Crime Pays
Artist: Willie Colón
Released: 1973

A short yet well-chosen anthology of Willie Colón's early recordings, Crime Pays includes each of his biggest hits -- "Che Che Cole," "Guisando," "El Malo," "Juana Peña," "Jazzy" -- from the late '60s and early '70s. Though the Colón/Lavoe gangster-style cover earns bonus points for style, most fans of Willie Colón will want all of the...

A short yet well-chosen anthology of Willie Colón's early recordings, Crime Pays includes each of his biggest hits -- "Che Che Cole," "Guisando," "El Malo," "Juana Peña," "Jazzy" -- from the late '60s and early '70s. Though the Colón/Lavoe gangster-style cover earns bonus points for style, most fans of Willie Colón will want all of the LPs these tracks were compiled from. ~ John Bush, All Music Guide [-] Hide

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Artist: Beny Moré
Released: 1949

The first volume in BMG's five-disc re-release, Mata Siguaraya mostly includes uptempo numbers drawn from Moré's earliest recordings with RCA/Victor. Here he is matched with several bands, most notably those of Rafael De Paz and Perez Prado. Typically, the strongest and best-known tracks -- "Mata Siguaraya," Yiri Yiri Bon," and "Ah Barbara" --... [+] Read More

The first volume in BMG's five-disc re-release, Mata Siguaraya mostly includes uptempo numbers drawn from Moré's earliest recordings with RCA/Victor. Here he is matched with several bands, most notably those of Rafael De Paz and Perez Prado. Typically, the strongest and best-known tracks -- "Mata Siguaraya," Yiri Yiri Bon," and "Ah Barbara" -- are recorded with De Paz, whose lush arrangements cloak Moré's voice in ermine. Other uptempo gems recorded with various groups include "Mi Chiquita Quiere Guarachar" and the thunderous "A Media Noche." "Batiri RCA" is a characteristic Moré/Prado matchup. Prado's horn section plays the introduction here with the nervous, wound-up sound that characterizes most of their playing. There's not much of a melody, and about halfway through Prado breaks in with one of his piano vamps, beginning with a frantic run that must use all 88 keys. He then plays a series of fractured, dissonant chords before giving the floor back to Moré. Nowhere is the tug of war between the two giants more evident. ~ Spencer Harrington, All Music Guide [-] Hide

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Artist: Rubén Blades
Released: 1984

From the first note of Buscando América, Rubén Blades, with his suitcase and guitar in hand, bids farewell to the world of meat-and-potatoes New York salsa and sets in search of something else. Though many of the tracks eventually find their way back to that driving coro that has become a hallmark of Blades' writing, there are elements present... [+] Read More

From the first note of Buscando América, Rubén Blades, with his suitcase and guitar in hand, bids farewell to the world of meat-and-potatoes New York salsa and sets in search of something else. Though many of the tracks eventually find their way back to that driving coro that has become a hallmark of Blades' writing, there are elements present in this project that signify Blades' departure from the mainstream, to which he will never completely return. From doo wop intros ("Decisiones") to a cappella rhumbas ("GDBD") to epic rock sounds ("Caminos Verdes"), there's more than a little experimentation going on in this project. Piano/keyboard player and arranger Oscar Hernandez of Seis del Solar, Ruben's backup band for most of the '80s, brings a sophistication and style to the arrangements that contributes much to the album's fresh voice. No matter how diverse his musical influences, Blades' subject material is consistent throughout. Though themes of empowerment for the poor and the sociopolitical challenges faced by the Latin American community have always been present in his work, Buscando América seems to mark the beginning of Blades' longterm commitment to the subject. Blades' first album away from the Fania label is a bold statement in many ways, but none more bold than the standard that it sets for the future. ~ Evan C. Gutierrez, All Music Guide [-] Hide

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Artist: Mongo Santamaria
Released: 1959

At the time that Sabroso was recorded, Mongo Santamaria's group was essentially a charanga band with two trumpets added, a combination that works quite well. The group has superior playing by Jose "Chombo" Silva on both violin and tenor (helping "Para Ti" to become a classic), two little-known but talented trumpeters (Louis Valizan and Marcus... [+] Read More

At the time that Sabroso was recorded, Mongo Santamaria's group was essentially a charanga band with two trumpets added, a combination that works quite well. The group has superior playing by Jose "Chombo" Silva on both violin and tenor (helping "Para Ti" to become a classic), two little-known but talented trumpeters (Louis Valizan and Marcus Cabuto), the great flutist Rolando Lozano, pianist Rene Hernandez, bassist Victor Venegas, and Willie Bobo on drums. Pete Escovedo is one of the background singers as Rudi Calzado takes the lead on a few numbers but does not dominate. There are many fine individual moments on this joyous and infectious set. ~ Scott Yanow, All Music Guide [-] Hide

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Artist: Willie Colón
Released: 1976

This classic recording is by one of the most creative heads in New York salsa. In 1975 The Good.., a New Directions release after Colon got fed up with the two-trombone sound, was the evidence that he could reach beyond his youthful sound into an idiom both wider and deeper. It was also the last album with Hector Lavoe, who had decided to stay a... [+] Read More

This classic recording is by one of the most creative heads in New York salsa. In 1975 The Good.., a New Directions release after Colon got fed up with the two-trombone sound, was the evidence that he could reach beyond his youthful sound into an idiom both wider and deeper. It was also the last album with Hector Lavoe, who had decided to stay a teen idol. The Big Break, Asalto Navideño, and this album in their different ways were pinnacles of early- to mid-'70s salsa. ~ John Storm Roberts, All Music Guide [-] Hide

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Artist: Sergio Vargas
Released: 2000

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Artist: Celia Cruz
Released: 2000

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Artist: Johnny Ventura
Released: 2000

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Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Unforgettable Boleros
Artist: Chucho Valdés
Released: 2000

Irakere has had its share of personnel changes over the years. Led by pianist/arranger Chucho Valdés, the Irakere lineup heard on 2000's Unforgettable Boleros includes, among others, bassist Carlos del Puerto, drummer Enrique Plá, trumpeters Mario Félix Hernández and Basilio Márquez, alto saxophonist César López, tenor saxophonist Alfredo... [+] Read More

Irakere has had its share of personnel changes over the years. Led by pianist/arranger Chucho Valdés, the Irakere lineup heard on 2000's Unforgettable Boleros includes, among others, bassist Carlos del Puerto, drummer Enrique Plá, trumpeters Mario Félix Hernández and Basilio Márquez, alto saxophonist César López, tenor saxophonist Alfredo Thompson, and percussionists José Miguel Meléndez and Andrés Miranda. This time, two vocalists are featured prominently: Mayra Caridad Valdés and Leo Vera; both of whom are perfect choices for an album that is devoted to classic boleros (Latin ballads). Recorded during a visit to São Paolo, Brazil, this excellent CD finds the veteran Cuban band turning its attention to famous boleros that range from Consuelo Velazquez's "Bésame Mucho," Ernesto Lecuona's "Estás en Mi Corazón," and Oswaldo Farres' "Tres Palabras" to Bobby Capo's "Piel Canela," and José Mendez's "Mi Mejor Canción." The title Unforgettable Boleros isn't an example of empty hype, these time-tested ballads are, in fact, hard to forget, and they have held up well over the years. Spanish-speaking vocalists who were born long after Velázquez wrote "Bésame Mucho" or Lecuona wrote "Estás en Mi Corazón" continue to find the songs meaningful. Unforgettable Boleros isn't among Irakere's more adventurous albums, but it is heartfelt and consistently rewarding. ~ Alex Henderson, All Music Guide [-] Hide

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Artist: Pérez Prado
Released: 1995

A nice compilation from Rhino of greatest hits by the master (and, more than likely, the founder) of the mambo. Perez Prado was the original Mambo King, and this album attempts to explain that title in full detail. Many of the softer works are here, as any good fan would expect -- "Cherry Pink and Apple Blossom White," "Patricia," etc. Also, the... [+] Read More

A nice compilation from Rhino of greatest hits by the master (and, more than likely, the founder) of the mambo. Perez Prado was the original Mambo King, and this album attempts to explain that title in full detail. Many of the softer works are here, as any good fan would expect -- "Cherry Pink and Apple Blossom White," "Patricia," etc. Also, the notable inclusion of a couple works that showcase Beny More's vocals helps out the album somewhat, making use of the impressive singer. In addition, the more "standardized" mambos ("Mambo No. 5" and "Mambo No. 8") were included for good measure. Overall, the album has everything that a good Perez Prado album should have, and little of what a poor album might have. The squealing, blasting trumpets and tight, competitive rhythm section work that give Prado's arrangements their true hallmark douse the whole of the album. That's a good thing for mambo fans. ~ Adam Greenberg, All Music Guide [-] Hide

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Artist: Irakere
Released: 1978

For Latin jazz fans, this is a succinct and nearly complete roundup of Irakere's two North American albums, a brief peek through Cuba's door before politics slammed it shut again for another generation. Irakere is represented by four tracks, including the lengthy, uncut "Black Mass," and Irakere II by six tracks. The live Irakere was an exciting... [+] Read More

For Latin jazz fans, this is a succinct and nearly complete roundup of Irakere's two North American albums, a brief peek through Cuba's door before politics slammed it shut again for another generation. Irakere is represented by four tracks, including the lengthy, uncut "Black Mass," and Irakere II by six tracks. The live Irakere was an exciting breakthrough, a real advance in the alliance between Afro-Cuban and American jazz that took into account the electronic developments in music since politics isolated Cuba from the U.S. Irakere II, a studio product, is not nearly as startling; the sound and arrangements are slicker, there are strings and voices on some cuts, super-trumpeter Arturo Sandoval was encouraged to show off his pretty tone as well as his fire, and the Cubans even tried to churn out a disco beat on some tracks, negating all of those wild, wonderful Afro-Cuban cross rhythms. Still, there are passages where the more commercially motivated grooves take off, as in the central section of "Ciento Anos De Juventud," and "Xiomara" is a killer in the old Cuban tradition. Interestingly, when Irakere made their belated American comeback at the Playboy Jazz Festival at Hollywood Bowl in 1996, some of their innovative edge was gone, replaced by overt attempts to get the crowd up on their collective feet. All the more reason to cherish this CD -- which has become the only option one has to sample this Cuban band at or nearly at their peak. ~ Richard S. Ginell, All Music Guide [-] Hide

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Artist: Caetano Veloso
Released: 1999

Millennium is a good selection of songs from Caetano Veloso's career and includes great classics like "Terra," "Sampa," "Odara," and "Trem das Cores" as well as such lesser-known but just as enjoyable gems as "Gente" and "Rai das Cores." The bulk of this compilation is comprised of songs from the '70s and '80s, but there are also five songs from... [+] Read More

Millennium is a good selection of songs from Caetano Veloso's career and includes great classics like "Terra," "Sampa," "Odara," and "Trem das Cores" as well as such lesser-known but just as enjoyable gems as "Gente" and "Rai das Cores." The bulk of this compilation is comprised of songs from the '70s and '80s, but there are also five songs from the '90s. At least two of them, the insipid Latin covers "Contigo en la Distancia" and "Fina Estampa," definitely don't belong on a "best-of" compilation. But the rest of the material provides a fine sample of the magnificent work of Caetano Veloso -- one of Brazil's greatest composers and poets. ~ Philip Jandovský, All Music Guide [-] Hide

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Artist: Buena Vista Social Club
Released: 1997

This album is named after a members-only club that was opened in Havana in pre-Castro times, a period of unbelievable musical activity in Cuba. While bandleader Desi Arnaz became a huge hit in the States, several equally talented musicians never saw success outside their native country, and have had nothing but their music to sustain them during... [+] Read More

This album is named after a members-only club that was opened in Havana in pre-Castro times, a period of unbelievable musical activity in Cuba. While bandleader Desi Arnaz became a huge hit in the States, several equally talented musicians never saw success outside their native country, and have had nothing but their music to sustain them during the Castro reign. Ry Cooder went to Cuba to record a musical documentary of these performers. Many of the musicians on this album have been playing for more than a half century, and they sing and play with an obvious love for the material. Cooder could have recorded these songs without paying the musicians a cent; one can imagine them jumping up and grabbing for their instruments at the slightest opportunity, just to play. Most of the songs are a real treasure, traversing a lot of ground in Cuba's musical history. There's the opening tune, "Chan Chan," a composition by 89-year-old Compay Segundo, who was a bandleader in the '50s; the cover of the early-'50s tune "De Camino a la Verada," sung by the 72-year-old composer Ibrahim Ferrer, who interrupted his daily walk through Havana just long enough to record; or the amazing piano playing on "Pablo Nuevo" by 77-year-old Rubén González, who has a unique style that blends jazz, mambo, and a certain amount of playfulness. All of these songs were recorded live -- some of them in the musicians' small apartments -- and the sound is incredibly deep and rich, something that would have been lost in digital recording and overdubbing. Cooder brought just the right amount of reverence to this material, and it shows in his production, playing, and detailed liner notes. If you get one album of Cuban music, this should be the one. ~ Steve McMullen, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Los Huracanes del Norte
Artist: Los Huracanes del Norte
Released: 1996

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Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Coleccion Original
Artist: Pérez Prado
Released: 1998

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Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Man from Ipanema
Artist: Antonio Carlos Jobim
Released: 1963

Issued nearly a year after Jobim's death, this three-CD set is ground zero, the place to start if you don't have any Jobim in your collection or for anyone who wants a single package of his multifaceted art. The set encompasses not only Jobim's own sporadic work for Verve from 1963 until his final 1994 Carnegie Hall concert and the two A&M... [+] Read More

Issued nearly a year after Jobim's death, this three-CD set is ground zero, the place to start if you don't have any Jobim in your collection or for anyone who wants a single package of his multifaceted art. The set encompasses not only Jobim's own sporadic work for Verve from 1963 until his final 1994 Carnegie Hall concert and the two A&M albums of 1967 and 1970, but also sessions led by Stan Getz, Joao, and Astrud Gilberto in which Jobim appeared as a sideman. Guitarist Oscar Castro-Neves, who selected the music for this set, follows a unique game plan, devoting disc one to vocal renditions of Jobim's songs, disc two to instrumental versions, and disc three to multiple comparisons of a few Jobim standards by different performers. The selections are often adventurous, and the programming digs deeply into Jobim's PolyGram catalog for such overlooked gems as the bossa waltz "Mojave," the sly "Captain Bacardi," and the self-mocking "Chansong." For casual listening, discs one and two flow beautifully, and even disc three works, for despite the repetition of tunes, the approaches are varied enough to keep one's attention. Jobim collectors probably have almost everything on the set anyway, as there are no unreleased tracks other than a humorous uncredited rehearsal of "Aguas de Marco" tacked onto the end of "Vivo Sonhando." But they are certain to be attracted by the unique packaging -- a double-spiraled fold-out book containing lots of fascinating interviews and essays, and three discs wrapped in paper cutouts environmentally designed to look like fish, flowers, and leaves. The CD era's most imaginative graphics department has done it again. ~ Richard S. Ginell, All Music Guide [-] Hide

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Artist: Ricky Martin
Released: 1995

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Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing A Arte de Milton Nascimento
Artist: Milton Nascimento
Released: 1988

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Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Clube da Esquina
Artist: Milton Nascimento
Released: 1972

A classic double LP recorded in 1972 by Milton Nascimento and Lô Borges, the album had orchestrations from Eumir Deodato and Wagner Tiso under the conduction of the renowned clarinetist/composer/orchestrator Paulo Moura. The title Clube da Esquina is related to the gang of mineiros (people from the Minas Gerais state) that populate this release,... [+] Read More

A classic double LP recorded in 1972 by Milton Nascimento and Lô Borges, the album had orchestrations from Eumir Deodato and Wagner Tiso under the conduction of the renowned clarinetist/composer/orchestrator Paulo Moura. The title Clube da Esquina is related to the gang of mineiros (people from the Minas Gerais state) that populate this release, either singing compositions or vocal/instrumental performances, like Nascimento and Borges themselves: Wagner Tiso, Beto Guedes, Milton Guedes, Tavito, Toninho Horta, Márcio Borges, Ronaldo Bastos, and Fernando Brant, among others. The album covers a great number of Clube da Esquina hits, like "Tudo Que Você Podia Ser," "Cais," "O Trem Azul," "Caravo E Canela," "Um Girassol da Cor do Seu Cabelo," "San Vicente," "Clube da Esquina No. 2," and so many others, with the competent backing of some of the best musicians in Brazil, including bassist Luiz Alves and percussionist Robertinho Silva. A must-have. ~ Alvaro Neder, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Composer of Desafinado, Plays
Artist: Antonio Carlos Jobim
Released: 1963

In his first American album, Antonio Carlos Jobim presents a dozen of his songs, each one destined to become a standard -- an astounding batting average. Jobim, who claimed to have been out of practice at the time of the session, merely plays single notes on the piano with one hand, punctuated by chords now and then, sticking to his long,... [+] Read More

In his first American album, Antonio Carlos Jobim presents a dozen of his songs, each one destined to become a standard -- an astounding batting average. Jobim, who claimed to have been out of practice at the time of the session, merely plays single notes on the piano with one hand, punctuated by chords now and then, sticking to his long, undulating melodies with a few passages of jazz improvisation now and then. Yet it is a lovely idea, not a gesture is wasted. Arranger Claus Ogerman unveils many of the trademarks that would define his Creed Taylor-produced albums with Jobim -- the soaring, dying solo flute and spare, brooding unison string lines widening into lush harmony; flutes doubling on top of Jobim's piano chords -- again with an exquisitely spare touch. The songs include "Desafinado," "Corcovado," "Chega de Saudade" (No More Blues), "The Girl From Ipanema," "Meditation," "One Note Samba," and half-a-dozen others (every one of which is included on The Man From Ipanema set). ~ Richard S. Ginell, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing 100% Azucar!: The Best of Celia Cruz con la Sonora Matancera
Artist: Celia Cruz & la Sonora Matancera
Released: 1997

Female singers are abundant in Latin pop, but for whatever reason, salsa has remained a male-dominated idiom. From the 1950s to the mid-'90s, salsa's most prominent female vocalist has been Celia Cruz, a pearl of a singer rightly exalted as "the Queen of Salsa." This excellent CD focuses largely on the recordings she made with la Sonora... [+] Read More

Female singers are abundant in Latin pop, but for whatever reason, salsa has remained a male-dominated idiom. From the 1950s to the mid-'90s, salsa's most prominent female vocalist has been Celia Cruz, a pearl of a singer rightly exalted as "the Queen of Salsa." This excellent CD focuses largely on the recordings she made with la Sonora Mantancera in her native Havana, Cuba, in the 1950s. La Sonora was already one of Cuba's top dance bands when Cruz was hired to replace singer Myrta Silva in 1950, and her passionate performances on such classics as "Ritmo, Tambo y Flores" (1951), "Burundanga" (1953), and "Melao de Cana" (1953) made it clear that she was the right choice. For even casual salseros, "Mi Sonito" (1955), "Me Voy a Pinar del Rio" (1956), "Chango Tá Veni" (1958), and other gems on 100% Azucar! are essential listening. Azucar! also contains a handful of recordings made in the early to mid-'60s in New York, including an excellent version of Ignacio Piñeiro's "Suavecito" (1962). With Cuba under communism, Cruz and her husband, Sonora trumpeter Pedro Knight, made a permanent move to the U.S. in 1961. 100% Azucar! isn't quite the last word on early Cruz -- where are "Cao Cao Mani Picao" (1951) and "Tumba la Cana, Jibarito" (1960)? Nonetheless, it can serve as a fine introduction to her legacy. ~ Alex Henderson, All Music Guide [-] Hide

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Artist: Juan Gabriel
Released: 1987

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Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Meu Nome é Gal: The Best of Gal Costa
Artist: Gal Costa
Released: 1990

Although she has released dozens of recordings in her three-decade long career, this anthology is the best place to be introduced to one of the great voices in pop music. Covering a period from the start of tropicalia in the late '60s up to post-military dictatorship years of the '80s, this is as strong a collection of Costa's material as one is... [+] Read More

Although she has released dozens of recordings in her three-decade long career, this anthology is the best place to be introduced to one of the great voices in pop music. Covering a period from the start of tropicalia in the late '60s up to post-military dictatorship years of the '80s, this is as strong a collection of Costa's material as one is likely to find. The cream of the Brazilian songwriting crop is well represented here, especially Caetano Veloso with seven tracks; Chico Buarque's "Foltheim (A New Leaf)" and Dorival Caymmi's "So Louco (Just Crazy)" are also noteworthy. But it's when Costa sings Veloso that the record takes off. Many of the Veloso songs included in this collection were songs he wrote while in exile in London, when the only way to hear his music was through recordings by Gal Costa. All of the songs are excellent, but it is the bluesy and melancholy "Luz do Sol (Sunlight)" that's transcendent, easily one of Costa's greatest moments on record. ~ John Dougan, All Music Guide [-] Hide

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Artist: Djavan
Released: 1992

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Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Sem Lenço, Sem Documento
Artist: Caetano Veloso
Released: 1990

If you have developed an interest in Caetano Veloso that goes beyond nominal, you really should own every record of his you can find. However, for the benighted who only want a taste, this is the best place to start. Translated, the title means "without handkerchief without passport," and while it's unclear what relevance that has, it is clear... [+] Read More

If you have developed an interest in Caetano Veloso that goes beyond nominal, you really should own every record of his you can find. However, for the benighted who only want a taste, this is the best place to start. Translated, the title means "without handkerchief without passport," and while it's unclear what relevance that has, it is clear that you will not find a better single-disc overview of Veloso's prodigious output -- that is, up until 1984. Opening with the most famous song from his early period (1968's "Alegria, Alegria" -- with fuzztone psychedelic guitars!), this disc covers the best music from his long relationship with Phillips including "Soy Loco por Ti, America" (written by Gilberto Gil), "Voce e Linda," "Lua de Sao Jorge," and 15 more. Although he's recorded much great music after 1984, this is the best place to start. Originally available only as a Brazilian import, the disc has since been released in American with more comprehensive English liner notes. ~ John Dougan, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Gil e Jorge
Artist: Gilberto Gil
Released: 1975

Recorded with little rehearsal and only two acoustic guitars (plus a percussionist) for accompaniment, Gil e Jorge focuses squarely on the individual talents of Gilberto Gil and Jorge Ben as musicians, vocalists, performers, and improvisers. Of course, they prove up to the task. The nine lengthy tracks on the album (it was originally configured... [+] Read More

Recorded with little rehearsal and only two acoustic guitars (plus a percussionist) for accompaniment, Gil e Jorge focuses squarely on the individual talents of Gilberto Gil and Jorge Ben as musicians, vocalists, performers, and improvisers. Of course, they prove up to the task. The nine lengthy tracks on the album (it was originally configured as a double LP) feature Gil and Ben interacting to a high degree, trading lines and often repeating them several times. The best tracks here -- "Nega," "Taj Mahal," and "Meu Glorioso Sao Cristovao" -- are highly rhythmic and have the heft of ancient Brazilian folksongs. Unfortunately, there isn't another record in Gil's discography even remotely close to it. ~ John Bush, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Amor Prohibido
Artist: Selena
Released: 1994

Amor Prohibido was Selena's biggest album before her crossover attempt, Dreaming of You. While the album is slightly uneven, she was a dynamic, charismatic singer, and is able to pull across the weaker material. Indeed, the record is her strongest album and shows why she was the biggest Tejano star of the '90s. ~ Stephen Thomas Erlewine, All...

Amor Prohibido was Selena's biggest album before her crossover attempt, Dreaming of You. While the album is slightly uneven, she was a dynamic, charismatic singer, and is able to pull across the weaker material. Indeed, the record is her strongest album and shows why she was the biggest Tejano star of the '90s. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Artist: Selena
Released: 1993

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Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Gilberto Gil (Cérebro Eletrônico)
Artist: Gilberto Gil
Released: 1969

It's not only ironic that the record with Gilberto Gil's first major hit ("Aquele Abraço") is also his most experimental album; it also speaks to the diversity of Brazil's emerging pop superstar. Beginning with the loose-jointed groove-pop of "Cérebro Eletrónico" (the album's subtitle), this second of three straight self-titled LPs includes a... [+] Read More

It's not only ironic that the record with Gilberto Gil's first major hit ("Aquele Abraço") is also his most experimental album; it also speaks to the diversity of Brazil's emerging pop superstar. Beginning with the loose-jointed groove-pop of "Cérebro Eletrónico" (the album's subtitle), this second of three straight self-titled LPs includes a few Carnival-styled pop songs, as on his previous album. Most of the experimentation comes at the end of side two with "2001" and "Objeto Semi-Identificado," both of which are filled with odd tape-music portions, spoken-word elements, and a reliance on studio trickery rarely seen on any Western pop albums. Even the pop songs are produced with an eye toward noise; the tropicalia anthem "Volks Volkswagen Blue" features a few psychedelic guitar lines breaking into distortion, and a small but devastatingly brassy horn section punctuating the melody. It's a very disjointed album, not quite as consistently entertaining as last year's entry, but definitely a masterpiece of forward-looking pop. ~ John Bush, All Music Guide [-] Hide

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Artist: Peter Tosh
Released: 1999

After years of being overshadowed by Bob Marley, Peter Tosh left the Wailers to pursue a solo career. Released in 1976, Legalize It is a bold statement that Peter Tosh had arrived and was a creative force in his own right. Although he explores some issues of spirituality, this is Tosh's most lightweight album in the sense that it is his least... [+] Read More

After years of being overshadowed by Bob Marley, Peter Tosh left the Wailers to pursue a solo career. Released in 1976, Legalize It is a bold statement that Peter Tosh had arrived and was a creative force in his own right. Although he explores some issues of spirituality, this is Tosh's most lightweight album in the sense that it is his least political. This is not meant as a criticism -- in fact, Tosh's playfulness and joy ("Ketchy Shuby") only add to the album's charm. He does make political statements (the title track celebrates and promotes the use of marijuana), but they are done with a sense of humor and a melodic infectiousness that belie his sincere concern for the issues. Tosh incorporates many instruments and mixes slower ballads with upbeat grooving tunes. The album's highlight is "Why Must I Cry," a multi-layered song (co-written with Bob Marley) that conveys a sense of personal failure when fighting an uphill battle, whether it be against injustices of the world or within the confines of a relationship. Legalize It cemented Tosh's position as a giant in reggae, and the album is one of the best albums of the genre. [A 1999 Sony reissue featured refurbished cover art and a bonus track.] ~ Vik Iyengar, All Music Guide [-] Hide

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Artist: U-Roy
Released: 1995

U-Roy had already made the rounds of producers and cut a handful of singles which had created quite a stir in the underground scene. But it was only after the DJ hooked up with producer Duke Reid that the rest of Jamaica awoke to the DJ's charms. U-Roy's first recording for Reid was appropriately enough titled "Wake the Town," a version of Alton... [+] Read More

U-Roy had already made the rounds of producers and cut a handful of singles which had created quite a stir in the underground scene. But it was only after the DJ hooked up with producer Duke Reid that the rest of Jamaica awoke to the DJ's charms. U-Roy's first recording for Reid was appropriately enough titled "Wake the Town," a version of Alton Ellis' classic "Girl I've Got a Date." Over the rocksteady rhythm, the DJ jauntily rapped along with an ease never before heard. The single was a smash, "Rule the Nation," taking the rhythm from the Techniques' "Love Is Not a Gamble" followed suit, as did "Wear You to the Ball Tonight," a version of the Paragons' hit of the same title. Amazingly, all three songs took the top three chart placements at the same time in 1970. U-Roy had arrived. By the end of the year, the DJ had recorded a total of 32 songs for Reid, 30 of which appear on Your Ace From Space. Part of the appeal, of course, was that the producer dug up a king's ransom of classic rocksteady tracks from his Treasure Isle vault for U-Roy's use. The Paragons proved a favorite, not surprisingly considering John Holt's role in bringing the DJ to Reid; the Melodians were also heavily versioned, while cuts by the Jamaicans, the Techniques, the Silvertones and Hopeton Lewis provided an all-star backdrop for U-Roy's pleasure. And the DJ's pleasure at the choice of material is obvious, another reason for his success. In these early days, the DJ's job was more that of an MC, there to exhort the crowd, live or on record. U-Roy took this one step further, responding directly to the original lyrics, or using them as a launch pad for his own comments. His singsong vocals, and unerring ability to ride the rhythms, were a wonder to behold. Add Tommy McCook's "Supersonics" to the mix, and Ace is as classic as the track's original versions. ~ Jo-Ann Greene, All Music Guide [-] Hide

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Artist: Sly & Robbie
Released: 1986

So big were Sly & Robbie that by the mid-'80s their rhythms were driving songs straight into the charts for a myriad of artists across the musical spectrum. Taxi Fare sums up this success via a killer compilation that is so focused on the duo that all else is heaved overboard. So devoted were the pair's fans that all that was required was their... [+] Read More

So big were Sly & Robbie that by the mid-'80s their rhythms were driving songs straight into the charts for a myriad of artists across the musical spectrum. Taxi Fare sums up this success via a killer compilation that is so focused on the duo that all else is heaved overboard. So devoted were the pair's fans that all that was required was their photo on the sleeve and their names on the cover. It was the first and only time in Western musical history that a drum and bass team took top billing. This album actually rounds up a baker's dozen of hits, but for whom? Apparently listeners were uninterested in such minutia; singers were simply extraneous and, as for the rest of the backing musicians, who cares? Well, at least the sleeve credits the music to Sly & Robbie and the Channel One All Stars, an aggregate of superb session men better known as the Revolutionaries. But all that's simply churlish when confronted with the fabulous music within. The instrumentals are all top-notch, and include seminal songs like the breezy "Taxi Connection," featuring Bobby Ellis on trumpet, the smoky dub of "Unmetered Taxi," the searing swing of "Red Hot," the urban militancy of "VLA Music," and the nod to Yazoo and the new wave of "Triplet." That heavily synthesized latter track is typical of much of the pair's work in the '80s, as they furthered their experiments in electronic rhythms and studio sounds, as can be heard on "Devil Pickney," a hit for Sugar Minott. And although producer Wayne Smith is credited with unleashing the first pure electronic number, "Under Me Sleng Teng," Dunbar had paved the way earlier in the decade. But even in the midst of their electro fixation, Sly & Robbie maintained an organic quality to their sound and productions, as they do on "Rock Music," which has a natural sway even as the syn-drums boom. Expertly sequenced, the set swings across the years, from their later more synth-driven numbers to their earlier pure roots work. One of their most militant roots rhythms was Junior Delgado's "Fort Augustus," today considered a masterpiece. The Tamlins' "Baltimore" adds an urban flavor to a tough rhythm, while Jimmy Riley's "Bang Bang" is a classic of booming electro beats, sinuous bass, gentle synths, and gorgeous vocals. Dennis Brown's "Sitting & Watching" is a treasure trove of opposites: fat beats and lithe synth riffs, throbbing bass and a breezy melody. Every track included is up to these standards, an exuberant celebration of rhythm and song. ~ Jo-Ann Greene, All Music Guide [-] Hide

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Artist: Bob Marley & the Wailers
Released: 1977

Recorded in London following an attempt on his life, Exodus shows Bob Marley mellowing a bit. Despite some powerful political tracks, Marley adopts a less fiery, more reflective approach than his previous outings. Still, it's hard to find reggae as good as this. Exodus has all one would expect from a Bob Marley album: rumbling statements like... [+] Read More

Recorded in London following an attempt on his life, Exodus shows Bob Marley mellowing a bit. Despite some powerful political tracks, Marley adopts a less fiery, more reflective approach than his previous outings. Still, it's hard to find reggae as good as this. Exodus has all one would expect from a Bob Marley album: rumbling statements like "Exodus" and "The Heathen" as well as poetic love songs like "Turn Your Lights Down Low." Considering how good these tracks are, Exodus does not stop here. Marley also unleashed the huge international hits "Jamming," "Waiting in Vain," and "One Love/People Get Ready." These inspired tracks, perhaps more than any others, came to define Marley around the world. They are irresistible no matter how many times they are played. Never one to dodge innovation, "Exodus" hints that Marley was taking cues from the emerging dub scene. Exodus, even though it contains some of Marley's best work, has an underlying nostalgic feel to it, hinting that Marley was getting a little formulaic. ~ Matthew Hilburn, All Music Guide [-] Hide

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Artist: Dennis Brown
Released: 1979

Alongside Culture, Prince Far I, and the DJ Trinity, singer Dennis Brown helped establish the Mighty Two (Joe Gibbs and Errol Thompson) production brand during the late 1970s, and he did so through records like Words of Wisdom. The singer's delivery is strong and his concerns palpable on a set of songs that consist largely of sobering, reality... [+] Read More

Alongside Culture, Prince Far I, and the DJ Trinity, singer Dennis Brown helped establish the Mighty Two (Joe Gibbs and Errol Thompson) production brand during the late 1970s, and he did so through records like Words of Wisdom. The singer's delivery is strong and his concerns palpable on a set of songs that consist largely of sobering, reality themes. Though his fondness for lovers material served Brown well, earning him a hit with "Ain't That Loving You," the most memorable material is contained elsewhere. The God fearing opener "So Jah Say," the wise man's discourse of the title track, and "A True"'s pleas for deeper understanding in religious matters and life in general, are standouts. Though these may not be quite the equal of Visions' counterparts like "Malcolm X," "Repatriation," and "Deliverance Must Come," they were strong enough to suggest that Brown had lasting potential. The singer even revisits his first charting single, 1972s "Money in My Pocket," achieving greater success the second time around. Gibbs' studio band is in even sharper form than on Visions. The veteran rhythm section of Sly Dunbar (drums), Robbie Shakespeare (bass), Willie Lindo (guitar), Winston Wright (keyboards), and others urging Brown to arguably greater musical heights. Words of Wisdom's follow-up, Joseph's Coat of Many Colours, completed a highly successful trilogy of recordings for the Mighty Two. Brown's subsequent popularity led to a contract with A&M in the U.S., though later attempts at broadening his fanbase failed to produce results as successful as early albums like this one. ~ Nathan Bush, All Music Guide [-] Hide

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Artist: Bob Marley & the Wailers
Released: 1973

The Wailers' fourth album overall, Burnin', was their second for Island Records, released only six months after its predecessor, Catch a Fire. Given that speed, it's not surprising that several tracks -- "Put It On," "Small Axe," and "Duppy Conqueror" -- are re-recordings of songs dating back a few years. But they fit in seamlessly with the... [+] Read More

The Wailers' fourth album overall, Burnin', was their second for Island Records, released only six months after its predecessor, Catch a Fire. Given that speed, it's not surprising that several tracks -- "Put It On," "Small Axe," and "Duppy Conqueror" -- are re-recordings of songs dating back a few years. But they fit in seamlessly with the newer material, matching its religious militancy and anthemic style. The confrontational nature of the group's message is apparent immediately in the opening track, "Get Up, Stand Up," as stirring a song as any that emerged from the American Civil Rights movement a decade before. The Wailers are explicit in their call to violence, a complete reversal from their own 1960s "Simmer Down" philosophy. Here, on "Burnin' and Lootin'," they take issue with fellow Jamaican Jimmy Cliff's song of the previous year, "Many Rivers to Cross," asking impatiently, "How many rivers do we have to cross/Before we can talk to the boss?" "I Shot the Sheriff," the album's most celebrated song, which became a number one hit in the hands of Eric Clapton in 1974, claims self-defense, admits consequences ("If I am guilty I will pay"), and emphasizes the isolated nature of the killing ("I didn't shoot no deputy"), but its central image is violent. Such songs illuminated the desperation of poor Jamaican life, but they also looked forward to religious salvation, their themes accentuated by the compelling rhythms and the alternating vocals of the three singers. Bob Marley was a first among equals, of course, and after this album his partners, Peter Tosh and Bunny Wailer, quit the group, which thereafter was renamed Bob Marley and the Wailers. The three bonus tracks on the 2001 reissue are all by Tosh and Wailer, though recorded at the album's sessions, suggesting the source of their frustration. ~ William Ruhlmann, All Music Guide [-] Hide

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Artist: Jimmy Cliff
Released: 1972

In 1973, when the movie The Harder They Come was released, reggae was not on the radar screen of American pop culture. The soundtrack went a ways toward changing that situation. It is a collection of consistently excellent early reggae songs by artists who went on to thrive with reggae's increased popularity and others for whom this is the most... [+] Read More

In 1973, when the movie The Harder They Come was released, reggae was not on the radar screen of American pop culture. The soundtrack went a ways toward changing that situation. It is a collection of consistently excellent early reggae songs by artists who went on to thrive with reggae's increased popularity and others for whom this is the most well-known vehicle. Jimmy Cliff is both the star of the movie and the headliner on the soundtrack. He contributes three excellent songs: the hymnal "Many Rivers to Cross," "You Can Get It If You Really Want," and "The Harder They Come" (the latter two are repeated at the end of the album, but you probably wanted to hear them again anyway). Interestingly, the better production values of his songs actually seems to detract from them when compared to the rougher, but less sanitized, mixes of the other tracks. All the songs on this collection are excellent, but some truly stand out. Toots & the Maytals deliver two high-energy songs with "Sweet and Dandy" and "Pressure Drop" (covered by the Clash among others). Scotty develops a mellow, loping groove on "Stop That Train" (not the same as the Wailers' song by the same name) and the Slickers prove on "Johnny Too Bad" that you don't have to spout profanity or graphic violence to convey danger. The Harder They Come is strongly recommended both for the casual listener interested in getting a sense of reggae music and the more serious enthusiast. Collections don't come much better than this. ~ Toby Ball, All Music Guide [-] Hide

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Artist: Bob Marley & the Wailers
Released: 1984

The classic Marley album, the one that any fair-weather reggae fan owns, Legend contains 14 of his greatest songs, running the gamut from "I Shot the Sheriff" to the meditative "Redemption Song" and the irrepressible "Three Little Birds." Some may argue that the compilation shortchanges his groundbreaking early ska work or his status as a... [+] Read More

The classic Marley album, the one that any fair-weather reggae fan owns, Legend contains 14 of his greatest songs, running the gamut from "I Shot the Sheriff" to the meditative "Redemption Song" and the irrepressible "Three Little Birds." Some may argue that the compilation shortchanges his groundbreaking early ska work or his status as a political commentator, but this isn't meant to be definitive, it's meant to be an introduction, sampling the very best of his work. And it does that remarkably well, offering all of his genre-defying greats and an illustration of his excellence, warmth, and humanity. In a way, it is perfect since it gives a doubter or casual fan anything they could want. Let's face it, the beauty and simplicity of Marley's music was as important as his message, and that's captured particularly well here. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Artist: Jimmy Cliff
Released: 1999

It seems somewhat odd that there has never been a really good best-of compilation devoted to Jimmy Cliff, one of reggae's seminal figures and a major force in popularizing the music in America and beyond. Hip-O's Ultimate Collection is probably the best one assembled to date, collecting Cliff's legendary hits from The Harder They Come,... [+] Read More

It seems somewhat odd that there has never been a really good best-of compilation devoted to Jimmy Cliff, one of reggae's seminal figures and a major force in popularizing the music in America and beyond. Hip-O's Ultimate Collection is probably the best one assembled to date, collecting Cliff's legendary hits from The Harder They Come, high-quality material from his early years (including the hard-hitting protest song "Viet Nam"), and a selection of highlights from his major-label recordings over the remainder of the '70s. Some songs have never before been available on CD in the U.S., an added enticement for Cliff fans. The Harder They Come is still a tour de force, but as this collection proves, there's more to Cliff that needs to be heard. ~ Steve Huey, All Music Guide [-] Hide

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Artist: Bob Marley & the Wailers
Released: 1973

To Bob Marley's emotionally charged music and lyrics, add the tight riddims and harmonies of the Wailers and then put all of that talent into the ceaselessly creative hands of production wizard Lee "Scratch" Perry. What you get is a 16-track reggae masterpiece capturing what is perhaps some of the best music Bob Marley & the Wailers ever... [+] Read More

To Bob Marley's emotionally charged music and lyrics, add the tight riddims and harmonies of the Wailers and then put all of that talent into the ceaselessly creative hands of production wizard Lee "Scratch" Perry. What you get is a 16-track reggae masterpiece capturing what is perhaps some of the best music Bob Marley & the Wailers ever committed to tape. The songs range from beautiful love songs like "Don't Rock the Boat" to cathartic political anthems like "Brain Washing," but even with the broad scope, no tracks miss the mark. They all cut straight to the heart and burn with an urgency rarely felt in music of any genre. So defining are the tracks that Marley himself was to return to the same themes later in his career, reviving such classics as "Lively Up Yourself" on Natty Dread, "Trench Town Rock" on Live!, and "Kaya" on Kaya, among others. While this is a Bob Marley & the Wailers album, Perry's unique production almost steals the show. Perry's bare-bones, heavy sound provides an interesting contrast to the slicker approach taken on Catch a Fire, produced by Bob Marley & the Wailers and Chris Blackwell and also made in 1973. Catch a Fire has an almost rock edge to it, but on African Herbsman, one can hear Perry's swirling mix madness lurking just beneath the surface of each Trench Town-tough track. ~ Matthew Hilburn, All Music Guide [-] Hide

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Artist: Dennis Brown
Released: 2000

One rarely sees the phrase "golden years" accompanying the output of a teenager, however, in Dennis Brown's case it's an accurate description, but only in the sense of this being just one of several golden eras in the vocalist's career. Brown was already a recording veteran, with a string of hits to his name dating back to 1968, when he was all... [+] Read More

One rarely sees the phrase "golden years" accompanying the output of a teenager, however, in Dennis Brown's case it's an accurate description, but only in the sense of this being just one of several golden eras in the vocalist's career. Brown was already a recording veteran, with a string of hits to his name dating back to 1968, when he was all of 11, when he hooked up with the equally precocious young producer Niney Holness. Brown had initially made his mark as a young balladeer, but his conversion to Rastafarism and growing politicalization was the perfect fit for Niney's own views, and the pair now embarked upon a two year burst of recording that produced some of Jamaica's most seminal and revolutionary music. The Golden Years stuffs 34 songs across two discs from this period, and although there's some notable omissions, there's so many exceptional tracks here that it would be almost perverse to complain. And although this collection is Holness heavy, it does include a number of songs recorded with other producers late in 1976, after the pair had split. The bouncy roots of "My Time," for example, was produced by Castro Brown. So it's not all apocalyptic production, crashing drums, and revolution. A fact that the surreal sequencing of the track's brings home with a vengeance; only the most sardonic of selectors would deliberately precede the roots masterpiece "Wolves And Leopards" with the lightweight cover of "Traveling Man." And that latter isn't the most embarrassing cover found here, that distinction belongs to "Green Apples," a poignant reminder of the humiliating songs forced upon up and comers and stars alike. In a way, the jumbled tracks, at first so disconcerting, actually reinforces Brown's amazing versatility. Of course songs like the driving "Westbound Train" and "Cassandra," the masterful repatriation classic "Africa" and the darkly infectious, politicized "Some Like It Hot" remain stand-outs. But strewn amongst these better known tracks are deeply soulful love songs, brash pop numbers (often with cultural themes), emotional ballads and lovers rockers. The moods may change, but the conviction always remains the same. Untangle the tracks, and one can piece together Brown's evolution from MOR teen star to dread hero. Brown's extraordinary talent was in his passionate delivery, turning even simple, pretty love songs like the old housewives' favorites "Rain From The Sky" and "Only A Smile" into something special. When he turns that emotional conviction towards a devotional song like "God Bless My Soul" or a political one like "Fight For Truth And Rights" the power is palatable. Although the album ends in 1976, that year was in no way a turning point in Brown's career, equally great things were still to come. However, it does excellently capture the adolescent's emergence into adulthood, a crossroads where were were indeed golden years. ~ Jo-Ann Greene, All Music Guide [-] Hide

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Artist: Augustus Pablo
Released: 1995

This generous collection of classic, rare, and previously unissued tracks is part of an outstanding reissue series from Island Jamaica (Island Records' reggae-specific imprint). The Augustus Pablo album may be the best of the bunch; it opens with the classic Jacob Miller song "Baby I Love You So," which is immediately followed by the dub version... [+] Read More

This generous collection of classic, rare, and previously unissued tracks is part of an outstanding reissue series from Island Jamaica (Island Records' reggae-specific imprint). The Augustus Pablo album may be the best of the bunch; it opens with the classic Jacob Miller song "Baby I Love You So," which is immediately followed by the dub version of that track ("King Tubby Meets the Rockers Uptown," perhaps the single best dub cut ever recorded). Instrumentals and vocal tracks by Pablo-produced artists follow, including a couple of previously hard to find Delroy Wilson tracks with their dub versions, and two classic performances by Junior Delgado and the late Hugh Mundell. Run, don't walk, to your nearest music store to get this one. ~ Rick Anderson, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Catch a Fire
Artist: Bob Marley & the Wailers
Released: 1973

Catch a Fire was the major label debut for Bob Marley and the Wailers, and it was an international success upon its release in 1973. Although Bob Marley may have been the main voice, every member of the Wailers made valuable contributions and they were never more united in their vision and sound. All the songs were originals, and the... [+] Read More

Catch a Fire was the major label debut for Bob Marley and the Wailers, and it was an international success upon its release in 1973. Although Bob Marley may have been the main voice, every member of the Wailers made valuable contributions and they were never more united in their vision and sound. All the songs were originals, and the instrumentation was minimalistic in order to bring out the passionate, often politically charged lyrics. Much of the appeal of the album lies in its sincerity and sense of purpose -- these are streetwise yet disarmingly idealistic young men who look around themselves and believe they might help change the world through music. Marley sings about the current state of urban poverty ("Concrete Jungle") and connects the present to past injustices ("Slave Driver"), but he is a not a one-trick pony. He is a versatile songwriter who also excels at singing love songs such as his classic "Stir It Up." Peter Tosh sings the lead vocal on two of his own compositions -- his powerful presence and immense talent hint that he would eventually leave for his own successful solo career. More than anything else, however, this marks the emergence of Bob Marley and the international debut of reggae music. Marley would continue to achieve great critical and commercial success during the 1970s, but Catch a Fire is one of the finest reggae albums ever. This album is essential for any music collection. ~ Vik Iyengar, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing One in a Million
Artist: Yellowman
Released: 1989

Shanachie's One in a Million is actually a reissue of the 1982 Greensleeves 10" Operation Eradication, which itself was a compilation of early Yellowman singles. Confusing history aside, it's a fantastic set and includes many songs that still play a part in Yellowman's shows. "Them a Mad Over Me" turned out to be his anthem and "Shorties" was... [+] Read More

Shanachie's One in a Million is actually a reissue of the 1982 Greensleeves 10" Operation Eradication, which itself was a compilation of early Yellowman singles. Confusing history aside, it's a fantastic set and includes many songs that still play a part in Yellowman's shows. "Them a Mad Over Me" turned out to be his anthem and "Shorties" was such a famous slack song it caused Peter Tosh to denounce Yellowman and his dirty talking imitators. Using the Itals' "In a Dis Ya Time" rhythm, "Operation Eradication" has an infectious hook, some fantastic vocal sparring with the late Fat Head, and remains Yellowman's greatest political observation. "Morning Ride" and "Couchie" have been fan favorites for years, and the remaining tracks would be considered highlights on Yellowman's lesser albums. The only disappointments are the 30-minute running time and Shanachie's softening of the album's title for mass appeal. Yellowman's career would suffer the same softening, but One in a Million (or whatever you want to call it) is stupendous. ~ David Jeffries, All Music Guide [-] Hide

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Artist: Shabba Ranks
Released: 1992

Shabba Ranks kept the slack dancehall coming with this follow-up to As Raw As Ever. His thick, patois-laced delivery scored a pop hit with "Mr. Loverman," and a song that basically defined the CD. If you didn't get it the first time around, you sure understood it after hearing "Bad & Wicked," "Ca'an Dun," and "Gal Yuh' Good," among others. ~ Ron...

Shabba Ranks kept the slack dancehall coming with this follow-up to As Raw As Ever. His thick, patois-laced delivery scored a pop hit with "Mr. Loverman," and a song that basically defined the CD. If you didn't get it the first time around, you sure understood it after hearing "Bad & Wicked," "Ca'an Dun," and "Gal Yuh' Good," among others. ~ Ron Wynn, All Music Guide [-] Hide

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Artist: Inner Circle
Released: 1987

Having re-established their credentials with the magnificent Black Roses album, Inner Circle now appeared to be resting on their laurels. At first they seem to have spent their entire creative cache, as they coast through the first half of One Way. It's all pleasant enough -- upbeat club lite with just enough roots at the songs' cores to keep... [+] Read More

Having re-established their credentials with the magnificent Black Roses album, Inner Circle now appeared to be resting on their laurels. At first they seem to have spent their entire creative cache, as they coast through the first half of One Way. It's all pleasant enough -- upbeat club lite with just enough roots at the songs' cores to keep their old fans mildly interested. Still, saxophonist Dr. J adds punch to "Front and Center," while the generous nods to pop's past and music's present fashion will please younger ears. The themes are equally featherweight: unity, reggae's universal appeal, love, and soft culture are the flavors of the day. Then "Massive" kicks in, and the whole atmosphere of the set shifts, as Inner Circle reinvents the classic "Slaving" rhythm. "Bad Boys" is even more memorable, a scorching warning to the raggamuffins led by Ian Lewis' threatening bass and Lancelot Hall's thumping beats. "Champion" is even more lethal and several megatons heavier, while the impassioned "Keep the Faith" is a mix of lightness and heft, African tinges, and Jamaican riffs. So, the title is inaccurate, since One Way moves in two entirely different directions. It was less jarring on vinyl, of course, especially during the '80s when it was de rigueur for albums to be divided between a cultural side and a pop/lovers side. Black Roses needed no such separation, and was stronger for it in a way; Circle seemed to have misread the map here. Yet, even in their earlier heyday with Jacob Miller, Circle was torn between deep roots and pop, and that struggle is now beginning anew. Soon, they will give in to temptation and garner international success, but here their road has yet to turn into a one-way street. ~ Jo-Ann Greene, All Music Guide [-] Hide

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Artist: Desmond Dekker
Released: 1992

To pick a truly essential Desmond Dekker collection from the myriad best-ofs, box sets, and period anthologies that dot the musical landscape would be almost impossible; many of the Dekker compilations currently on the market are practically interchangeable in terms of both content and sound quality. But if you're looking for a starting point,... [+] Read More

To pick a truly essential Desmond Dekker collection from the myriad best-ofs, box sets, and period anthologies that dot the musical landscape would be almost impossible; many of the Dekker compilations currently on the market are practically interchangeable in terms of both content and sound quality. But if you're looking for a starting point, you can't do much better than this 20-track retrospective, which includes just about every hit single Dekker made during the peak of his popularity in the late '60s. There are the songs of Biblical warning ("Honour Your Mother and Your Father," "This Woman"), the rude boy anthems ("007 (Shanty Town)," "Rude Boy Train"), the topical admonishments ("Keep a Cool Head," "Unity"), and, of course, the immortal "Israelites," which introduced most of North America to the ska sound when it was a worldwide radio hit in 1969. Not to mention charming period pieces like "Intensified Festival 68" and the irresistible romantic come-on "Pickney Gal." Highly recommended. ~ Rick Anderson, All Music Guide [-] Hide

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Artist: Freddie McGregor
Released: 1999

Like Bob Marley and the Wailers, Freddie McGregor started his career as part of the legendary Studio One cadre of Jamaican crooners. Golden-voiced and subtly charismatic, he has been a consistently popular singer since the '60s. The Anthology presents a brilliant overview of Freddie McGregor's deep impact on Jamaican music. Opening with his... [+] Read More

Like Bob Marley and the Wailers, Freddie McGregor started his career as part of the legendary Studio One cadre of Jamaican crooners. Golden-voiced and subtly charismatic, he has been a consistently popular singer since the '60s. The Anthology presents a brilliant overview of Freddie McGregor's deep impact on Jamaican music. Opening with his best-known hits, the '80s classics "Big Ship" and "Stop Loving You," McGregor's soulful talent is unquestionable, but it's on the rare Studio One tracks that a glimpse of his skilled ability to translate emotion is really evident. From the haunting melody on "Africa Here I Come" to his caressing delivery on "Bobby Babylon" to the flawless harmonies on "Bandulu," he paints landscapes of feeling and longing. The Anthology is an essential addition to all reggae collections. ~ Rosalind Cummings-Yeates, All Music Guide [-] Hide

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Artist: Lee "Scratch" Perry
Released: 1997

Purportedly the definitive Lee "Scratch" Perry compilation, the three-CD set Arkology is loaded with good intentions and is carefully constructed, but with a back catalog like Perry's -- where it's nearly impossible to find out what's what -- definitive in this case is a dream. Still, the compilers have done a fine job of providing an overview... [+] Read More

Purportedly the definitive Lee "Scratch" Perry compilation, the three-CD set Arkology is loaded with good intentions and is carefully constructed, but with a back catalog like Perry's -- where it's nearly impossible to find out what's what -- definitive in this case is a dream. Still, the compilers have done a fine job of providing an overview of Perry's career that makes sense musically, historically, and culturally. For those who want to jump headlong into Perry's world, this is the way to go. (Otherwise, buying two to three individual releases would be recommended.) Arkology's foundation is the 1979 anthology Scratch on the Wire; the compilers took those tracks and added a significant number of remixes and a few previously unreleased dub tracks to give it some weight. And that is perhaps the set's biggest drawback; it doesn't cover quite enough of Perry's career. Remixes are nice, but a representative sampling of the early, mid-, and late periods at Black Ark would have been better, as well as a few of the early-'60s ska tracks that didn't make it onto Heartbeat's excellent Chicken Scratch compilation. There are also some irritating audio considerations here; sometimes reggae reissues lose that warm, extremely loud bass sound that is crucial to the riddims. That's not always the case on this release, but there are some moments when you wish there was just a little more blood coming from the speakers. So, all that said, is Arkology worth it? Absolutely. Don't think that this large purchase will give you all the crucial Lee "Scratch" Perry recordings; it provides a good overview and is an excellent introduction, but consider it the start, rather than the completion, of your journey with Scratch and the Upsetters. ~ John Dougan, All Music Guide [-] Hide

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Artist: Big Youth
Released: 1973

Achieving his first success on wax with "S 90 Skank" for producer Keith Hudson in 1972, Big Youth recorded Screaming Target, his debut full-length, one year later for Gussie Clarke. That album, along with a handful of 45s from the period, was largely responsible for bringing the DJ art form forward after U-Roy's innovations. Here, in place of... [+] Read More

Achieving his first success on wax with "S 90 Skank" for producer Keith Hudson in 1972, Big Youth recorded Screaming Target, his debut full-length, one year later for Gussie Clarke. That album, along with a handful of 45s from the period, was largely responsible for bringing the DJ art form forward after U-Roy's innovations. Here, in place of hip, jive-derived phrases, listeners find Big Youth ruminating on themes that exemplified the new consciousness of the 1970s. The set-opening title track, for instance, finds the DJ promoting literacy and general positivity, Youth-style, over K.C. White's "No No No." Similarly, he chants down slavery and calls for equal pay for equal work on "Honesty." Elsewhere, "Tippertong Rock" is a misspelled reference to the sound system that the DJ got his start on, Lord Tippertone Hi-Fi. Many of roots reggae's most innovative releases emerged from the studios of young producers intent on rivaling established businessmen like Coxsone Dodd, Duke Reid, and Prince Buster, and Screaming Target is no exception. Clarke was but 18 when he began producing and 20 when he oversaw the sessions for this album. The rhythm selection is superb throughout, including Leroy Smart's "Pride and Ambition," Gregory Isaacs' "One One Coco Fill Basket," and Lloyd Parks' "Slaving," and Big Youth's toasts are a pure joy to listen to. Unfortunately, Trojan decided to separate the mix for the 1989 issue, sending Youth's toasts to the left channel and the rhythm track to the right, resulting in a rather unbalanced listening experience, depending upon your proximity to the speakers. That aside, the music on this release is simultaneously a benchmark for reggae in general and the DJ form in particular -- and a classic of recorded music, regardless of the genre. ~ Nathan Bush, All Music Guide [-] Hide

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Artist: Lee "Scratch" Perry
Released: 1984

With its contributions from such eminent members of the Lee "Scratch" Perry stable as the Heptones, Max Romeo, and Junior Murvin, this album could have been titled Lee Perry 101. You can start a lot of arguments among reggae fans trying to establish the single best Perry compilation; despite a reggae marketplace glutted with low-rent bootlegs... [+] Read More

With its contributions from such eminent members of the Lee "Scratch" Perry stable as the Heptones, Max Romeo, and Junior Murvin, this album could have been titled Lee Perry 101. You can start a lot of arguments among reggae fans trying to establish the single best Perry compilation; despite a reggae marketplace glutted with low-rent bootlegs and just plain sloppy or shoddy "best-ofs," there are still a good dozen or so compilations on the market that can lay claim to indispensability. This one, an early entry in Mango's respected Reggae Greats series, is certainly one of them. Most of the track selections are obvious: Murvin's "Police and Thieves," Romeo's "War Ina Babylon," George Faith's "To Be a Lover," and several Perry performances including the eerie "Roast Fish and Cornbread" and "Dreadlocks in Moonlight." From the more obscure depths of the Perry catalog come the very stern Jah Lion (aka Jah Lloyd) with "Wisdom" and the vaguely creepy "Groovy Situation" by Keith Rowe. These recordings represent some of Perry's finest work as a producer and bandleader, and exemplify the creative peak of his Black Ark period. If you must limit yourself to a single Lee Perry album, this one may be the best bet. ~ Rick Anderson, All Music Guide [-] Hide

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Artist: Toots & the Maytals
Released: 1973

Bob Marley may have been the man who took reggae to the international audience and became Jamaica's greatest musical star, but it was Toots Hibbert who gave reggae music its name (so what if he spelled it "reggay"), and he led one of the tightest and most soulful bands the music has ever known. Even more important, Toots has a voice that's... [+] Read More

Bob Marley may have been the man who took reggae to the international audience and became Jamaica's greatest musical star, but it was Toots Hibbert who gave reggae music its name (so what if he spelled it "reggay"), and he led one of the tightest and most soulful bands the music has ever known. Even more important, Toots has a voice that's nothing short of a force of nature, radiating passion, conviction, and pure joy on even the most banal material (if you never believed that John Denver's "Take Me Home, Country Roads" could be soulful, listen to Toots' version of it and prepare to be amazed). In their prime, Toots & the Maytals may well have been reggae's greatest act (at the very least they're in the top ten), and the intense, soulful groove of their finest performances is nothing short of awe-inspiring. Funky Kingston is arguably their best album, featuring a handful of the band's best (and best-known) songs (including "Pomp and Pride," "Time Tough," and the still astounding "Pressure Drop") and a cover of "Louie Louie" that must be heard to be believed. Tough, vital music that contains some of the most powerful, hypnotic grooves ever committed to tape; if you think reggae is all aimless ganja-fueled noodling, you really need to hear this. ~ Mark Deming, All Music Guide [-] Hide

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Artist: U-Roy
Released: 1975

Even without the music, this album would still leap off the racks; its photo of U Roy exhaling a mushroom cloud of marijuana smoke from his ever-available pipe ranks among the all-time greatest covers, regardless of genre. However, U Roy doesn't have any trouble coming across as a distinctive presence; his scattershot repertoire of barks,... [+] Read More

Even without the music, this album would still leap off the racks; its photo of U Roy exhaling a mushroom cloud of marijuana smoke from his ever-available pipe ranks among the all-time greatest covers, regardless of genre. However, U Roy doesn't have any trouble coming across as a distinctive presence; his scattershot repertoire of barks, chants, and screams is as critical or more important as the deft, unobtrusive backing woven behind him. U Roy imposes his own willful style, regardless of setting. Sometimes he pulls off a positively poppy veneer on tracks like "Runaway Girl" or "Silver Bird"; other times, he extemporizes slightly ahead of the beat on "Natty Don't Fear" or "The Great Psalms." His lyrics run the gamut of Rastafarian concerns, from facing adversity ("Dreadlocks Dread") to female troubles ("I Can't Love Another") and royalist run-ins ("Chalice in the Palace"). The uncredited musicians stay out of the way (although they get their own album-closing instrumental, "Trench Town Rock"). This album ranks among the '70s dub masterpieces, even if the odd lyrical clinker keeps it from perfection; "Runaway Girl"'s glistening skank can't paper over its sexism (which suggests the girl in question "may be nice/but you're not that smart"). Even so, sometimes an artist only needs charisma to get across, and U Roy handily wins on that score. ~ Ralph Heibutzki, All Music Guide [-] Hide

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Artist: Shabba Ranks
Released: 1992

Shabba Ranks landed another pop hit on his third album to hit the charts over a two-year span. "Slow And Sexy" peaked at 33, providing ample momentum for another collection of sex cuts and come-ons. Ranks did include "Rude Boy" and "Two Breddrens," but otherwise, the focus stayed completely in the bedroom. ~ Ron Wynn, All Music Guide

Shabba Ranks landed another pop hit on his third album to hit the charts over a two-year span. "Slow And Sexy" peaked at 33, providing ample momentum for another collection of sex cuts and come-ons. Ranks did include "Rude Boy" and "Two Breddrens," but otherwise, the focus stayed completely in the bedroom. ~ Ron Wynn, All Music Guide [-] Hide

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Artist: Bob Marley & the Wailers
Released: 1977

This is the very early Marley, the ska beginnings of the Wailers in the early-'60s Jamaican scene. All 20 tracks were set down from 1963-1966 in Kingston's famed Studio One, and it's really the freshest music the reggae icon made in his storied career. Yet it's also his least known. One look at the photos in the package amidst the liner notes... [+] Read More

This is the very early Marley, the ska beginnings of the Wailers in the early-'60s Jamaican scene. All 20 tracks were set down from 1963-1966 in Kingston's famed Studio One, and it's really the freshest music the reggae icon made in his storied career. Yet it's also his least known. One look at the photos in the package amidst the liner notes would throw any layman; there's no dreadlocks or standard issue rasta getup, or wrinkles on his lion-maned grizzled face. Every bit the equal of the more-celebrated sensations that made the horrific poverty of third-world urban ghetto life a little less harsh, the young Wailers have all the best tenets of the brand new genre down. It's the staccato party trumpet blasts of "Love and Affection," the cooling presence at all times, the fast-but-not-too-furious off-beat bounce that went back to Cab Calloway and songs like "Minnie the Moocher," the spiritual love songs and calls to peace, and the general happy, warm tones. One listen to this super-early version of the later-staple "One Love" is enough to shock those who've never heard the pre-rocksteady days of these titans, who would do so much to put the much slower, later reggae style on the worldwide map. And anyone who had the little taste offered on disc one of the recent Songs of Freedom career-spanning box set will likely want to jump all over this; as will any fan of soul, R&B, ska, and just plain old good-time music. There's no hint of the pain and suffering and enormous burden of his later, admittedly just as brilliant, works. Even "Nobody Knows (The Troubles I Bear)" is a call to festivity. Put this on and dance the night away, and sing along. ~ Jack Rabid, The Big Takeover, All Music Guide [-] Hide

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Artist: Black Uhuru
Released: 1993

During the band's heyday in the late 1970s and early 1980s, Black Uhuru was one of the most unique and influential reggae bands in the world. This was partly due to their distinctive vocal sound -- which was dominated by the keening wail of Michael Rose and the haunting harmonies of American expatriate Puma Jones -- but in large part it was also... [+] Read More

During the band's heyday in the late 1970s and early 1980s, Black Uhuru was one of the most unique and influential reggae bands in the world. This was partly due to their distinctive vocal sound -- which was dominated by the keening wail of Michael Rose and the haunting harmonies of American expatriate Puma Jones -- but in large part it was also due to their backing band, which was led by the legendary drum-and-bass duo of Sly Dunbar and Robbie Shakespeare and was one of the few that could challenge the Wailers in terms of telepathic tightness and sheer rhythmic wallop. Liberation goes one better than most retrospective compilations: instead of simply collecting two discs' worth of previously released singles and selected album tracks, it takes familiar songs (such as the anthemic "I Love King Selassie" and the apocalyptic "Guess Who's Coming to Dinner") and presents them in live versions, early mixes, 12" "showcase" versions (wherein the dub mix follows without a break on the heels of the vocal mix), etc. Little of this material is actually rare, and a good chunk of it actually does consist of standard singles and album tracks. But the rarities are plentiful enough to please fans, while the two-disc program is comprehensive enough to serve as a fine overview for beginners. Highlights abound, but they particularly include the showcase version of "Darkness" and the 12" mix of "Sponji Reggae." Excellent. ~ Rick Anderson, All Music Guide [-] Hide

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Artist: Wailing Souls
Released: 1979

These brilliant quartet triumphs echo the harmonic heights of the early Wailers. It's virtually their greatest hits, backed by Sly And Robbie. ~ Roger Steffens, All Music Guide

These brilliant quartet triumphs echo the harmonic heights of the early Wailers. It's virtually their greatest hits, backed by Sly And Robbie. ~ Roger Steffens, All Music Guide [-] Hide

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