ALBUM-REVIEWS 2011
129
Gappy Ranks - Thanks & Praise
Earl Sixteen - The Fittest
It has been a while since the last big man from the UK stepped into the international dancehall arena. With Gappy Ranks the British reggae community finally got someone not minding but filling the gap. “Thanks & Praise“ is the title of his third long player after the “Rising out of the ghetto“ EP and his debut album “Put the stereo on“ in 2010 that proves once more Jacob Lee Williams‘ versatility and persistence. The opening title track with a smooth, midtempo instrumental and righteous lyrics is followed by one of last year‘s biggest hits “Longtime“. With a mixture of electronic and old school beats as well as acoustic and MIDI instruments and a lot of sweet words for the ladies, the artists shows his skills as a singer in the first third of the album - a pleasure for all those who love it romantic less for those who dislike auto-tune. Slowly but surely the tunes accelerate to finally “Tun up“ the swag in the combination with Tarik Johnston better known as producer and artist Russian. Dancehall productions with minimalistic beats such as his massive hit “Stinkin rich“ or the following “Fresh kicks“ present Gappy‘s DJ skills as well as the producers sense for good effects. Pitch shift, filters and modulation make the tunes enjoyable yet are never too much. “English Money“ could easily count as the missing link between traditional dancehall and the electronic hype of Major Lazer that made its way into the scene in the past few years. For those who like it more natural “Peace & Joy“ offers authentic bird atmo while “Better must come“ comes in with an adorable musical clock-like melody on rhythmic acoustic guitar. The uplifting and harmonic combination of the two Ranks “Coulda run away“ has the potential for an anthem as well as “The road“ with its synthie layers, the diversity of the beat and a catchy chorus. With “Thanks & Praise“ Gappy Ranks is just as in his very own words on the right road and his fans can hope that nothing’s gonna stop his travels as well as by Ursula Münch his music.
Earl Sixteen is a man who has travelled to where the action is for his sweetly-sung brand of cultural reggae. He left Jamaica for the UK in the 80s when he felt his preferred niche falling out of favour. And while he still resides in England, he is increasingly to be found on European sounds and labels. The latest is Dutch double act JahSolidRock and NotEasyAtAll - who have been making glossy, critically acclaimed “showcase albums” with Apple Gabriel and Chezidek last year. On The Fittest Earl’s voice remains the mellifluous instrument it has been for decades (Sip A Cup’s Gussie P was the voicing engineer in London) and is accompanied by the poignant, Steel Pulse-ish harmonies associated with two organizations. As you’d expect from titles like Modern Slavery and Rise Up, much of the record is deep minor key roots, while Sixteen’s lyrics are heavily socio-political, philosophical and nostalgic for that time. Yet the early dancehall sound system style Earl loves is also present. The major key This Yah Business casts the internet and the demise of Jet Star and Randy’s as symptoms of the industry’s structural decline – and features a chant from the great U-Roy (no less!) on the flip. Big Car is a beautiful update of William Devaugn’s Be Thankful (another nod to Randy’s) while Changing Times (made famous by Dennis Brown for Earl’s old producer Derrick Harriott but originally sung by Roman Stewart) gets a recut on the well-known One Blood rhythm. There is a danger that some of the duo’s recurring backings such as this and the title track’s Collie Weed might, like those of Pow Pow in the last decade, become victims of their own success through overuse. Fortunately, they have shrewdly placed them near the end of the album giving the lesser heard creations room to breathe. Unlike the Chezidek and Apple records, The Fittest is a full “showcase” which means fewer vocals but more versions for dub fans. Interestingly, with the likes of Don Corleon and UK producer Lionvibes preparing their own dub albums cut in Jamaica the hegemony of eurodub may be about to be challenged. But that’s big picture stuff: this is another solid-quality release from the prolific by Angus Taylor Earl and the dual crews.
[Greensleeves - June 2011]
[JahSolidRock/Heartbeat Europe - May 2011]