Taking Reggae Worldwide. . .
Achis | Kingston, JA/Philipsburg, SxM | 01/23/2008
(3 out of 5 stars)
"(3.5stars)
Although I maintain that my love of reggae music is quite universal and timeless, meaning I'm completely able to enjoy reggae music from any era, I do have to admit my limitations to a certain degree. However, the reggae purist in me (I would say I am approximately 49% reggae purist, 51% neo-reggae head) longs for an era where many of our seemingly 'forgotten' champions can return to somewhat of a semblance of popularity and prominence which they previously enjoyed in the music and on the island of Jamaica. Many of the elder reggae artists (particularly the singers) from an era gone by (especially the 70's) have found a not only a home, but, in some cases, complete career resurrection thriving and sometimes even living outside of Jamaica in reggae starved communities all over the world. Although you have to realize and accept the changing of the times it is still rather disappointing that Jamaica tends not to find a home for some of the elder artists, who had such a great and mighty hand in establishing the vibes which now differentiate so greatly from their heyday. Many of these elder artists have found homes in places such as the UK and other parts of Europe where so many toured during their primes and established fan bases of fans whose children today STILL (odd as it may be) seem greatly interested in the more classic (and particularly roots) reggae vibes. This trend doesn't appear to be changing at all, however it has modernized in a sense. Now (here`s the neo-reggae head), we have a certain group of artists following the elders lead in seeking markets outside of Jamaica and the Caribbean as a whole and establishing their vibes in various reggae hotbeds throughout Europe. Artists such as Elijah Prophet, Daddy Rings, Omar Perry, Prince Theo, Mark Wonder and most recently Zareb are all in the process of setting their most profitable markets in Europe; recording and releasing albums, touring and doing a great portion of their promotion throughout the cold weather continent. However, while those particular artist may have taken the route established by the elders, even they seem to be, surprisingly, more connected to the Jamaican scene currently than the elder artists, who in some cases, are downright reggae legends (such as Alton Ellis). From a selfish standpoint, definitely I would love if these artists were afforded the opportunity to be able to stay around the Jamaican reggae scene, as it would be viable to them in every way, however, upon closer examination of the activities of SOME of the elder artists throughout Europe, a true fan of reggae can't help but to love seeing the classic vibes continuing in some form or another.
Of the artists who have taken this route to the fullest (and there are MANY) undoubtedly one of the higher profile names on the list is definitely Earl (16) Sixteen. The Kingston native born (and sometimes known as) Earl Daley, holds a special place in the hearts of so many elder Jamaicans (my mother included, he is one of her favourite singers) and now does likewise for many fans of the UK reggae scene where he now lives. As I mentioned, there is an ever thriving network for the classic artists over there, thus, Earl Sixteen, like several of his peers have more or less extended their careers, and it actually helps them back here on the island as well, as we aren't exposed to them so often, therefore, when they are here performing or recording, it is more of a big deal and they are (at times, at least) afforded the respect and reverence they deserve. Earl Sixteen's career as a top flight talent on the island dates back to the early 1970's where his time began recording for various producers all over the island. Sixteen never actually achieved the level of a reggae SUPERSTAR (along the lines of Bob Marley, Dennis Brown or Burning Spear), instead what was laid for him was a role as one of the most supremely talented singers of his day (and in his DAY, there were literally HUNDREDS). Earl Sixteen earned his name through playing with many names (including Studio One) and even scoring several big hits, such as Malcolm X (which was written by close friend and peer Winston McAnuff and voiced for Joe Gibbs). However, what truly set the slight singer apart was without a doubt his voice. Gifted with a tone which almost sounds a little bit TOO relaxed and almost ALWAYS seems to be on the verge of cracking (but never does, and I mean NEVER), Earl Sixteen's style is one which is so refined, so professional and so top notch, one could literally take it out of the reggae scope and drop in almost any form of music and is still certain to have a winning sound. Sixteen also came with the reputation of being one of the hardest working individuals in the business, and, despite the fact that he may have not been one of the most prolific artists of his time in terms of actual recordings, he was always somewhere doing something involved with the music. If he wasn't recording or performing, he would be producing or singing backup or setting up labels, just generally (and genuinely) to promote the reggae sound. As far as his own style, beyond the voice, Earl Sixteen had a style which pretty much fit the vibes of the day, he sang songs which moved between lover's rock and roots and (like many of the time) he also sang countless covers of UK and US tracks which were big in Jamaica at the time (and even some that weren't so big and were made big via Earl Sixteen`s cover). In an era where there was so much competition and so many opportunities to only the TRULY talented, so many bull in one pen, Earl Sixteen was one of the very few artists who through various means was one who managed to stand out from the rest.
Luckily for reggae fans all over the world, `chasing' the artists who make their way to Europe have been equally proficient producers as well. Sixteen is an artist who has been fortunate enough to work with much of the strong UK outfits and producers such as the Mad Professor and Jah Warrior, and on his latest release, Cousins Records. Earl Sixteen returns with a new release for 2008 with the solid Reggae Ambassador for the very busy English reggae label. In the past couple of years Cousins has released albums and singles for the likes of Luciano, Turbulence, Lutan Fyah and Natural Black. Also, they have also released works for Earl Sixteen peers such as Rod Taylor (who has a VERY similar story to Earl Sixteen) as well as an album for the great Delroy Wilson also. It seemed only a matter of time for Cousins to sweep its own backyard and voice the UK based Sixteen and the result, Reggae Ambassador is a nice and anticipated piece to get the year started on a good note. The album begins with Youths of Today which has a rather odd feel. The first thing you'll notice about it however is that, unsurprisingly, Earl Sixteen's tone is in a VERY fine form and, as it always has, it seems it almost comes too easy for the singer. Youths of Today has the feel of an opening track, almost to the point of sounding like an interlude, and it almost has a classic R&B vibes to it as well when it really picks up with a very heavy piano presence throughout (and a clapping nyah drum in the background at times, the piece is truly one of a kind!). Reggae Ambassador truly picks up after the odd opener and Earl Sixteen alongside executive producer (Sixteen himself actually gets a producer credit here as well) Donville Davis (who actually owns Cousins Records and served a similar role on Luciano's very strong Cousins release, 2007's God is Greater Than Man) prove to be quite a duo. Surviving the System is a very powerful track! From my very first spins through Reggae Ambassador it was definitely one of my favourites. Carrying a straight classic vibes (which pretty much is prevalent throughout the album, it sounds as if it could definitely have been recorded in the late 1970's) Surviving the System really is a track that shows Sixteen at the height of his powers in a rootical sense and fans of the singer will absolutely love the piece. Closing out the opening of Reggae Ambassador is another strong selection and one which definitely, on paper and literally, is one of the highlights. Final Stage flows sublimely over the legendary Studio One piece, the Skylarking riddim. I was actually under the impression that Sixteen had previously voiced the riddim (he used to literally be GLUED to Studio One in one form or another), but Final Stage is his first effort on the riddim. Considering Earl Sixteen's status and standing in reggae music, Final Stage is a rather important piece. Musically, of course, the veteran effortlessly rides it with one the album's best tracks altogether and an exclusive to Reggae Ambassador.
The true peak of Reggae Ambassador for me lies between two tracks. The first of those tracks is Rastaman Posse (which I believe is a track from Davis in 2003 for an album which was planned but just now materializes). Rastaman Posse is an excellent cut of another Studio One piece, the Conquer Me riddim. The real attraction to the song, however, is the outstanding lyrics which Sixteen presents. Rastaman Posse is basically a track unifying all different types of Rastafari, its a song following in the same vibes of Junior Reid's masterful One Blood and another tune it reminds me of is actually One Bryte Morning from VI Empress Sistah Joyce (checking the opening of that track). It is just a very strong song presenting wonderful ideas and one which you definitely need to hear from Earl Sixteen, who, although not really seen as such, has been a strong presence in the Rastafari community throughout his career (I believe he is a member of the Twelve Tribes of Israel, as is Freddie McGregor and Brigadier Jerry as well), and even walked out on his first big job, with Boris Gardner because of it. The second outstanding piece here and my choice for Reggae Ambassador's absolute best track is the wonderful Ethiopian Anthem. Ethiopian Anthem flows over a riddim which I recognize as the piece used for Garnet Silk's divine Hello Mama Africa (which was then called the Smile riddim, from Star Trail). Ethiopian Anthem is a very heavy cultural track which plays on a lover's rock cadence. The song is an excellent blend and example of showing Earl Sixteen's model lover's vocals used for (what is his real strength) the cultural `anthem'. Definitely you have to spin Ethiopian Anthem, a very nice track and the best on Reggae Ambassador.
Speaking of Reggae Ambassador, the title track here is also quite nice as well. The track is a bit of `reggae empowerment' track harkening the returning of the golden era of reggae music and its also a song which doesn't necessarily fall under the heading of either roots or lover's rock, and still an EASY standout here over the Judgment of the Land riddim, a Yabby You original . Reggae Ambassador also features two covers, unsurprisingly. One of which, Holding Back The Years is ARGUABLY Sixteen's biggest hit to date. The cover of UK group Simply Red's hit track was a big tune for the singer and he has since re-voiced it in several different forms. This type around, it's a very heavy one-drop and its probably included for the hardcore and diehard Earl Sixteen fans who'll absolutely appreciate the tune in any form. The second cover is a strong cover of American singer R. Kelly's Happy People. Sixteen's is (oddly) a bit more lively and less seamless version of the original, but it does work, I would like to see him perform the tune live, however, as the song would definitely have slow dance written ALL over it.
I would also recommend Gold of Sheba which is Sixteen's own production. Should you ever wonder of VINTAGE Earl Sixteen, check no further than Gold of Sheba which is the most extreme case of such on Reggae Ambassador and very strong. As the album winds down the two standouts are the very interesting Reggae Technology, which is a similar tune to the title track. This time around Sixteen reminds than IN SPITE of technology reggae music continues to maintain its strength (the song led to a very interesting conversation between I and a friend). Reggae Ambassador ends with the nice yet obligatory herbalist track Growing Budds which neither adds nor detracts from Reggae Ambassador as a whole.
Overall, really what I'm waiting for from Earl Sixteen is a nice stacked anthology type of piece which would come from VP Records or another of the UK outfits of the sort. In the meantime, he continues to push quality pieces like Reggae Ambassador. What I will say is that the album is targeted for a VERY specific audience, therefore, unless you have a exceptionally strong interest in roots music, particularly of the classic variety, then you need not even take a whiff of Reggae Ambassador. However, if you are such a fan (then you are probably an Earl Sixteen fan as well), then by all means check out Reggae Ambassador, it's a nice vintage piece on an artist who, although so far away, sounds still so close to home."
Track Listings (15) - Disc #1
