Following are additional albums released during December 2019 across multiple genres—some will be reviewed in future issues of Black Grooves. Continue reading
Title: Down In Jamaica: 40 Years of VP Records
Formats: Limited Edition Box Set, Digital
Release date: October 25, 2019
Reggae fans will appreciate the new limited edition box set, Down in Jamaica: 40 Years of VP Records, which “tells the story of a continually owned and operated family business at the heart of the global growth of reggae, dancehall, and Caribbean music.” Founded by Vincent and Patricia Chin, VP Records was started as Randy’s Record Mart, a record store in Kingston, Jamaica, and over the years grew into the world’s largest reggae music company. This 94-track anthology focuses on singles released by the esteemed label and its more obscure sublabels, offering many rare gems that have long been out of print. In addition to well-known musicians on the VP roster who are still active such as Barrington Levy, Yellowman, Shaggy, and Beenie Man, there are many tracks from earlier artists such as “Gi Mi Di Weed” by Jigsy King, “Lots of Signs” by Tenor Saw, and “Roots Natty Congo” by Johnny Clarke. This bountiful package includes a 24-page booklet that tells the history of the label, as well as four 7-inch singles, four 12-inch singles, and four CDs. If you want an overview of reggae and dancehall music from the 1980s to present, this is an excellent place to begin, but act fast because only 2000 copies have been published. Continue reading
Following are additional albums released during November 2019 across multiple genres—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during October 2019 across multiple genres—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during September 2019 across multiple genres—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during August 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during July 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during June 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during May 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during April 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during March 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Named one of CNN’s Top 10 Global Stars from Africa and a GRAMMY nominee for “Best Reggae Album” in 2016, Ghanaian artist Rocky Dawuni is the real deal. Rocky is more than a musician, however; his eloquence and passion for activism have led to his designation as a UN Goodwill Ambassador for Africa and a global spokesperson on various causes. It is the experiences he gained while traveling as an ambassador that have helped shape his highly anticipated seventh studio album, Beats of Zion. Continue reading
Following are additional albums released during February 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during January 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during December 2018—some will be reviewed in future issues of Black Grooves. Continue reading
Jazz releases include mezzo soprano Alicia Hall Moran’s genre blending classical/jazz project Here Today, Judith Lorick’s Second Time Around with the Eric Reed Trio, drummer Tosin Aribisala’s Áfríkà Rising, and two Grant Green compilations from Resonance Records—Slick! Live at Oil Can Harry’s and Funk in France: From Paris to Antibes 1969-1970.
For this month’s gospel music selections were looking in our own backyard with releases from two Indianapolis-based artists—Judah Band’s sophomore album Gone Fishin’ and Tyscot Records’ own Bishop Leonard Scott’s praise and worship album Jesus Love Legacy. R&B/soul releases include Unstoppable by Candi Staton and Free Me from Burundian soul singer J.P. Bimeni & The Black Belts.
Albums with a Caribbean tie include legendary reggae group Black Uhuru’s new release As the World Turns, the collaboration of reggae musician Winston McAnuff and French accordionist Fixi on Big Brothers, French-Guadeloupian trio Delgres’ debut album Mo Jodi, Snarky Puppy spin-off group Bokanté with the Metropole Orkest on What Heat (featuring Guadeloupian vocalist Malika Tirolien), plus Bokanté member and lap/pedal steel guitarist Roosevelt Collier’s ‘dirty funk’ solo debut Exit 16.
Wrapping up this issue is the Screamin’ Jay Hawkins compilation, Are YOU one of Jay’s Kids? – The Complete Bizzare Sessions 1990-1994, and our list of September 2018 Black Music Releases of Note.
Title: As The World Turns
Artist: Black Uhuru
Label: Black Uhuru Official
Formats: CD, MP3
Release date: September 8, 2018
Over the last 50 years, the world-renowned Black Uhuru (Swahili for freedom) accumulated several accolades including a Grammy-award for Best Reggae Recording, six Grammy nominations in three separate categories, and dozens of chart-topping hit songs. To say this band has maintained an active performance career would be an understatement. Their historical trajectory as a band is phenomenal by itself. Moreover, the release of their latest album, As The World Turns, continues their longevity while paying tribute to the legacy of reggae. Continue reading
Title: Big Brothers
Artist: Winston McAnuff & Fixi
Label: Chapter Two
Formats: CD, LP, Digital
Release Date: September 21, 2018
Inspired by a night of song at a New Year’s Eve party at an immigration camp in Calais, Winston McAnuff and Fixi’s newest album Big Brothers is a testament to human connectedness. Although this album is only the second from Jamaican reggae singer Winston McAnuff (formerly known as Electric Dread) and French accordionist Fixi, the unlikely pair have been making music together since 2005. Their latest project, which features two generations of Inna De Yard vocalists, is a commentary on contemporary society and the power of friendship and love. Continue reading
Artist: Winston Jarrett and The Righteous Flames
Format: CD, Digital
Release Date: August 3, 2018
Classic Reggae can never truly fall under into “out of sight, out of mind” category, but just in case we need a refresher, Omnivore Records has reissued one of the best offerings, Jonestown. Originally released by Nighthawk Records, Jonestown is the work of prolific reggae artists Winston Jarrett and Eggar Gordon (Baby Gee). Obtaining their start in 1965 from locally famous Kingston vocalist Alton Ellis, Winston and Gordon released multiple recordings, were featured on Coxsone Studio One’s many artistic endeavors, and recorded for other producers such as Duke Reid, Lee Perry and Joe Gibbs.
Jarrett’s transition to Nighthawk Records began in 1983 upon meeting the label’s producer Leroy Jody Pierson, who was working on a mix of Justin Hinds’ Travel With Love album. Together with Gordon, who was still performing in the area, Jarrett recorded Jonestown. After nearly 30 years, the album is being reissued along with new liner notes from Pierson and featuring previously unseen photos. Each song is a testament to the combined talents emanating from Jarrett and Gordon, with songs such as the smooth “Hold On To This Feeling” and the regional shout-out “Jonestown” testifying to the unique collaborative relationship dedicated to their quality art.
True legends never disappear, but rather they remain imbedded in our hearts forever. With its lyrical methodology and its definitive rhythmic soundscape, Jonestown lovingly reignites our passion for the reggae genre while simultaneously redistributing the sunshine and peace Jarrett and Gordon’s artistic oneness originally bestowed upon us.
Reviewed by Amy Aiyegbusi
Artist: Paul Beaubrun
Formats: CD, Digital
Release date: May 11, 2018
Haitian singer and multi-instrumentalist Paul Beaubrun—son of Theodore “Lòlò” and Mimerose “Manzè” Beaubrun of the Grammy-nominated Haitian band Boukman Eksperyans—does it again with a sensational and thought provoking album, Ayibobo. Released three years after his acoustic album Vilnerab (2015), and six years after Project Haiti (2012) with Zing Experience, Ayibobo weaves together Haitian roots music with rock and roll and reggae, which Beaubrun refers to as “Roots/Blues” music. While this album demonstrates Beaubrun’s compositional concepts and the socially conscious lyrics that fans have grown accustomed too, Ayibobo feels a bit more personal as Beaubrun recounts his lived experiences while reflecting on the encouraging words his mother instilled in him.
The title track “Ayibobo” narrates the circumstances in 2004 that lead to his fleeing Haiti to New York. Beaubrun reminisces on the comfort and strength he felt while remembering what his mother taught him, ‘ayibobo.’ The Haitian Creole term means ‘hallelujah’ or ‘amen,’ but ‘ayibobo’ also carries cultural connotations that can be interpreted as a form of elation. By using this word, Beaubrun demonstrates how one word can strengthen familial and communal ties within the global Haitian community, while paying tribute to Haitian cultural practices.
On “Rise Up,” Beaubrun leans more towards social activism, calling for people to “rise up and be free” while using reggae—a Jamaican musical genre known for its political commentary—as the musical vehicle for his political activist endeavors. We cannot overlook the Haitian folkloric influences that are heard throughout this album, specifically the Haitian drums (tanbou) on “Naissance” and “Elizi.” Sonically, we hear the Haitian polyrhythmic patterns that provide the underlying foundational groove and pulse. Moreover, these songs echo the mizik rasin (roots music) tradition and Haitian mythological themes that are commonly associated with it.
Ayibobo is a phenomenal illustration of Beaubrun’s artistic brilliance. As listeners, we are treated to the wonderful collage of musical sounds while experiencing the exhilarating spirit and cultural sentiments of the Haitian community. Furthermore, this album serves as an exemplar of music and activism. But above all, Ayibobo is a heartfelt expression of a man’s love for his country and community.
Reviewed by Jamaal Baptiste
Title: Forsake Not
Artist: Army Gideon
Label: Uhuru Boys
Formats: CD, Digital
Release date: March 23, 2018
Based out of Fort Lauderdale and Jamaica, the reggae fusion group Army Gideon champions equal rights, justice, universal love and Rastafari awareness on their debut album Forsake Not. Calling themselves “musical soldiers,” the band’s militant persona reflects their focus on liberation and commitment.
The album opens with “Mezmur,” a tribute to Haile Sellasie, while “Empress” expresses devotion to a woman with the attributes of Empress Menen Asfaw, wife of Emperor Sellasie. Other more traditional tracks include “Sabbath Peace,” aka “Shabbat Shalom.” Loosely based on Psalm 92, the song features well-known reggae trumpeter Junior “Chico” Chin and has long been one of the band’s signature works. On the liberation song “Chains Dem,” lead vocalist Ras Anbesa Tafari sings on the bridge, “We are out here in our Babylon / look around and there’s nowhere to go / equal rights that’s for everyone.”
The wailing rock guitar of Jassiah “Lion” Boswell on the intro to “Mightly People” signals a turn toward the Reggae rock fusion for which Army Gideon is known, as lead vocalist Ras Anbesa Tafari sings “the gift of Rastafari sets you free.” Boswell also takes over the midsection of the title track, “Forsake Not,” with Tafari contributing vocals as well as violin and guitar. The band is anchored by the “heavy and steady” rhythm section: Steve “Skins” Kornicks, percussion, Dane “Spice” Hutton, and Sheldon “Don Don” Satchell, bass
Forsake Not will delight fans of Army Gideon, who have been waiting a long time for the group to release an album. Most if not all of these tracks have been in the band’s repertoire for several years, and it certainly shows in the tight performances.
Reviewed by Brenda Nelson-Strauss
Title: Lily Of Da Valley
Artist: Jesse Royal
Label: Easy Star Records
Formats: CD, LP, MP3
Release date: October 6, 2017
Artist Jesse Royal, known for his creative ideas and performances, presents his debut album on Easy Star Records, Lily Of Da Valley. This release not only showcases Royal’s vocal abilities and musicianship, but also his knowledge of Jamaican reggae music. His compositions take the listener back to the roots of Jamaican music while highlighting current developments in reggae.
The 14 tracks include previously released hit songs such as “Modern Day Judas,” “Generation,” and “Finally,” as well as new compositions—“Real Love,” “Full Moon,” “Waan Go Home,” and others—covering topics from religion and oppression, to peace and love.
On “400 Years,” Royal tackles the issue of systemic oppression, calling for peace and equality, reparation for the black nation, and the elimination of a system that has kept people of African descent in “shackles.” In addition, the electrifying performance by the rhythm, coupled with a memorable melodic hook and harmonious backing vocals, resonate with the listener.
Royal’s song “Jah Will See Us Through” offers an uplifting messaging of hope that Jah will help us overcome life’s struggles and obstacles. Royal’s usage of biblical references in his lyrics provides encouragement and comfort. Along with his lyrics of hope, the listener is treated to a brilliant musical arrangement filled with warm and lush harmonies, groovy basslines, and a superb soulful guitar solo.
Lily Of Da Valley is certainly an inspiring collection of artistic and musical expression, and contributes to the ongoing legacy of Jamaican reggae music.
Reviewed by Jamaal Baptiste
Artist: Wyclef Jean
Formats: CD, Vinyl, MP3
Release date: September 15, 2017
Wyclef Jean released his Carnival III: The Fall and Rise of a Refugee, highlighting the 20th anniversary of his album The Carnival, and the 10th anniversary of Carnival II: Memoirs of an Immigrant. Like the other albums in the Carnival series, the third installment incorporates music from different parts of the world, offering an outstanding conglomerate of music for the listener. According to Jean, this multi-cultural “genre-bending album is outside the box . . . It’s a celebration of what I love about music: discovery, diversity and artistry for art’s sake.
The first thing that stands out is Jean’s inspirational words, reminding us that “we shall overcome our struggles someday.” His motivational lyrics and usage of biblical references (e.g. Zion, Golden Gates, and Psalm 23) resonate with the listener as symbols of hope, while inspiring them to pursue their goals. Another aspect of this album is Jean’s blending of polyrhythms (“Fela Kuti”), reggae (“Turn Me Good”), Afro-Cuban (“Trapicabana”), hip hop and popular music, creating a multi-cultural experience. Finally, the skillfulness and musicality displayed by each guest artist (including Jazzy Amra, T-Baby, STIX, and Emeli Sandé) adds another layer to the brilliance of this album.
Carnival III: The Fall and Rise of a Refugee sustains the legacy of Wyclef Jean’s first Carnival album, spreading the message of community, hope, and love while showing the diversity of the world stage through the art within a music compilation.
Reviewed by Jamaal Baptiste
Title: Strictly Roots
Artist: Morgan Heritage
Label : CTBC
Formats : 2-CD deluxe edition, MP3
Release date: December 9, 2016
Family acts in music have always been huge: The Osmonds, Sylvers, Five Stairsteps, Isleys, Carpenters, and of course The Jackson 5/The Jacksons—who recently marked their 50th anniversary. Morgan Heritage is a family act and I’m willing to bet that you’ve never heard of the group. MH is Jamaica’s answer to the J5. Made up a five siblings, their father is reggae singer Denroy Morgan, who had a big hit in 1981 with the single “I’ll Do Anything.”
First released in 2015, Strictly Roots is the band’s 10th studio album and the first on their own label CTBC, which stands for Cool To Be Conscious (they recorded for the label VP during much of their success, but felt it was time to move on). After winning a Grammy Award in the Best Reggae Album category in 2016, the group decided to release a 2-CD deluxe edition, which celebrates the album’s success with previously unreleased tracks and remixes.
The original album (Disc 1) was comprised of twelve tracks in which Morgan Heritage takes the listener through peaks and valleys. In the song “So Amazing,” Morgan Heritage steps away from traditional roots and goes for a more top 40 sound. “So Amazing” could easily be played on a CW series:
In reggae, one always pay homage to Jah and Morgan Heritage sticks with tradition. In “Child of Jah” (feat. Chronixx) they explain the part Jah plays in reggae music and rastas to those who don’t know. On “Light It Up,” featuring Jo Messa Marley, they chant “this is reggae music.” Can’t do reggae without a Marley. After all, Robert Nesta Marley is the godfather of reggae. “Rise and Fall,” which discusses the cycle of life, has the typical drum & bass sound you hear in reggae.
“Celebrate Life” may be Morgan Heritage’s best track on this album. Again, Bob Marley’s “Could You Be Loved” had to play a major part. “Celebrate the life you love / Celebrate the life you live,” Peetah Morgan & Grampson sing on lead vocals. If the group wanted to get crossover appeal, this would be the track to do it.
Disc 2 includes 3 additional versions of “Light It Up,” plus the pop-oriented “Come Fly” featuring the Celtic punk band Flogging Molly and the more traditional “Lion Order,” among others.
Morgan Heritage has won respect from the reggae community worldwide. Now that they are independent on CTBC, I expect them to take some risks and open it up. After all, they’re royalty. One Love.
Reviewed by Eddie Bowman
Title: Nothing More To Say
Artist: The Frightnrs
Label: Daptone Records
Formats: CD, LP, MP3
Release date: September 2, 2016
This first, and likely, final full-length album by New York band The Frightnrs bears a moving story. Front man and vocalist, Dan Klein was diagnosed with ALS in November 2015 and had experienced his final moments of life during the recording and production of this album. To say he suffered would be an inaccurate illustration. It reduces every complex emotion he felt considering the inevitability of his fate. The Frightnrs—Rich Terrana (percussion and background vocals), and brothers, Chuck Patel (piano) and Preet Patel (bass and background vocals)—were determined to complete the album in support of Klein before he lost his physical ability to sing. Klein passed in June 2016, only a couple months before the album’s release.
Nothing More to Say is the first reggae album released by Daptone Records, managed by Gabriel Roth and Neal Sugarman of Sharon Jones and the Dap-Kings. Smooth and with hints of vintage appeal, the album is a reminder of the Jamaican rocksteady sounds of Johnny Nash or Toots and the Maytals. Producer Victor “Ticklah” Axelrod upheld a vision of quality and integrity for the album despite the complicated circumstances that pressured its completion. Quoted from a New York Times interview on the album, Axelrod noted that he needed to select the best takes he could get of Klein’s vocals since he was unable to finish recording in the studio. Roth reflected on Klein’s vocals in the album, “In places he’s a little weak… but he’s singing from the heart.”
A snare cracks into a drum roll at the introduction of the first track, “All My Tears.” The song proceeds with a soulful wail supported by a firm backbeat and deep background vocals—in a way, announcing the band’s fraternal bond. Blended with haunting organ chords and muted electric guitar tones, each song feels fresh, though old-fashioned. Themes of love resulting in letdown, heartbreak, and mistake are prevalent in “Nothing More to Say,” “What Have I Done,” and “Looking for My Love.” In “Trouble in Here,” the Frightnrs maintain their smooth reggae back beat while adopting a blatantly blues style outfitted with harmonica solos and a 12-bar chord progression.
“Dispute,” the final track of the album, could stand alone with its distinctively crisp piano riff mixed with Klein’s reverberating vocals. Another similarly outstanding song is “Hey Brother (Do Unto Others)” for its charming syncopated chorus—“Do unto others, do unto others as you’d have them do, right back to you.” The Frightnrs also included two cover songs rich in R&B and soul flavor: “Gotta Find a Way” originally by Bob & Gene (1967), and “Gonna Make Time” by Saun & Starr (2015), who both record on the Daptone label.
What is especially striking in this album is Klein’s sincere falsetto vibrato and vivid lyrics in “Till Then” (quoted below) and “Purple.” He pries into the pain and anxious confusion listeners can only imagine he felt as his physical body progressively betrayed him:
Every day I wake it’s getting harder just to take, I try to fake a smile but nothing hides my sadness. Pretending that I’m fine, I’m only lying all the time, I’ve crossed the line from melancholy into madness. Till then I’ll wait, till you’ve reached my gate, lying every night, till you’ve blessed my sight.
The Frightnrs respect themselves and respect their audiences, a message Klein advocates. They do not mimic Jamaican accents or dress in their music because they know those actions would be unreflective of their own identity. This album is a testament to the creative power and aesthetic derived from Jamaican rocksteady music. As well, it will always serve to cherish the poetry and memory of Dan Klein.
Reviewed by Jennie Williams