Search - Sizzla :: Addicted

Addicted to What???. . .

Achis | Kingston, JA/Philipsburg, SxM | 06/29/2008

(2 out of 5 stars)

"(2.5stars)

When I open my rather large storage of Sizzla Kalonji albums collected over the years (and I've got just about every one of them on vinyl as well) there are tons and tons of highlights of the good, bad and downright odd varieties. When you release albums in such a seriously high level of prolificacy through such a wide variety (and quality) of labels, strange things are certain to happen and musically, me, being even amongst the staunchest of Kalonji fans would have to admit that sometimes, he just isn't on point. On the lower end of that scale are the slew of virtually non-descript albums he's had such as Hosanna (which featured two instrumental tracks right in the middle of the album as if the producer were auditioning his music for other artists or something); Brighter Day whose longevity with me lasted about ten days (I seriously don't know if I've put it back on my players ONE TIME since; and Stay Focus which, due to its rather odd set between dancehall and roots seemed to do just about everything BESIDES stay focus. Those, of course, are continuously and forever will be outweighed by the good; Just last year Sizzla reached with the I-Space album which in my opinion was every bit as good as the critically acclaimed Da Real Thing of 2002 and served, once again, as noticed that any rumours of decline in his SUPREME talented was very premature as he has maintained over the past half decade or so, when he REALLY tried to make good music, he has no equal in reggae still; and I'll save you from the stereotypical and constant references to is opuses Black Woman & Child and Praise Ye Jah (because its just too easy to use those) and also mention such highlights as the beautifully melodious Freedom Cry album, the knowledge packed early Royal Son of Ethiopia album, the underrated Bobo Ashanti album and the underrated and clever old school vibes on Waterhouse Redemption. And then there's the odd (which is where we find ourselves again on this album). Undoubtedly due to his popularity and selling ability, Sizzla has had albums released by a such a hugely differing number of record labels and in such a strange way that its remarkable. Take, for instance, his yearly rubbish release from Penitentiary Records which is usually combined from older albums. One such album, Burning Fire was released and re-released the same year with even more rubbish. Then there are just the seemingly honest mistakes such as Up In Fire which was an album which was apparently delayed for two years, despite having an official Tracklist and cover the entire time (and it did not change, not even a little in the final product). Simply put, at least SOMETIMES, strange things happen when Sizzla releases music (make no mention of Blaze Fire Blaze from WhoDat Records. WHO???)



So, perhaps we shouldn't be that surprised at all when for his next magic trick, somehow and someway Sizzla ends up in a triumvirate of releases from the up-starting MBIG/Drop Di Bass Records alongside Mad Anju and Spragga Benz with all releasing full on studio albums for the labels produced by Andre `Freddy Krueger' Lee in one of the most adventurous moves in recent memory from ANY label. Now that the industry's two biggest names, VP Records and Greensleeves Records are under the same umbrella, I can't imagine you'll see a similar thing occur where you'll have three big releases reach on the same day (AND, to my knowledge the label is also pushing a riddim album for its Circus styled Tec Weh Riddim as well currently) for three different artists from the same label. Seemingly oblivious to the thought of having them competing against each other for the ever so discerning reggae (and especially dancehall) heads out there who actually buy albums, MBIG threw caution to the wind and rolled out Prototype from Spragga, Mad Bwoy Anju from Mad Anju and now Sizzla's Addicted. The album, incidentally, also reaches at virtually the same time as a high profile Sizzla greatest hits release for Greensleeves, The Journey, as well. To date, musically speaking strictly, Sizzla has also had his fair share of the strange and unusual vibes. Most notably, there was the Rise to the Occasion album which had some fans (myself definitely not included) hailing the album as amongst the artist's best work and others (myself definitely included) just left wondering exactly what was going on there; there was also the Soul Deep album (incidentally an album for the same label, Greensleeves and for the same producer, Don Corleone, as the Rise to the Occasion album, just two years later) which produced a similar affect as well amongst the masses. There was Sizzla's highest profile release to date, The Overstanding, which burned reggae fans a bit as most of the tunes you've come to know and absolutely LOVE over the years had been stripped and re-recorded in a predominantly unsatisfying style. Now, in combining the aforementioned strange label release, with the strange vibes in tact, we receive Sizzla's latest piece of work, Addicted, which combines them both to produce what is unarguably the most unusual releases of his entire career. Addicted is an album which in terms of vibes is somewhat reminiscent of the Soul Deep and Rise to the Occasion albums as it does feature a wide array of styles from straight forward roots (although there isn't very much of that at all as there wasn't on the other two albums either). There's also a heavy infusing of pop, R&B, hip-hop and even rock vibes at times (and, like Mad Bwoy Anju and Prototype (although not as much as on either of those albums), there is also a bit of soca vibes) just to even further distort things. The result is an album which is to be appreciated almost STRICTLY by newer fans of the artist and one which, I imagine, will draw much the same criticisms and praises as the Soul Deep and Rise to the Occasion albums in the end.



It was indeed a heavy burden to take on in releasing these three albums at the same time, particularly for a newer label who hasn't exactly proven that they have had the capabilities of supporting and promoting one, yet alone three (and the aforementioned Tec Weh riddim album as well). But maximum credit and respect goes to MBIG/Drop di Bass because all three (particularly Prototype and Addicted the two bigger names of the three) have been well promoted. Addicted gets started much in the same fashion as Prototype began, with a somewhat sappy lover's tune, Some to Love. Unlike Spragga, however, Sizzla isn't exactly new or foreign to such a tune and has actually scored in the past with such a vibes. Someone to Love isn't HORRIBLE, but it isn't the best tune either, though its probably closer to decent than downright awful, it's for the most part that crazy ultra-high singing that you've come to expect from Kalonji over the years (and there are many people who love that, I'm not one of them) over an almost COMPLETELY R&B style of vibes. Next up is a similar tune but one which is wholeheartedly more lovely, the title track. If you happen to REALLY like that type of high-pitched wailing lover's piece from Sizzla then you'll absolutely be addicted to the LUSH Addicted. The tune plays over a very easy piano-heavy R&B style of backing which makes it quite easy for Kalonji to maintain a melodically high delivery throughout. Addicted is the type of tune which nearly rules this type of unusual album and as you get deeper and deeper into the vibes (and see exactly what direction both he and his producers were apparently going for on the album, it becomes VERY obvious as to why exactly the tune was chosen as the title track (whereas neither Prototype nor Mad Bwoy Anju had title tracks on the albums). Completing the opening of Addicted is yet another lover's piece (DUH!), So Much for Love. I'm not exactly thrilled with the riddim (same riddim used on Prototype's opening for Spragga's awful tune, For Life) and the tune has an overall kind of `lazy' vibes behind it, but it works on an ever so SLIGHT scale. Again, its not horrible and arguably a better tune than Someone To Love, but you have to enjoy that wailing tone again to really appreciate it truly. On the whole, just from the opening of the album (and pretty much the first two thirds of it as well) you get the impression that Addicted is really a lover's style of an album which is rare, I don't think I've ever heard a COMPLETE such an album from Sizzla, but this thing CHANGES.



It takes awhile however, as you'll notice that on the first half of the album only one tune, Addicted doesn't have the word LOVE in the title and there is some very INTERESTING (read: ODD) LOVE songs here. I won't speak very much about it none at all, but all I'll say is to listen to the very first tone on the (or wail, yell, scream or whatever you'd like to call it) from the ultimately average, albeit very `pedestrian' for Kalonji, Love Is Forever for an indication of what happens there. Like Prototype and Mad Bwoy Anju, Addicted also features its healthy share of combinations (six in total). First is the decent True Love with nice reggae singer Calibe (whom checks in on FOUR of the combinations, including the first three). Calibe returns on the very next tune, The One You Love which has like a jungle/disco style of vibes. Actually, The One You Love is really one of Addicted's stronger tunes, it doesn't really do anything of note, but its one which is primarily pleasing to the ears (it does get annoying after awhile, however, at least to me. And Calibe also returns on the far more familiar vibed Don't Be Fed Up over a dancehall tinged hip-hop vibes (or is it the other way around???). The tune is EASILY one of the album's strongest pieces altogether and it's the tune where Calibe probably takes her most prominent role (and MBIG/Drop Di Bass is set to release Calibe's very own long player later this year) and the two honestly make a very nice duo. Take a VERY brief listen to the tune Ganja and you'll know it's a very weird day when I'm declaring that or any such a tune the STRONGEST tune on any Kalonji album. Ganja is a very up-tempo Ganja tune which honestly just grew on my nerves after awhile. Its almost a herbalist party song (if there is such a thing) and probably hit me so because it was undoubtedly the most familiar vibed tune on the album (and the riddim really does go several places in its insanity throughout the duration of the tune). I have to mention that a previous MBIG/Drop Di Bass release, the Rootal Riddim, Sizzla checked in with Watch Over Me which was near roots master and would have EASILY been the undisputed champion of this album, however it is NOWHERE to be found here. I have to mention (before I get to the madness which ends Addicted) that Addicted also contains previous solid Sizzla single Excess of Love which is also one of the album's top tunes as well over a very nice pounding dancehall vibes. Addicted ends with the exact same trio of oddities which ended the Prototype album. Three tunes; three combinations between Sizzla and Spragga Benz; and three tunes completely not up to standard. First up is Frigg Ya, probably the worst of the bunch. Why you link Spragga and Sizzla and immediately think, `Lets do an R&B song!', is anyone's guess I suppose, but I think it was a really bad direction to go in. Then there's the ever so slightly advanced Number One. Number One is a tune which I imagine could ultimately grow on SOMEONE, but I'm not sticking with it long enough to have that happen and it is worth mentioning that Spragga does take a very nice shot at the up-tempo riddim and does actually do well. The spicy Come Home is definitely the best of the bunch and it features Calibe (yep, her again) and young singer Patri alongside Sizzla and Spragga. The tune is a soca infused tune and it does work, but almost undoubtedly due to the presence of Calibe and Patri who definitely outshine their male counterparts.



Overall, you hardcore Sizzla fans you steer clear and far away from Addicted! There isn't a single one-drop on the album at all (which is a distinction I don't even think applies to the thirty total tracks between Rise to the Occasion and Soul Deep) and it will take an ENTIRELY too long of a time to grow on you (if it ever does at all). In retrospect, I don't even know that I would recommend this one to the newer fans either as it will certainly give you a misrepresentation as to what the artist is about at the end. No. Addicted is an album almost exclusively reserved for the very few of fans (almost definitely all female) who enjoy the somewhat sappy and somewhat wailing style of lover's tunes he so often creates over the years. I do have to give the labels big credit for going after such an ambitious undertaking with these three albums at the end of the day and I hope they stick around (maybe this can be their signature, releasing multiple albums at a time, besides Calibe, they also, apparently, have a working relationship with former dancehall ace Merciless as well, who is looooooooong overdue for a release) and are successful ultimately. Definitely the act of making reggae labels is an act of gaining attention and in these three releases MBIG/Drop di Bass have certainly done that. However, with Addicted, I'm just not sure if it's the exact kind of attention they would have wanted.

"

Achis is crazy

J. Sousa | Worcester, MA USA | 07/17/2008

(5 out of 5 stars)

"Great Sizzla album.

This album just proves Sizzla's amazing diversity.

Sizzla has already proved his diversity on albums like-

Rise to the Occasion- Jazz, hip-hop, dancehall, r&b all on one album, void of even one one-drop beat or rockers reggae song.

Soul Deep- Very romantic soul/r&b oriented album with some reggae vibes.



In my opinion, those two are Sizzla's most creative albums, style-wise, and now he returns with another shocker, ADDICTED.



Addicted opens with a very slow r&b love song and has some songs towards the middle that could be classified simply as pop songs. Some songs even have a rock oriented beat. Never before has Sizzla voiced over riddims like this and he does so very effectively. The last song could almost be classified as Soca, which Sizzla, to my knowledge, has never experimented with until now.



If you are more into simple roots reggae where Sizzla calls for repatriation, the burning of babylon, and righteousness over a one-drop or rockers beats, this album is not for you.



However, if you are into the experimental side of Sizzla and songs about love, then you will love this album!"