| The whole mix from 'Junior Gong' |
| By Charles HE Campbell Observer writer Sunday, September 25, 2005 |
AT short notice, I was issued an invitation to attend the launch of Welcome to Jamrock - Damian 'Junior Gong' Marley's third and latest studio album - by his mother, Cindy Breakspeare.
I was glad that I went for a number of reasons. Firstly, I have not seen such a turnout of journalists and media practitioners for a press launch in many years. Secondly, I was impressed with Junior Gong's well-thought-out and eloquent responses to questions put to him by members of the press and others present.
Too often I have attended these press conferences, well organised by their handlers, only to sit through the question and answer sessions where the artistes' responses are mostly incoherent or nonsensical dribble. Thirdly, I have not seen such excitement on the streets and interest in the music fraternity for a Reggae/Dancehall single in many moons.
The last three occasions being Bob Marley's Rastaman Vibrations, Shaggy's Hot Shots and Sean Paul's Dutty Rock.
The New York Times has scored Welcome To Jamrock as the Reggae song of the decade and the Miami New Times deems it "one of 2005's finest releases".
Rolling Stones Magazine and Jane Magazine mark it highly, both giving it three out of four stars. I have since listened to the album and concur with the above international media assessments of the title track from the album.
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| Junior Gong's latest album, Welcome to Jamrock presents the part of Jamaica not sold to tourists |
As Damian himself told Observer staff writer Olivia Campbell in December 2004, "You have one vision of Jamaica, which is the vision they sell to the tourists - the beauty of the island, the waterfalls, that kind of thing.
Then you have what the majority of Jamaicans are facing which is Jamrock; which is not such a pretty vision of Jamaica. It's a completely different vision and a completely different life, so that's what Jamrock is, that life, that lifestyle, that part of Jamaica not sold to tourists."
This song has been out since 2004 and the people have spoken - there is no need for further comment. I do, however, have comments to make on the other songs included in this album.
The album starts in military fashion, with Damian Marley interjecting dialogue from Marcus Garvey and Haile Selassie I, while warning of the inevitable eruption of civil war and strife, unless the strong begin to protect the weak. "A slaughterhouse from Baghdad to Waterhouse".
He mellows somewhat for track two - There For You, singing and sounding reminiscent of his father's raspy voice in Jah Will Be Waiting There.
When I first heard All Night, it immediately grabbed my attention with its lively soca blend in a style similar to Chaka Demus and Plier's Murder She Wrote. The music and lyrics display a frolicking Junior Gong.
But clearly the strategy for Stephen and Damian was to save the best for last and so the album rises to a crescendo with the last five songs, especially track 14, Khaki Suit - sure to do well on local and international charts.
Hey Girl is in the same loving mood as All Night, with a real dance beat and lyrical treat from Junior Gong, complimenting his girlfriend on her virtues and in turn receiving compliments.
Road to Zion is a spiritual chant with Damian again employing his raspy singing voice over mellow music and haunting background vocals. On We're Gonna Make It, we get Junior in sing-jay style, using very optimistic lyrics to project Rasta livity. The drum beat is a rapid hard drive, constantly propelling his incantations.
In Too Deep is made for the dancehall. I can already foresee all kinds of new dance moves being created especially for this tune. The jerky stop-and-go style of the music and rapping is going to be a selector's thrill while it's on the turntable.
Khaki Suit featuring Bounty Killer and Eek-A-Mouse is my favourite other song on the album. Damian uses a rap style made famous by Super Cat more than two decades ago, with comic-screeching interludes by Eek-A-Mouse coupled with the usual gruff militancy of Bounty Killer's style.
Damian's lyrics are all flippant and dancehall hype and contains samples from Eek-A-Mouse's composition, Anorexol. I'm still dancing to this one. Damian Marley co-produced all but three of the tracks with his brother Stephen Marley.
What is significant and no longer the norm, but certainly plays a pivotal role in the quality of the songs, is that all the tracks are well-structured compositions, with choruses and bridges.
The liner notes are excellently done, listing the lyrics, the writers and producers, musicians, publishing credits, engineers, studios and even where appropriate, as in Khaki Suit, composers of music samples.
Other dancehall artistes and their managers should study the way this was handled and incorporate the strengths for their own international releases.
In summary, to quote Damian Marley referring to his new album, he says, "on this one, you have all kinds of tracks, you have some spiritual tracks, you have some tracks you'd probably call rude or so. But life is like that". "Dancehall, R&B, Hip Hop...it's all about feelings.
We are not just trying to do a segment of the mix. We're trying to do the whole mix." This album certainly accomplishes those stated objectives of Damian 'Junior Gong' Marley.
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