not its album garb, as does its flip "Madness." August 1985's "Yesterday's Men" is the latest release of the lot, although the group knocked out three more singles before splitting. Inevitably, though, the tracks are not in chronological order, but since the earliest songs are wisely placed at the beginning, this doesn't particularly irritate. Helpfully, the track listing provides both release dates and UK chart placements, part of a copious booklet which includes a well-researched biography and photographs that complete the sumptuous packaging. The true ultimate collection is the box set that gathers up all the group's A- and B-sides, plus a bumper crop of rarities, but if that's just too much Madness, this will probably suit better. ~ Jo-Ann Greene

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Muzik City: The Story of Trojan [Box] by Various Artists (CD - 11/04/2003)
 

Muzik City: The Story of Trojan [Box] by...

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Muzik City: The Story of Trojan [Box] by Various Artists (CD - 11/04/2003)
"Muzik City: The Story of Trojan [Box]" (11/04/2003) Reggae Various Artists, Trojan (Cityhall)More of a history lesson than a good listen in total, Muzik City is the story of Trojan, warts and all. Those looking for a good selection of the reggae label's best moments have plenty of other choices and might want to start with the great Tighten Up collections or wait for the 50th release in Trojan's three-CD series (a greatest-hits box to be compiled by votes from fans and due in 2004). Anyone who is a die-hard Trojan enthusiast will find plenty of surprises, secrets, and a really well done booklet to paw through. The first two discs of Muzik City are truly some of the greatest moments in rocksteady and roots reggae. But just like a two-CD Motown collection, this is really just the tip of the iceberg and John Holt, Lee "Scratch" Perry, Big Youth, and others have many more great moments to investigate. If all four CDs had focused on the hits and highlights this would truly be the box to own, but the third CD is hardly meant for repeat listening. Many of the disc's "Rarities & Oddities" are downright embarrassing (which the always honest liner notes are happy to point out). Trojan's forays into the worlds of calypso, novelty, and pop music were horribly misguided, and disc three is full of them (including a horrific reggae and yodeling matchup). Hard to imagine laughing at the stately Trojan label, but once that's over it's on to disc four's treasure chest of rarities. The hardcore should rightfully drool over the Jah Woosh and Keith Hudson team-up, a dank dub from Thunder, and an I-Roy/John Holt dubplate that includes a bit of studio banter. Great stuff for the serious fan, who probably own most of disc one and two ten times over. So who is this set made for? If your wallet is fat enough to forgive disc three, Muzik City is a fair introduction to the label that, along with Island, dominated reggae's early years. ~ David Jeffries

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

Reggae Pulse, Vol. 4: Christmas Songs by...

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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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Reggae's Best [Box]
 

Reggae's Best [Box]

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Reggae's Best [Box]
"Reggae's Best [Box]" (10/13/1998) Reggae Various Artists, M.I.L. MultimediaPerformers include: Bob Marley & The Wailers, Sly & Robbie, Dennis Brown, Gregory Isaacs, Sugar Minot, Freddie McGregor, Prince Lincoln Thompson, John Holt, The Heptones, Earl Cunningham, Don Carlos, Leroy Smart, Roots Radix, Barrington, Clint Eastwood, Dillinger, Owen Gray, Count Prince Miller, Hortense Ellis, George Faith, Cornell Campbell, Jackie Edwards, Johnny Clarke, Delroy Wilson, Derrick Morgan. Contains 60 tracks.

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Reggae Christmas from Studio One by Various Artists (CD - 11/03/1992)
 

Reggae Christmas from Studio One by Vari...

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Reggae Christmas from Studio One by Various Artists (CD - 11/03/1992)
"Reggae Christmas from Studio One" (11/03/1992) Reggae Various Artists, HeartbeatPerformers include: Bob Marley & The Wailers, Alton Ellis, Heptones, Freddie McGregor. Reggae Christmas from Studio One is a rousing collection of traditional and contemporary Christmas songs done reggae-style. Tracks include "Christmas Time Is Here" by the Heptones, "Sound the Trumpet" by Bob Marley and the Wailers, "Christmas in Jamaica" by Brent Dowe, "White Christmas" by Dobby Dobson, and "Christmas Stylee" by Johnny Osbourne and the Family Group. Tennessee Brown and the Silvertones offer three cuts: "Little Drummer Boy," "Real Christmas Rock," and "Jingle Bells." A cheerful, entertaining holiday album. ~ Gina Boldman The name Reggae Christmas may sound like an oxymoron to some listeners, for quite a few reggae singers embrace the Rastafarian faith, which differs from mainstream Christianity in many respects. You won't find too many people at the Southern Baptist Convention (or a Catholic mass) claiming that Ethiopian Emperor Haile Selassie was God incarnate or that smoking marijuana is a holy sacrament. But while many reggae artists are Rastafarians, reggae is hardly off limits to orthodox Christians, Jews and Muslims. And whatever faith the artists heard on Reggae Christmas may embrace, the fact is that this is a likable Christmas album. Released in late 1991, the CD ranges from hard-edged dancehall tunes like Tiger's "Tiger Claus," Charmaine's "Christmas a Pass" and Red Fox's "Christmas Fever" to the smooth, melodic, soul-minded singing of Frankie Paul ("Gee Whiz It's Christmas"), Trevor Sparks ("Christmas Time") and Anthony Malvo ("Reggae Christmas"). The album's most humorous track is Mikey Jarrett & Mikey General's amusing "Santa Claus Is Black," which insists that St. Nick grew up in the ghetto. Not an essential release, but generally enjoyable and fun. ~ Alex Henderson

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Shams Presents: Real Sex 2000 by Various Artists (CD - 05/23/2005)
 

Shams Presents: Real Sex 2000 by Various...

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Shams Presents: Real Sex 2000 by Various Artists (CD - 05/23/2005)
"Shams Presents: Real Sex 2000" (05/23/2005) Reggae Various Artists, VP RecordsThis is a continuous in-the-mix CD compiled and mixed by DJ Richard "Shams" Browne. Real Sex 2000 is a showcase for hot producer Richard "Shams" Browne and the dancehall hits he's produced with his "orgasm" and "intercourse" riddims. Typically, compilations like these get tiresome toward the end, since it's the same two riddims that run through 14 tracks. But the pounding, explosive beat of these particular riddims proves to be addictive and the high-quality performances by talented DJs such as Lexxus, Beenie Man, Sean Paul, and Vegas save the album from this fate. It's a worthwhile listen, from "Tigerbone" with Sean Paul and Vegas, which incorporates a sample of Enrique Iglesias' "Bailamos," to the scorching social commentary on Gabriel's "Sick." ~ Rosalind Cummings-Yeates

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Dub FX [9/14]'US
 

Dub FX [9/14]'US

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Dub FX [9/14]'US
"Dub FX" (09/14/2004) Reggae Dub FX, Pyramid RecordsDub FX: Dale Mungaray (vocals, alto saxophone); Paul Dawson (vocals, keyboards); Andrew Van Doren (guitar); Tommy Maitland (trumpet); Tony Lanzino (trombone); Dan Shafer (keyboards); Justin Cosgrove (bass guitar, background vocals); Scott Maddern (drums); Ken Schick, DJ Pone, Andrew Seidel. Personnel: Ernest Cotton (vocals); DJ Pone (guitar, percussion, turntables); Ken Schick (flute, tenor saxophone); Thomas Ba?uelos (trumpet); Andrew Seidel (keyboards, drums, percussion); Papa B (background vocals). Recording information: Future Rhythm, San Jose, CA; J31, San Jose, CA; Spark Studios, San Jose, CA; SUB80, Oakland, CA. Photographer: Ken Schick.

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Ultimate Collection by Steel Pulse (CD - 05/09/2000)
 

Ultimate Collection by Steel Pulse (CD -...

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Ultimate Collection by Steel Pulse (CD - 05/09/2000)
"Ultimate Collection" (05/09/2000) Reggae Steel Pulse, Hip-O RecordsSteel Pulse includes: Ronnie McQueen (bass, percussion); David Hinds, Basil Gabbidon (vocals, guitar); Selwyn Brown (vocals, keyboards); Alphonso Martin, Michael Riley (vocals, percussion); Godfrey Maduro (saxophone); Rico Rodriguez (trombone); Errol Reid (synthesizer); Steve "Grizzly" Nesbitt (drums). Producers include: Karl Pitterson. Compilation producer: Dana G. Smart. Includes liner notes by Tom Terrell. Assembled chronologically and drawing its material from all the labels Steel Pulse recorded for (but rightly concentrating heavily on their early Island years), The Ultimate Collection may be the best single-disc anthology of the band's work thus far. In addition to collecting the cream of their first three albums (by far their best work), the compilation also includes the rare "Revolution Dub, Pt. 1," an extended, spliced-together version of "Back to My Roots/Dub to My Roots," and the latter-day trip-hop track "Evermore." It's the perfect introduction to the group for casual fans who don't want to spring for the two-disc Sound System, which contains most (but not all) of these songs. ~ Steve Huey

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Reggae Lasting Love Songs Vol. 4
 

Reggae Lasting Love Songs Vol. 4

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Reggae Lasting Love Songs Vol. 4
"Reggae Lasting Love Songs, Vol. 4" (05/23/2005) Reggae Various Artists, VP RecordsEditor: Paul Shields. Photographer: Marlon "Ajamu" Myrie. In this fourth installment of the Reggae Lasting Love Songs series, the 17-song selections come together to form a truly stellar collection that outdistances all of the previous offerings. The art of lovers rock reggae is showcased here with masterful performances. From Richie Stephens' inspired cover of Luther Vandross' "I'd Rather," to the ragga romance of Junior Kelly's "Baby Can We Meet," this CD covers every angle of the genre and it does it well. There's not a weak track here, but standouts include Nana McLean's supple singing on "Promised Land," Fiona's sweet remake of Selena's "I Could Fall in Love," Mikey Spice's soul-drenched "When You Are Lonely," and Ambelique's passionate "I Loved and I Lost." ~ Rosalind Cummings-Yeates

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24 Karat Gold: A 24 Track Mega-Mix of Classic Dancehall Hits by Various Artists (CD - 03/14/2000)
 

24 Karat Gold: A 24 Track Mega-Mix of Cl...

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24 Karat Gold: A 24 Track Mega-Mix of Classic Dancehall Hits by Various Artists (CD - 03/14/2000)
"24 Karat Gold: A 24 Track Mega-Mix of Classic Dancehall Hits" (03/14/2000) Reggae Various Artists, Shanachie RecordsCompilation producers: Sherman Escoffery, Randall Grass. Composer: Randall Grass. Audio Mixer: DJ Yonnie. Reggae fans nostalgic for the early days of dancehall will get a kick out of this compilation, which features 24 hits from the early to late 1980s, the period during which dancehall was emerging as a distinct reggae subgenre but well before the ascendancy of the computerized rhythms and ragga. Most of these songs are strictly old school: "Zungu Zeng" by Yellowman, "Kushung Peng" and "Cassandra" by Frankie Paul, "Wa Do Dem" by Eek-A-Mouse, and so on. The most recent hitmaker represented is Shabba Ranks, whose "Caan Dun" closes the program. The tracks are strung together end-to-end in "megamix" style, which is fine, but too often it seems like that format was used as an excuse to trim the songs excessively -- the average track length is just over two minutes, and in some cases the editing is blatant and distracting. That doesn't stop 24 Karat Gold from being very enjoyable, but it's an annoyance. ~ Rick Anderson

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Love Has No Boundaries [11/23]
 

Love Has No Boundaries [11/23]

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Love Has No Boundaries [11/23]
"Love Has No Boundaries" (05/23/2005) Reggae Hammond, Beres, VP RecordsPersonnel: Beres Hammond; John "Buddy" Williams (vocals, violin, background vocals); Hugh Beresford Hammond, Melissa Simpson, Nicola Tucker, Dorette Wisdom, Marcia Griffiths (vocals, background vocals); Damian Codlin, Heather Cummings, A.J. Brown (vocals); Style Scott (guitar, drums); Dalton Browne, Earl "Chinna" Smith, Robert Angus, Ivor "Willie" Lindo, Michael Fletcher, Winston Bo Pee Bowen, Ivor "Willie" Lindo, Mitchum Chin, Cat Coore (guitar); John Williams (violin); Junior Chin, Errol Hird, Ronald "Nambo" Robinson, Glen Browne (horns); Joshua Manning, Franklyn Waul, James "Jimmy" Peart, Leroy Heywood (keyboards); Errol "Flabba" Holt (drums, percussion, background vocals); Dave Fluxy Heywood, Sly Dunbar, Kirk Bennett (drums, percussion); Lincoln Style Scott (drums); Dave "Fluxy" Heywood, Robert Angus (percussion); Moses Beckford (vocals, background vocals); Dean Fraser (horns); Lloyd Denton (keyboards, drums); Robert Lyn (keyboards); Melbourne Miller (drums); Natural Black, Big Youth, Buju Banton. Audio Mixers: Orville "Rory" Baker; Lynford "Fatta" Marshall; Solgie Hamilton; Steven Stanley; Barry O'Hare. Recording information: One Pop Recording; Penthouse Recording Studio; Silekshan Recording Studio; Star Trail. Editor: Paul Shields. Photographer: Anders Jones. Beres Hammond has had a remarkably long and consistent career in Jamaican music. Starting as the singer in the island's premier horn band, Zap Pow, Hammond began mixing elements of R&B, hip-hop, and dancehall into his patented lovers rock, and thanks to his easy and soulful vocal phrasing, not to mention his steady songwriting, he has crafted an approach that lifts him well above the constant shifting of Jamaican musical styles. Love Has No Boundaries doesn't break new ground as much as refine what Hammond has been doing for years, and the album's unbridled optimism is contagious and refreshing. Smooth as whipped butter and sounding at times like a happy and grounded version of Marvin Gaye, Hammond brings a calm wisdom to these songs of the heart, and his unassuming persona makes him the perfect duet partner. Buju Banton guests on "Thanks Fi Me Pride & Joy," one of the clear highlights here, and although mixing Hammond's urbane delivery with Banton's gruff yowl would seem a bit like mixing milk with gasoline, it works wonderfully. Another standout track here is "Good Old Dancehall Vibes," which features the legendary Big Youth, and it is quite simply a midtempo gem. Other key cuts include the opening "Interlude," "Feel Love," and "If I Should Wait," all of which illustrate Hammond's urban soul reggae style perfectly. Hammond isn't flashy or provocative, but his steady and bright optimism is every bit as compelling as any angry dancehall rapper. Solid writing and solid singing make this a welcome addition to the Beres Hammond canon. ~ Steve Leggett

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Reggae Music calling your name? Find all of the top Music gear that you want at BizRate. Compare prices from top brands like as well as . Browse ratings from merchants that sell Reggae Music and other Music. Narrow your choices down by price range, brand, merchant, and more. Find the product that's right for you: Songs of Freedom [Box] by Bob Marley & the Wailers (CD - 11/16/1999) - Rastaman Vibration [Bonus Track] [Remaster] by Bob Marley & the Wailers (CD - 06/12/2001).