REVIEW: Souljah Fyah "I Wish"

When it comes to reggae music in Canada, the center of the scene is pretty much in Toronto with its large West Indian population.  Although the genre has artists and fans in virtually every corner of the globe, Edmonton is certainly not considered a haven for reggae.  Even so, Edmonton’s Western Canada Music and Canadian Reggae award-winning band Souljah Fyah has honed and refined their brand of roots over the years by playing numerous festivals and other venues, developing a distinct style and earning a following of their own.

Fronted by Janaya “Sista J” Ellis, Souljah Fyah presents their third studio offering, I Wish.  As the sole lyricist and lead singer, and co-writer along with the the rest of the band, one might argue that Ellis is their face and voice.  As such, her vocals are clear and strong, sometimes sweet but often urgent, even to the point of militant.  At varying points her articulation sounds either Canadian or American, while at other times clearly rooted in her Trinidadian heritage.  All members of Souljah Fyah are free to bring their own artistic expressions to the table, and as a result I Wish is an album based in roots reggae, but including elements of rock, folk and African music.

I Wish kicks off with the title track, which features an Asian-flavored keyboard intro before settling into a nice one-drop beat.  Communicating a yearning desire to be a greater part of the solution to the world’s ills, Ellis sings “This world steady crying for a remedy / Diagnose something seriously / I and I prescribe simplicity.” Right off, Ellis reveals her vocal versatility as she incorporates a deejay-style chanting into the mix.  Razor-sharp distorted guitar riffs and accents add a sense of urgency to the message in what amounts to be an effective and infectious start.  With “Dirty Hands”, Ellis addresses someone who portrays himself to be someone he isn’t, apparently with a rather thin disguise.  Based in a classic roots sound, there are a few well-placed crunchy guitar riffs and a climbing bridge which builds the intensity.  Revealing a bit of growl in her voice, Ellis convincingly shows she could sing rock just as well as reggae.


On “8 Days of Summer,” Souljah Fyah features a duet with Ellis and drummer Dorant “Saint” Ricketts, who contributes surprise deejay vocals which he lays down as smooth as butter.  Reflecting on the cold climate and shortness of the summer season in Canada, they sing of their commitment to putting Edmonton on the reggae musical map.  With it’s sing along chorus and reggae-rock fusion, “8 Days of Summer” has the crossover potential to appeal to fans of No Doubt and Sublime, and the now-defunct Temple Yard.

Backed by piano, drums, violin and cello, “Watch it Go” further blurs the lines between rock and reggae.  With fiery intensity, Ellis contemplates suffering, the value of life and the importance of using one’s time wisely in order to effect change.  “Tears of a Fool” is apparently the tragic tale of a woman stuck in an abusive relationship.  With “You don’t know him she said as she turned and walked away” and “Wish I could be in your head for just one day / Give you the strength that you need to walk away“, Ellis seems to be offering encouragement to someone to escape the abuse.  “Freedom Seeker” is a lovely and bittersweet acoustic ballad that would sound at home on one of fellow Trinidadian artist Avion Blackman’s albums, and on rock and adult contemporary radio formats.  Here, Ellis showcases the sweetness of her vocals with musical backing that matches them perfectly.

“Behind that Face” is straight forward roots.  Lyrically, it conveys a common theme of I Wish in addressing one who is either hypocritical or who has betrayed trust.  “Something Beautiful” offers a refreshing jazzy highlife rhythm.  Brett Miles adds gorgeous saxophone and flute while supported by what sounds like a crack West African rhythm section and flavorful keyboards.  Ellis shows tasteful restraint as she offers just a sprinkling of vocals here and there.

The nyabinghi foundation and comforting message of “Jade’s Lullaby” supply I Wish with yet another form of musical expression, adding a welcomed emotional shift.  “Perfect People” is perhaps the brightest sounding of all the pure reggae tracks here and offers a message of hope and encouragement, particularly in the spoken word vocals Ellis delivers as the song comes to an end.

Overall, I Wish is a fine display of artistic expression with a band working from a base of Reggae but not confined to the genre.  If there is anything wanting in the album, perhaps it’s that Ellis would better articulate the solutions and point listeners to a transcendent source of hope, strength and redemption.  Janaya “Sista J” Ellis and Souljah Fyah are a formidable musical force and one can only look forward to what is to come.


Review by Mike Roots
Rating:  4 stars (out of 5)

REVIEW: Ultimate Shines "Flava" (SINGLE SONG)

 

Ultimate Shines, born Mark Anthony James in West Kingston, Jamaica is a seasoned conscious reggae singer who has recorded one album (Teach Them, 2005)  and a slew of singles, starting back in 1987 with the single “Mob Kill Him”.  Having recorded and performed as an artist in Junior Reid’s JR Productions camp as well as touring in Canada along with Singing Melody and Thriller U, Shines career has shown itself to be one of continued persistence and growth. His latest single, “Flava,” was recorded on the Jah Jamaica Music label in collaboration with Jamaican rhythm producer Robbie Tuff.

Musically, “Flava” incorporates a variety of programmed synthesizers and beats, all blending into a pulsing mid-tempo dancehall rhythm, carrying with it a sense of urgency. Shines’ voice, a combination of raspy soulfulness and smooth caress, is commanding and somewhat similar in style to Fred Locks, Frankie Paul and Howie Hutchinson.  With “Flava,” Shines displays versatility as he seamlessly moves from crooning on the infectious chorus to more of a singjay style on the verses, all the while revealing a great balance of clarity and melody.  Much like Reid and Mykal Rose, Shines clearly has the artistic range to effectively sing over both roots and dancehall rhythms.


The “flava” Shines is singing about extends well beyond simply entertaining. With lyrics such as “take care of children and old people / tell the world say a good over evil” and “stop put your vanity over people / go and set a better example,” this is perhaps a call to be the distinct flavor that is the salt of the earth.  What Shines expresses is the necessity to take the message of righteous living beyond mere words and into the streets of every day life in order to make a positive impact on society.  In a genre marred by slackness and hypocrisy, Ultimate Shines has been a consistent voice for positive social and spiritual themes, and with the refreshing and encouraging “Flava,” he effectively carries the torch forward.

Review by Mike Roots
Rating: 5 Stars (out of 5)

REVIEW: Micky Paap "Show Me The Reason"

Lucky Dube, Alpha Blondy, Majek Fashek and Ben Okafor are among a handful of artists from Africa who have managed to gain international reggae acclaim.  Among others, an artist whose music deserves a greater audience is Ghanaian singer and songwriter Micky Paap.  While absorbing the sounds of Jimi Hendrix and Santana and fusing them with the rhythms of his homeland, Paap gained experience playing guitar and recording with the likes of Talal Fatal, Blay Ambrolley, and the Ghana Broadcasting Corporation band. Later, after relocating to London, England, he performed with numerous reggae bands, which opened up new avenues of musical exploration for Paap.  Show Me The Reason, his third and most recent release, is an impressive reggae offering.  With a voice somewhere between Burning Spear and Cat Stevens, only sweeter, Paap delivers a dozen songs that inspire, encourage and entertain.  While Show Me The Reason
has an undeniably African reggae feel, the sturdy melodies and English lyrics throughout make this a highly accessible album.

The title track is an emotional plea to God for understanding, direction and strength, filled with subtle African-styled guitar licks and keyboard melodies. As Paap sings, “Show me the reason why I’m here / Show me the reason why I’m here, O Lord / Show me the reason why I’m here,” a mellifluous one-drop rhythm, incorporating a bit of soukous flavor, provides the ideal complement.  A lovely guest vocal by Melissa Durazo creates the musical equivalent of sun breaking through clouds.  In addition, lead guitarist Adam Hawley adds some wonderfully syncopated soloing.

“Without You” is light and airy lover’s rock with a deep bass line, punchy clavinet and swirling organ flourishes.  Lyrically, Paap uses clever similes to illustrate the incompleteness that exists due to separation from his lover.  Some deejay vocal passages and cooing background vocals add just the right amount of energy and sweetness in this yearning for “two hearts that beat in a reggae riddim“.  With the touching “I Count My Blessings”, Paap ponders the realities of his own suffering and dissatisfaction as largely a matter of perspective.  Far from pedestrian, the message here is filled with poetic illustrations and reflections, in which Paap comes to the realization that he is indeed blessed, especially considering the challenges and struggles others are facing.  With renewed vision, he expresses gratitude to God for what he has and resolves to reach out to and pray for those less fortunate.

“Devil in a Bottle” is a groovy roots tune that describes the woes of drunkenness and alcoholism.  Rather than condemning, Paap comes across like a concerned friend walking alongside one who is struggling, even using a bit of humor in order to expose inherent danger and deception.  Durazo’s backing vocals and Hawley's searing lead work effectively to punctuate the musical statements.  With astute lyrics such as, “Saying things that you should keep inside / Soon you find yourself kicked outside / Then you get a DUI, yeah / Then you ask Who am I?“, “Devil in a Bottle” is conscious reggae at its best.

In “Rules of Mt. Sinai”, Paap sees himself as an ambassador, encouraging people through pointed social commentary to consider the moral and social pillars that are the ten commandments.  African-influenced call and response background vocals are the ideal counterpoint for his admonishment.  As he sings “We know You are a jealous God, but we are so weak in the flesh and the mind / Lord, we pray for Your mercy / Help us to overcome and show us the way“, Paap avoids coming across as self-righteous.  It is clear that he sees himself as a man in need of that mercy as much as anyone.

Coloring himself unimpressed with technology merely for the purpose of convenience and curiosity, and sounding quite a bit like Burning Spear both vocally and in terms of musical backing, Paap delivers the smooth roots track, “Achieve Peace.”  A buoyant and bubbly rhythm underscores the reggae gospel of “Get Behind Me Satan,” which contains lyrics of Christian devotion and commitment to fighting the good fight and rebuking the enemy.  Here, as in many places throughout Show Me The Reason, Paap’s approach to the keyboards reveals his Ghanaian roots in a way that nicely complements the reggae flow.

The synth flute, percussion, keyed notes and harmonized vocals which make up the intro to “Gossip Mongers” offer perhaps the most vivid influence of Paap’s African homeland in a tune that wouldn’t sound out of place on one of Lucky Dube’s albums.  A cavernous bass line anchors the proceedings in this rebuke to gossipers and warning to those who could be object of their vitriol.

“A Simple Man” offers Paap’s life philosophy with poignant snapshots of dysfunction within the family unit and society at large.  Singing, “We say we are grownups and act sophisticated, but we have to learn from our children,” Paap dispenses encouragement as he points to the words of Jesus who said we must become like children if we want to see the kingdom of God.  The lively “Don’t Know What You Got” yields an appropriate closing message as Paap expresses the need to appreciate life and relationships rather than allowing them to slip away due to quarreling or neglect.

Clearly, Micky Paap is an artist deserving of more attention from reggae enthusiasts and lovers of positive music in general.  Though there are a few flaws in Show Me The Reason, revealed in a couple of weak intros and some less than stellar programmed drum and synth sounds, the overall quality of songwriting, singing and arrangements make this album a winner.

Review by Mike Roots
Rating: 4 Stars (out of 5)