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"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. Originally released as a limited-edition box set in 1992, Songs of Freedom presents an alternate history of Bob Marley's career, tracing his progression with outtakes, rare singles, alternate mixes, live tracks, and album tracks instead of the songs that formed the bulk of his legacy, as it were. The question is, is this a reasonable track to take? For the most part, yes it is, even if it tends to be a little misleading. That problem isn't too great, since Songs of Freedom isn't targeted at the audience that would want just the basics -- Legend already exists for them, and that sums up everything they need to know about Marley, the ambassador of reggae. The remainder of Marley's audience realizes this box exists just to get rarities to the diehards, and they're thrilled that it exists for that purpose. Because of its nature, Songs of Freedom isn't especially compelling to anyone that isn't a hardcore fan -- although the first disc of ska and rocksteady material will be delightful to anyone that likes early reggae and isn't thrilled by Marley's rock-star posturing in the '70s -- but for those very fans, it's a valuable addition to their collection, since it rounds up rarities with ease and purpose. What Songs of Freedom should not be seen as is a definitive overview of Marley's career -- it's just for collectors and hardcore fans, the kind of listener who has memorized the original studio albums. For those listeners, it's hard to resist Songs of Freedom, but everybody else will be able to safely pass it by. ~ Stephen Thomas Erlewine 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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"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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"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). Although the original incarnation of Toots & the Maytals (Toots Hibbert, Nathaniel "Jerry" McCarthy, and Raleigh Gordon) parted ways in 1981, between the years 1964 and 1974 they managed to assemble one of the most highly charged and distinctive bodies of work in the history of Jamaican music. Roots Reggae (The Early Jamaican Albums), released on Trojan Records, covers the period over six-discs and includes six of the seven Jamaican LPs the group released before signing with Island Records in 1975. Led by Toots' Kingston-by-way-of-Memphis lead vocals and the ragged call-and-response background singing of McCarthy and Gordon, the trio created gospel-fueled reggae classics like "Bam Bam," "54-46 Was My Number," "Monkey Man," "Sweet and Dandy," "Pomps and Pride," "Funky Kingston," "In the Dark," "Time Tough," and the immortal "Pressure Drop," all of which carried the stomp and wallop of the best and most enduring soul music of the day. Included here in CD-sized slip cover facsimiles are The Sensational Maytals, produced by Byron Lee and originally released in 1965, three LPs produced by Leslie Kong (Sweet and Dandy, Monkey Man, and The Maytals Greatest Hits), and two LPs produced by Lyn Warrick, after the group returned to Byron Lee's Dynamic Sounds Studios following the death of Kong in 1971 (Slatyam Stoot and Roots Reggae). A seventh Maytals' album, the early ska classic Never Grow Old, is absent from this set for contractual reasons. The material is remarkably consistent on these releases, and when you keep in mind that the 7" single has always been the preferred medium for Jamaican music, this run of albums is made all the more amazing. Had Toots & the Maytals never recorded another note, the music contained in this box set would have still assured them legendary status, and while they refined things somewhat after they signed to Island Records in 1975, the heart and soul of their reputation is based on what you'll hear on these six discs. ~ Steve Leggett 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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"Respect to Studio One" (08/25/1994) Reggae Various Artists, HeartbeatRecorded at Studio One, Kingston, Jamaica. Includes liner notes by Chris Wilson. Liner Note Author: Chris Wilson. Recording information: Studio One Recording Studio, Brentford Road Kingston, J; Studio One, Kingston, Jamaica. Editors: Chris Wilson; Chris Wilson. Photographer: David Corio. This is really more of a label sampler than a thematic compilation, as all of the 33 tracks have appeared on Heartbeat releases. What is for sure is that all of the rocksteady, ska, and dancehall numbers were recorded at the legendary Studio One recording studio, with the equally legendary Clement "Coxsone" Dodd producing. There's little in the way of liner notes, and nothing in the way of dates (even as approximations); that could, after all, be setting a dangerous precedent in the hazy world of reggae reissues, where mysterious vagueness about the source material seems to be a prerequisite of sorts in order to gain official re-release. One could reasonably deduce that much of this is from the '60s and early '70s, and it's very tasty stuff indeed, both by major players (Lee Perry, Alton Ellis, the Skatalites, Marcia Griffiths, Sugar Minott, the Heptones, Burning Spear, Horace Andy, Don Drummond) and minor/unknown ones (Jackie Mittoo, the Termites, Ken Boothe, the Cables). Major reggae fans will most likely prefer to find most or all of the Heartbeat releases from which these tracks were plucked. But for those who want a big portion of relatively unknown vintage reggae, and are not concerned with building a comprehensive library, this is a solid investment. ~ Richie Unterberger Studio One was to Jamaican music a combination of Motown and Stax-Volt, creating hit after hit, stretching the nascent sound of the island further. Studio One helped spearhead the Ska revolution in the 60's, later moved forward into reggae, eventually laying the groundwork for Dancehall. This means much of today's reggae, from Terror Fabulous to Dawn Penn, is an extension of what began over 35 years ago. Founder Clement "Coxsone" Dodd was reggae's Phil Spector, its Berry Gordy and its Dick Clark all wrapped into one; he provided the studio, musicians to record with, chose the material, co-wrote it, and then brought it to the public at his sound system dances. He was in control of every aspect of making a hit record from beginning to end. RESPECT TO STUDIO ONE is a good introduction to the Studio One legend, but is only the tip of the iceberg. The set strikes a balance between the different styles found in Jamaican music, touching on moments like the apocalyptic vision of Willie Williams' "Armagideon Time," the vocal stylings of groups like The Heptones, as well as DJs like Michigan & Smiley. The record ends with a string of ska, including a Skatalites rendition of "I Should Have Known Better." This is, quite simply, one of the keys to understanding the development of Jamaican music from 1955-1995.

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"Harmony House: Verse One" (05/23/2005) Reggae Various Artists, VP RecordsAs the title suggests, this is a compilation of Harmony House cuts, all overseen by producer Beres Hammond. The multi-talented Hammond -- a veteran vocalist and an in-demand keyboardist -- knows a great melody when he hears it, and the album is stuffed with them. Some of these were composed by the producer himself, while a number of others are classic rhythms from Studio One and Treasure Isle. The backing bands include the Roots Radics, the Firehouse Crew, and a host of other excellent sessionmen, insuring every track is tight and tuneful. Hammond's productions have an easygoing air to the rhythms, particularly notable on the rootsier numbers but equally evident on the harder dancehall cuts. This approach works equally well for the cultural singers and the tough DJs, and thus there are no jarring shifts within this denizen; the harmonious sounds spread across all 15 tracks. Every song is worthy of note, but some of the stand-outs include Tony Curtis' gorgeous "Jah I Thank You," Ginja's tough and emotive "War Inna Di City," Louie Culture and Anthony Selassie's swinging "Ya Hoo," Anthony B's gruff "Good Life," and Sizzla and Jah Cure's powerful "King in the Jungle." Dancehall at its most musical. ~ Jo-Ann Greene

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"1993-1999 Mainstreet Records" (03/14/2006) R&B Various Artists, MainstreetMoritz Von Oswald and Mark Ernestus will most likely be commemorated for their work as Basic Channel when the day comes to reflect on their astonishing and innovative careers as producers. But their releases as Round One to Round Five on Main Street deserve similar recognition. One can argue that their work as Basic Channel broke new ground for techno and that the music compiled on this album merely traces the relationship between house and dub. There is no denying this argument, but one must also recognize how perfect they make the connections between two mediums with little to no previous relation: when house began in Chicago, it was a direct evolution of disco, a distant if unrelated relative of dub. Yet Von Oswald and Ernestus are convincing in their claim, no matter how unsubstantiated it may be. Beginning with the uplifting gay vibes of Andy Caine on "I'm Your Brother" and concluding with the spliff-like haze of "Na Fe Throw It," this CD captures each of their recordings -- including their ultra-warped Quadrant Dub II remix -- as house erodes into dub, with "Acting Crazy" being the key turning point. If you can't respect this duo for their attempt to marry the two conflicting styles, then just listen to the music, and that in itself is enough to champion this duo. ~ Jason Birchmeier

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"No More Heartaches" (05/23/2005) Gospel Sanchez, VP RecordsPersonnel: Sanchez, Nadine Sutherland, Sensi (vocals); Sly Dunbar (bass); Carol Dexter, Junior Jazz (background vocals); Mafia, Fluxy, Dean Fraser. Producers include: Lloyd Campbell, Dean Fraser, Mr. Doo, Oniel Clark, B. Hall. Personnel: Sanchez (vocals, background vocals); Althea Layne Hamilton, Carol Dexter, Chris Frazer Smith, Junior Jazz (background vocals). Audio Mixers: D. Michael; Malcolm Ferguson; Fluxy; Jason Sterling; Mafia . Recording information: Big Yard; Chad Supreme; Checkmate Studios; Heavy Beat; SoundMixers; Tuff Gong. Editor: Paul Shields.

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"A Tribute to Reggae's Keyboard King: Jackie Mittoo" (05/23/2005) Reggae Various Artists, VP RecordsTributee: Jackie Mittoo. Personnel: Dalton Browne, Dwight Pinkney, Earl "Chinna" Smith, Leebert Morrison, Maurice Gordon, Mikey Chung, Wayne Armond, Winston Bo Pee Bowen, Mitchum Chin (guitar); Monty Alexander (melodica, piano); Dean Fraser, Errol Hird (saxophone); David Madden (trumpet); Ronald "Nambo" Robinson (trombone); Robert Lyn (piano, organ); Marjorie Whylie, Gladstone Anderson, Lloyd Denton, Peter Ashbourne (piano); Ibo Cooper, Sidney Thorpe, Harold Butler, Keith Sterling, Mallory Williams, Neville Hinds, Ansel Collins, Tyrone Downie, Paul "Wrong Move" Crossdale (organ); Sly Dunbar (drums); Alvin Haughton, Uziah "Sticky" Thompson (percussion). Audio Mixer: Rohan Dwyer. Liner Note Authors: Donald Clive Davidson; Joe Isaacs; Roy Sweetland; Keith Anderson ; John Nash; Winston Blake; Marjorie Whylie; C. Alexander Brown; Carol Ann Brown; Neville Hinds; Paul "Wrong Move" Crossdale. Recording information: Tuff Gong Studios, Kingston, Jamaica. Editors: Donald Clive Davidson; Christopher Scott. Photographers: Donald Clive Davidson; Roy Sweetland; Carol Ann Brown. Most casual reggae fans won't recognize his name, but the late keyboardist Jackie Mittoo probably did as much as any other artist to shape the sound of reggae in its formative years and to guide it through its mature period. As a founding member of the Skatalites, he helped bring ska to its fully developed sound, and then ushered in the rocksteady period; as the in-house music director at Studio One, he mentored and supported such seminal artists as Leroy Sibbles (of the Heptones) and Alton Ellis, and provided both keyboards and arrangements for the Soul Vendors and Sound Dimension. In short, many of the artists most well-known to and beloved of reggae fans were shaped significantly by the musical guidance of Jackie Mittoo. This compilation is a warm and loving tribute, featuring new instrumental arrangements of 18 of Mittoo's most popular and enduring tunes, each of them featuring a pianist or organist who was influenced by Mittoo's playing and writing -- these include Jamaican jazz legend Monty Alexander (on a gorgeous rendition of "Evening Time"), Gladstone Anderson ("Full Charge"), Wailers alumnus Tyrone Downie ("Mission Impossible"), and Robbie Lyn ("Autumn Sounds"). Producers Christopher Chin and Donald Clive Davidson provide respectfully rootswise rhythms that get perhaps just a bit samey by the end of the long program, but never fail to provide a perfect setting for the featured players. Highly recommended. ~ Rick Anderson

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"The Best of Studio One Collection [Box Set] [Box]" (07/18/2006) Reggae Various Artists, Rounder SelectFrom the 1950s to the '80s, Clement "Coxsone" Dodd's Studio One was the most renowned recording facility in Kingston, Jamaica, and its label issued many of the most important singles in the history of reggae and its stylistic precursors, ska and rocksteady. This excellent four-disc box set provides an impressive overview of Studio One's output, presenting a generous sampling of highly melodic and infectiously rhythmic songs by the company's stars (John Holt, Ken Boothe, the Heptones, Burning Spear, etc.), and, even more importantly, its lesser-known artists. Among the latter featured here are the Cables (the buoyant "Baby Why"), Carlton & the Shoes (the breezy "Love Me Forever"), and Sound Dimension (the horn-laden instrumental "Heavy Rock"). For those wanting to delve into reggae's past, this is an excellent point of departure. Founded in 1963, Clement Dodd's Studio One was Jamaica's first black-owned recording facility, and it is virtually impossible to imagine modern Jamaican music without it. The venerable Studio One rhythms form the very foundation of every musical style that has swept through the island since, and seemingly every Jamaican musician has worked there, and most, like Bob Marley, began their careers at Studio One, making the studio a musical gateway of profound importance. This four-disc Best of Studio One Collection box set provides ample evidence of Studio One's impressive recording lineage, combining the previously released single CDs The Best of Studio One, The Best of Studio One, Vol 2: Full Up and Downbeat the Ruler (a disc of vintage Studio One instrumentals) with a bonus disc, Rebel Disco Mixes, of extended versions of some of the featured tracks. There is so much to marvel at here, including gems like the Abyssinians' earnest and gorgeous "Declaration of Rights," the Heptones' durable "Party Time," an extended mix of the Wailing Souls' "Row Fisherman Row," the Cables' beautiful "What Kind of World," Willie Williams' dub-inflected "Armagideon Time," Jackie Mittoo's "Freak Out," and extended mixes of the Cables' "Baby Why" and Tommy McCook's jazzy "Rebel Disco," making this a full immersion into Dodd's expansive archives. Everything here is essential in one way or another, so whether one picks up these volumes individually or all at once in this box set, fans of Jamaican music simply have to have this stuff. Modern Jamaican music begins with Studio One. It's that simple. ~ Steve Leggett

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"Dirty Reggae" (11/21/2003) Reggae Aggrolites (The), Axe Records

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"Intense Pressure" (10/07/2003) Reggae Midnite, Rastafaria RecordingsMidnite: Ron Benjamin (vocals, guitar, keyboards); Abijah Hicks (guitar); Phillip Merchant (bass guitar); Dion Hopkins (drums); Vaughn Benjamin. Personnel: Ronnie Benjamin (vocals, guitar, keyboards); Vaughn Benjamin (vocals, percussion). Audio Mixer: Ronnie Benjamin. Recording information: Afrikan Roots Lab.

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"Strictly the Best, Vol. 19" (05/23/2005) Reggae Various Artists, VP RecordsProducers include: Sly & Robbie, Tony Kelly, Patrick Roberts, Andrew Bradford, Dave Kelly. This is part of VP Record's Strictly The Best series. Liner Note Author: James Goring. Editors: Paul Shields; Joel Chin. Illustrator: Chris Clarke. Strictly the Best, Vol. 19 includes tracks by Lady Saw, Sizzla, Beenie Man, Roundhead and Josey Wales. ~ Keith Farley

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"Reggae Christmas: 21 Christmas Classics" (09/01/2003) Reggae Various Artists, Sanctuary (USA)Performers include: Desmond Dekker, John Holt, Alton Ellis, Rupie Edwards, The Ethiopians, Johnny Clarke. Contains 21 tracks. A surprisingly successful -- and fun -- collection, Reggae Christmas: 21 Christmas Classics presents traditional holiday favorites and original Christmas songs performed in rocksteady and other old-school reggae styles. The bouncy melodies of "Drummer Boy," "Jingle Bells," "I Saw Mommy Kissing Santa Claus," and "Santa Claus Is Ska-ing to Town" make them fit naturally into a reggae rhythm, but "White Christmas"' transformation from a poignant holiday standard into a reggae-pop confection is just as entertaining, and arguably more impressive. The Aggrovators' "Santa Claus Dub," the Gaylads' "We Three Kings," and the Ethiopians' "Ding Dong Bell" are some of the album's other highlights; tracks from the Kingstonians, Desmond Dekker & the Aces, and the Sonny Bradshaw Seven round out this charming combination of winter traditions and summery sounds. ~ Heather Phares

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"Sees America" (04/26/2004) Reggae Mr. T-Bone, Megalith Records

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"Wonderful World, Beautiful People" (08/06/1991) Reggae Cliff, Jimmy, A&M Records (USA)Recorded in Jamaica. Includes liner notes by Bob Garcia. Personnel: Jimmy Cliff (vocals). Liner Note Author: Bob Garcia. Recording information: Jamaica. Photographer: Richard Polak. Arranger: Larry Fallon. A fast follow-up to 1967's Hard Road, Jimmy Cliff's debut full-length, his self-titled album arrived in 1969. This second set would also introduce him to American audiences, with the set retitled Wonderful World, Beautiful People after the track selected as the first to be spun off on 45. The album would indeed charm the globe, its lavish arrangements, bouncy rhythms, and cheery lyrics gave Cliff his first international hit, breezing into the U.K. Top Ten and the U.S. Top 25. The powerful protest song "Viet Nam" followed "Wonderful World, Beautiful People" onto a single in the new year, and climbed even higher in the American chart than its predecessor. These two 45s vividly illustrated Cliff's thematic versatility, with the album almost evenly divided between powerful cultural numbers and more personal concerns. Of the former, beyond the poignant "Viet Nam," there was a soulful rendition of "My Ancestors," the infectious "Sufferin' in the Land," and most magnificent of all, "Many Rivers to Cross," a timeless masterpiece with which Cliff's name will forever be entwined. The song was majestic, while songs like "Time Will Tell" and "Use What I Got" were more intimate, as Cliff described his own impoverished childhood, and the strategies he used not only to survive but prosper. A reprised "Hard Road to Travel" and "That's the Way Life Goes" both address survival as well, reinforcing Cliff's universal message that no matter how tough life is, better days are possible. Cliff oversaw the album with his longtime producer Leslie Kong, creating a set that had a true island sound, but glossing the arrangements with symphonic overdubs that were so appealing to northern audiences. Kong's session band, Beverley's All Stars, were a dazzling backing band, and are notable throughout the entire album; their work as extraordinary as Cliff's own. More phenomenal recordings were to come, but this album remains one of the singer's most masterful. ~ Jo-Ann Greene Arguably the first Jimmy Cliff album to feature the singer as a bona fide international reggae star, WONDERFUL WORLD, BEAUTIFUL PEOPLE is a set brimming with confidence. Besides the pop-reggae staples of "Time Will Tell" and the title track, there are social themes in songs such as the anti-war "Viet Nam" and the outwardly cheerful "Sufferin' in the Land." The album also includes a nod to Cliff's three-year sojourn in the UK on the prog-influenced, organ-heavy "That's the Way Life Goes." The rootsy feel and lyrics of "My Ancestors" show that Cliff is no pop dilettante, while his melodic and socially conscious sides combine in the irresistibly catchy sufferer's song "Hard Road to Travel." "Wonderful World, Beautiful People" is no mere chirpy feel-good anthem either--underneath the poppy arrangement, there's a Curtis Mayfield-type message of political reconciliation (early '70s world leaders Richard Nixon and Alexei Kosygin are name-checked in the outro) that's all the more potent in its subtlety. With stellar session playing from the same Jamaican musicians later used by Paul Simon for his first solo effort, WONDERFUL WORLD is a great introduction to the work of a unique Jamaican artist.

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"Scratchy Sounds: Ska, Dub Roots & Reggae Nuggets" (10/26/2004) Reggae Various Artists, Trojan (Cityhall)Barry "DJ Scratchy" Myers is a name better known to punk club crawlers in the U.K. than to your average music fan. In the late '70s he was one of the premier punk DJs, supporting the Ramones and the Cramps and eventually serving two years as the tour DJ for the Clash. He was still at it 20 years later, serving the same part for Joe Strummer & the Mescaleros' U.S. tour. How he was able to get such choice gigs boils down to his eclectic ear as a selector, cherry-picking the best tunes, be it rock, soul, or reggae, and revealing them all to be of the same burning (and danceable) spirit. Jamaican music, specifically ska, reggae, and dub, make up a large part of his sets and Scratchy Sounds is a double-CD selection (43 tracks!) with some of Myers favorites. With so many collections sticking strictly to one style or producer, it's a fantastic thing to wander through Scratchy Sounds as it roams from ska innovations like C. Hyman's "Ska Rhythm" and Derrick Morgan's "Moon Hop" to a rarely heard extended version of Niney the Observer's reggae classic "Blood and Fire." The mysterious C. Hyman is just one of a large number of obscure artists who recorded fantastic tracks appearing on Scratchy Sounds. There's the Yabby U-flavored nyahbinghi cut "Seventy Two Nations" from Dadawah (an early incarnation of Ras Michael & the Sons of Negus), righteous toasting from Mr. Bojangles on "Ten Dread Commandments," and a less serious microphone attack from the DJ double team of Dennis Alcapone and Lizzy, who bring a bit of carefree R&B to "Ba Ba Ri Ba." Peppering the spirited ska and solemn roots cuts are some little-heard dubs like crooner Jackie Edwards' "Invasion Version" and Tapper Zukie, in a dubbing guise as the Musical Intimidator, taking on Errol Dunkley for "Stop Your Gun Shooting." Scratchy Sounds has the feel of a long-labored mixtape made for an old friend, and hopefully will lead to other collections helmed by Myers. Recommended. ~ Wade Kergan

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"Stays on My Mind" (05/23/2005) Reggae Sanchez, VP RecordsPersonnel: Dalton Browne, Dean Fraser, Paul "Limey" Murray , Kevin Jackson, Lymie (background vocals). Audio Mixers: Jason Sterling; Lloyd Campbell . Editors: Paul Shields; Joel Chin. Photographer: Anderson Ballentyne. Reggae crooner Sanchez writes some of his own material on his 2002 release Stays on My Mind. In fact, Sanchez has really opened up his repertoire to include classic reggae covers, R&B covers, traditional reggae, and many other new touches. Produced by collaborator Lloyd Campbell, this should appeal to fans of his previous output. ~ Bradley Torreano

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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) - The Best of Mr. Vegas [PA] * by Mr. Vegas (CD) [IMPORT - UK].