title: Four Stars For The Songs On CD

text:
The songs on this early Weavers' L.P. are now available on "Six Classic Albums" from Real Gone Music. Vanguard never released this album on CD.

The tracks are: "This Land Is Your Land", "Aweigh, Santy Ano", "Wild Goose Grasses", "Meet The Johnson Boys", "Aunt Rhodie", "Tina", "Eres Alta", "Come Little Donkey", "Kum Bachura", "All Night Long", "You Old Fool", "Every Night", "The Midnight Special", "Bury Me', "Almost Done", "Empty Pockets Blues" and "Howard's Dead and Gone".


title: A Classic Album From Al

text: While there is a whole lot of "hit singles" material on CD from Al's years on Capitol, only seven of his regular (non-Christmas) albums are available in their original form. Three releases pair two albums on each CD, but this one has only the original "Spanish Eyes" tracks from 1966. This album became his second biggest seller, charting for 73 weeks and reaching #8 on the Billboard Top Pop Albums chart. There are twelve good songs here, but since his CD reissues didn't sell in large numbers, they tend to be hard to find and expensive. The only negative about this item is the 32 minutes of material. I wish Capitol had included a second album on this disk. If you like Al Martino, pick this up if it becomes available. Buyer beware, there are many different releases out there with the "Spanish Eyes" title. This review is for the CD reissue of the ORIGINAL Capitol album and is not to be confused with concert recordings.


title: A Solid Collection of Hits

text: This 3 CD set by Andy Williams includes every one of his forty five Billboard Top 100 hits from 1956 through 1976. Also included are some album tracks and a couple of singles that didn't make the American top 100. The release comes with a very good booklet that has information about every song. Some of these selections are very hard to find and so this is a welcome addition to your choices in the "best of" and "greatest hits" categories. Serious collectors may be interested in the following information: of the eight songs to make Billboard's "Bubbling Under" chart, only "Holly" is included in this set. Six singles charted in the U.K. that are also not part of this release - "Solitaire", "Can't Take My Eyes Off of You", "It's So Easy", "You Lay So Easy On My Mind", "Getting Over You", and "The Other Side of Me". Three of his Cadence songs "Are You Sincere", "The Bilbao Song" and "Twilight Time" are in monaural sound. If you pick up the very fine Jasmine set of his Cadence recordings, you can get these tracks in stereo. The three Columbia singles "More and More", "Ain't It True" and "Hopeless" are also in monaural sound. On this set "Lonely Street" is the stereo (single voice) album version. If you have the Jasmine release, you get this version plus the monaural (two voice harmony) single mix. As you can see, the above items are not going to be a major issue for most collectors. It would have been nice if a few of the album tracks had been dropped in favor of his U.K. hits. All in all, this is a fine effort by Reader's Digest as it provides a source for some hard-to-find Andy Williams hits. I suggest you pick a copy since it is no longer in print.


title: Obscure oldies...

text:
Track listing
ARTIST TITLE  LABEL RELEASE DATE
Wallin, Bobby New Boy In Town Salem 532 1965
Yorey, Bobby That's What I'll Do Soozee 112 1962
Kirby, Jack Cheer Up Little Angel Mar-Ben 1229 1960
Thompson, Sue He's Back Hickory LP 107 1962
Lane, Mickey World Of Pretend Buddy 127 1962
Wilson, Phil Susan Cloverleaf 1003 1959
Garry, Jean Mr. Make Believe Ford 126 1963
Veltrie, Frankie Little Girl Please Come Back Scotty 639 1964
Lane, Jimmy Little Lover Vestal 1906 1960
Frontera, Tommy To Be With You Hi-Life  84951 1962
Publio & The Valiants Lonely Guy Irish 6255 1962
Moreland, Richard Bells In My Heart Picture 7720 1965
Hunter, Jim I Love To Be With You Pamela 208 1962
Mann, Jerry First She Loves Me Skoop 1056 1961
Williams, Warren  Too Proud To Cry Aust. Leedon 223 1962
Bouve, Linc Don't Be Suite 16 104 1961
Starr, Randy You're Growing Up Mayflower 17 1960
Shaw, Bill Love Me Long Virgo 1006 1962
Nichols, Loren Got Me A Girl Mark 56-820 1958
Newman, Jimmy You're Making A Fool Out Of Me MGM 12707 1958
Dino, Paul Will You Marry Me Flame 301 1959
Staro, Frank Edge Of A Star Up 112 1960
Bryan, Jamie Little One Kedlen 2004 1961
Nortones Susie Jone Warner Bros. 5065 1959
Spencer, Vickie Hello Mr. Dream Fraternity 883 1961
Steele, Ray Sugar Coated Lies Sue 787 1963
Smith, Robert Prophecy Of love Magnet 234 1961
Vale, Shannon Star Of Love Star 1940 1961
Gary, John Bells Ring Fraternity 870 1960
Altones Love Me, Love Me Gardena 121 1961

Buy it and enjoy! Sue Thompson's He's back is a treat and it isn't on her Anthology cd on ACE RECORDS, U.K.


title: Obscure oldies...

text: Looking to see what kids were buying that didn't make cashbox or billboard? what did you miss out on that played in jukeboxes or the radio elsewhere. This collection is up to 25 volumes as of Jan 2009, get 'em all, it's worth it!!!


title: STAY AWAY FROM THIS CD!!!

text: Okay, now let me tell you about the 1994 South Bay import of Diane Ray... it is horrible. I have no idea what the source is because it is that bad! The sounds goes back and forth being muffled, the stereo is non existant and now for the kicker... the first song is speeded up making it sound like the Chipmunks. No kidding! So please, stay away from this horrible cd. If you want to hear "Please Don't Talk to the Lifegaurd", I suggest finding it on Collecter's Choice's "If I Were A Princess", various artist collection, the "Growing Up Too Fast" 2 disc set or even the "Teenage Girls" featuring Janie Grant & Diane Ray (her whole 1964 lp from vinyl rip). Well I hope this warning helps you. South Bay did put out a great Poni-Tails cd, but this is they're worst so far.


title: two disc, too cool!

text:
I remember buying a scratched "providence" 45 record for a 25 cents, it was Barry Darvel singing "when you're alone". I had no idea who he was, the song or genre. I was happy with my quarter purchase. 20 years later, I bought the cd and was happier!!! It does contain on disc 2, unreleased material and that is something we'll never get on vinyl! GET IT!

Check his website!


title: Better than not having it!

text:
Who's on it?

THe Shades, the visions, dream girls, delwoods, doves, marci & the mates, sammy turner, karen lake, andrea carroll, willie jones, johnny seven, honeytones, azie mortimer, & rocky hart.

A label that brought you Del Shannon showcases the best of the early sixties sounds b.b. (before beatles)

The sound quality is fair but better than most, get vol. 1 too!!!


title: The Dialtones and the Rainbows!

text: This cd collection is worth it to hear the Dialtones, which consisted of the Safuto brothers, a cousin Eddie Scalla, and their lead, Rosalie Calindo. Bohemian Daddy is my favorite track, it makes me forget the Rainbows, sad to say, because this is a cool recording (despite its acetate, deteriated sound). The cd has a few rough sounding recordings... BUT IT'S BETTER THAN NOTHING! If you are a serious historian of oldies, buy it!


title: Better than nothing?

text: Okay, if you are a collector and want this disk, "Greasy Kid Stuff" does skip, yep listen closely to the fade out and you'll hear two pops and skips. You really won't notice it in the car, but you will with the headphoes, LOL! All tracks are recorded by Janie Grant are from 45's and mono. Diane Ray has 4 tracks in somewhat... stereo. Recorded once again from what sounds like muffled 45's. Hey, at least it makes it "authentic"! I really have no gripe because if I looked for these 45's at garage sales and thrift shops, it would still sound the same! I would rate it 5 stars only if it was from the master tapes! I only wish the same would go for Ginny Arnell's songs!!! UGH!!


title: Five Stars for Romance

text: I was given this disc with the purchase of something else. Most of the time when something is free, it's just OK. But this is wonderfully romantic! The music is moving. Although you can listen to it anytime, I find the best time is to use it as background music for a romantic dinner or throughout a romantic evening.


Love it


title: great gift

text: I ordered this cd for my mother-in-law. She looked every where for it and couldn't fine it. It came fast and she was very happy and surprised.


title: Fulfills Stated Intention

text: Proponents of meditation and yoga should have this CD in their collections. Using animals, Gemma Hobbs provides five different ways to find one's happy place. Using her guidance one can have good visualizations by listening to the suggestion of taking one's dead loads and transferring them to a llama's back. The monkey teaches one to slow down, allowing more presence and less future. She helps us to list things that make us pure. My favorite animal sequence was with the manta rays. The cd is full of good psychology. Enjoy!


title: OVER PRICED!!!

text: This a good CD, but it is WAY OVER PRICED!!!


title: Five Stars

text: Like every song on this CD. Highly RECOMMEND!!!!


title: Disappointed in the 3rd Disc!!!

text: The first two discs are great. But the third disc is awful, it's almost like they were grassping at straw by the time they got to the third disc and they were just looking for anything to full the third disc!


title: Love's Old Country Music

text: WHAT NO SONG LIST???????????? Some of us would like to know what on this CD before we buy it you KNOW!!!!!!!!!


title: Love's Old Country Music

text: This is a VERY good set. But if your a DIE HARD FAN like I am this is alomst not enough. You almost need both HONKY TONK GIRL: THE LORETTA LYNN COLLECTION and this one to compliete them both. There is at least 15 on this set that is not on HONKY TONK GIRL. And at least 28 on HONKY TONK GIRL that is not on here. But this is still VERY HIGHLY RECOMMENEDED!!!!!


title: ok

text: the cd had a R&B kind of sound, most of the songs were average, not too good not too bad.  Only a couple really good songs, not worth it for the price


title: Three Stars

text: good instrumentals, lyrics range from good to average,


title: ?Maybe?

text: I don't own this cd or anything, but all i know is that the band I95 is pretty good, so this must be a pretty good cd... but.. don't own it so i dunno..


title: Good job by former unknown

text: This was a good cd for a newcomer. Released and sold by the artist prior to his time on Nashville Star, this is a must have for any fan of the show and the winner Chris Young!


title: asdf

text:
before hilltop hoods were platinum stars, i copped this cd when their total sales of their cd's were 7,000 (they told me so themselves). before their two platinum albums, this was what i bumped for years, this is two hungry emcees over the cleanest underground production your ever likely to hear...

an absolute recommendation if I ever had one... if you don't like this cd, your a lil' weezy sucker and i'm not joking... if you have any self respect as a underground hip hop fan, get this... you WILL NOT, and COULD NOT be dissapointed...

peace,


title: Berrrrr Chii, chii!

text: No, no, NO! This used 2 b like, my fave. cd in the WHOLE world (just after the Spice Girls). The only fault in that was,... that it was 6 years ago!!!! This is such typical swedish candy "pop" and shouldn't b rated 5 stars!!! It was great at first, but u quickly get tired of it. The only song I can safely say now, is a good song, is probably Sea of Tears. Not that it's sung well (because it's certainly NOT!) but the lyrics and music in it is good. If I had 2 do a remake of a song (along with many others) I'd choose Sea of Tears.<br />In other words... if u still listen 2 Spice Girls, and u want something "new" 2 listen 2, give Popsie a listen. If not, DON'T bother!!!


title: THE dark horse treat of 2008

text: A fresh take on prog-metal,this unknown indie debut album is simply amazing. While not quite at the technical level of Dream Theater's best, it reaches at and even slightly above the level of some of prog-metal's biggest names (Symphony X, I'm looking at you), and is easily the most technical and polished debut album of any band I have heard. Despite the indie release, the sound quality is also superb, and there is no noticeable difference between this recording and any labeled record. The sound is heavier, more minor key, and more aggressive than much of DT's discography, especially the earlier works, and, as many will appreciate, is not in any way power or progressive-power metal (a genre I enjoy, but is often very mono-rhythmic and repetitive). The vocal style is lower in pitch and far more aggressive than the traditional power metal, yet is never grating and not a scream is to be found in the album. The talent and level of polish far exceeds the very young age (under 22, if I'm not mistaken) of each musician, and the songwriting is as phenomenal as the technicality. The keyboard flawlessly harmonizes and complements the guitar in some segments, then smoothly and quickly switches to playing an individual part in the next, adding significant layering and depth to the music as the keyboardist is a virtuoso of his instrument, which is demonstrated in dueling synth/guitar solos worthy of The Human Abstract, Synyster Gates of Avenged Sevenfold (in the legendary "City Of Evil" album), or any power metal band. While the drummer is clearly no Portnoy, his performance is more than acceptable for the debut album, as the drums tend to be the instrument that changes the most over a band's first few albums. While the highlights of the album are "Permanent Scars","Crazy Times","Mind Control", and "Tangent Universe", it is similar to "City Of Evil" in that nearly every song is on the same high level and even the low points ("Predestination" is far too short at 1:40 and "I've Waited" and "Lost Vision" are slower and more acoustically instrumented) are excellent and stand above the work of many of the band's peers. Tracks are generally long, with the only tracks more than 3 seconds below 5:00 being "Lost Vision" and "Predestination". The vast majority of tracks, however, range from 6.5 to 7.5 minutes, with "Mind Control" reaching 8:50. Lyrically, the album contains no offensive material of any kind, though it is a somewhat ominous concept album vaguely telling the story of an oppressive government and censorship. The band allows their Christian worldview to be seen in their lyrics, though one must interpret the symbols and metaphors of the lyrics in all but a few more direct references and a secular listener could likely listen to the album and not notice, and would certainly not be offended. I have been in constant awe since seeing this band as the final band of Cornerstone music festival, the audience comprising of about two dozen due to their funk-esque name, lack of label, and unfortunate fest scheduling. I heard their music drifting across the fest to my tent, and literally sprinted to their show. They are simply THAT good. I would recommend this album to anyone who appreciates technicality, and cannot wait for their next album!


title: Five Stars

text: Fine and dandy. A little slow arriving, but it's as advertised.


title: Donkey Kong Country 3 Soundtrack

text: I'm pretty happy with the CD. It has all the songs from the SNES Donkey Kong Country 3 Game so listening to the CD brought back good memories.


title: Succa Free classicc all songs are slumperz put the disc ...

text: Succa Free classicc all songs are slumperz put the disc in and you won't know it's over til it ends keep game yall


title: Five Stars

text: Well first off this is a rap cd not a soundtrack and it is from phoenix


title: Some Rare Exotica LPs Collected in One Convenient Location

text:
This two-disc set contains five pretty rare exotica albums:

"African Lament" by Miriam Burton
"Aphrodisia" by Bob Romeo
"Polynesia" by Buddy Collette
"White Goddess" by Frank Hunter
"Macanudo" by Ahmad Jamal

"White Goddess" is one of the creme de la creme exotica albums, and if you're into exotica, you have to have this.  Vinyl copies are scarce.  It is presented here in its more common mono form, although Kapp released a stereo version.  (Three tracks appear in stereo on the exotica volume of "Music from a Bachelor's Den.")  It features a smallish group with rhythm section, alto flute, wordless female vocals, and, interestingly, electronics, presumably an ondioline.

"Polynesia" features two instrumentals of small-combo exotica, two vocal numbers (with lyrics) with a female vocalist, and two suites alternating between spoken word and instrumental passages.  This album is a nice companion to "Eden's Island" by Eden Ahbez.

"African Lament" is in Yma Sumac territory.  There are a couple of tracks I tend to skip, but most of it is solid, wordless female vocals with a young Pat Williams in Les Baxter mode.

"Macanudo" places pianist Ahmad Jamal" in a larger-than-usual ensemble with rhythm, strings, and brass.

"Aphrodisia" is my least favorite of the five.  It is small combo quasi-exotica that sounds kind of rushed.  There is no bass player on the session, and the arrangements suffer as a result.

All of these were mastered from vinyl.  Four of the five are mono, and they sound quite good.  "Macanudo" is in stereo, and it reveals some distortion.  (My mono LP copy sounds much better.)

Still, if you love exotica, you have to have this, even for "White Goddess" and "Polynesia" alone.  Good luck finding affordable vinyl.

Here's to El/Cherry Red for making this music available.


title: Already Available

text: Most of these scores have been available individually, either in their original recordings (as presented here) or in superior re-recordings.  Save your money.


title: Essential Mancini Sountrack

text:
As was common in the 50s and 60s, Hank's "soundtrack" albums were re-recorded and sometimes re-arranged for LP.  In order to reach a broader audience, the albums focused on more of the pop/jazz content than the dramatic underscore (Experiment and Terror and Arabesque being exceptions).  The plus side of this situation is that we have a number of great LPs that helped to create the market for soundtracks.  The downside is that they reinforced Mancini's reputation as a tunesmith, and collectively, they don't provide an accurate picture of his range and abilities.

This album - which oddly did not appear as an LP re-record back in the day - is a first ever release from the actual film tracks, and we get the whole range of moods presented in the film.  As an isolated listening experience, the album shares some traits Komeda's "Rosemary's Baby" and various Italian giallo scores, as typified in the juxtapositions of dissonant orchestral edginess and cheerful bossa nova and jazzy tunes.  The use of two pianos tuned a quarter-tone apart offers a creepy tonal color and unique addition.

Apparently, studio contractual issues will indefinitely delay the releases of the many of Hank's actual soundtrack recordings from the 60s, making this album an absolute must.


title: Amazing deluxe package

text: Well worth the purchase if u are an as I lay dying fan, this this the album and fan pack to buy. Arrived flawlessly, comes with so much great powerless memorabilia. The album booklet, the picture vinyl, and cd are immaculate. Highly recommend


title: Very good!!

text: It came safe and in great conditions. I love it!


title: Awesome

text: This CD is awesome


title: Good seller

text: Fast delivery,good product.


Not listening to him bc of his comment on country rap is crap


title: Best danm CD ever made

text: First song cures depression. 9 out of 10 dentists say so


title: This is a wonderful CD. I heard a couple cuts on my ...

text: This is a wonderful CD.  I heard a couple cuts on my local FM station, WMBR, most notably "Wives And Lovers", and I was blown away.  I ordered the CD shortly thereafter.  There is both nice solo and ensemble work, played with heart and soul.  As I write this, I am thinking of a comparison to the young Diana Krall, but without the attitude (imho).  Best of luck to Katie, I hope you have an outstanding career.


title: Five Stars

text: Excellent singer great cd thanks!


title: Five Stars

text: Fast shipping excellent all the way around thank you


title: A "Must Have" for any Real Cheese Collector!

text:
This is Richard Cheese's first CD, and was produced by a different label than his subsequent three CD's.  In it, Richard and the band cover songs from the Dead Kennedy's and Fat Boy Slim to Nirvana and Offspring; all in their unique, "swankified" Las Vegas lounge act style.  As always, they keep the scores musically complex, the lyrics true to the original song, and Richard imbues the vocals with just the right touch of faux seriousness to keep you laughing through multiple listening sessions of the CD.

A co-worker turned me on to Richard Cheese's latest release "Aperitif for Destruction" about a month ago.  Since then, his CD's have been passed around our office with the popularity of beer flavored cheese curds at a Wisconsin dairy festival.

Although "Lounge Against the Machine" wouldn't be my top recommendation for a Richard Cheese newbie (start with "Aperitif for Destruction" and work your way back), it is definitely a must have for any true Cheese-fan's collection.  So... My recommendation is to get it while it is still available.


title: I love this album!

text: Finnegan played in a local Wichita, Kansas band The Serfs that played at my prom in 1968. I bought this album after I came home from Viet Nam while attending collage. I love this album, they are quite the blues musicians. Under rated and under appreciated. This album needs to be on CD immediately.


title: Original release on CD...

text: The original release on CD had the Universe album cover art and started track 1 and so on with the entire Universe album...Then right after Universe was over..Right into the self-titled album. Sounds cool right!!! Yeah that's what I thought. They left off the song/insrtumental-"Tempest". I don't know what ever happened to my copy of that and thought I'd never find these albums again.UNTIL THE INTERNET. ON DBC'S  website they released them as seperate cd's. And I got the full length first album. I also got their final release(An EP) 6 songs called "UNRELEASED" They wanted to do a 3rd album but the record co. wouldn't give them enough money. I had the pleasure of seeing them on the "Universe" tour and got to talk to them. When Universe came out I liked It better than Voivod. The EP is songs that would have been on the 3rd album. The songwriting(in my opinion) is in between the 2 regular releases. DBC is one of top ten favorites from the 80's. Was "RUSH" an 80's band??????


title: Go for a walk or read a book instead.

text:
"Don't listen to it!" said my friends. "It's awful, please, listen to us!"
"It can't be as bad as you all say!" I replied, confident that there was not an adventure of the Fifth Doctor's that I could actually hate. I bought it with full confidence that I would enjoy anything that Peter Davison, Nicola Bryant and Caroline Morris could be involved with.

I was wrong. So, so wrong.

It has a reputation as one of the worst audios that the stellar Big Finish company has ever produced. It is a reputation that is justified. It is every bit as hard to listen to as my friends warned me it would be. Graphic violence and several other triggers are in this story, and the rest is so poorly written that it doesn't make up for that fact.  The great actors couldn't save it.  It doesn't even have the same SPIRIT of most other Fifth Doctor adventures.

Please don't do as I did and listen just to be stubborn.. I had to give it one star but if I could give it 0 I would.


title: Three Stars

text: Great album but arrived warped, still playable but not 100% happy with that.


title: Not as classical as I was expecting

text: I was expecting elaborates scores of classic disney music made to sound more like classical symphonies, but several of the songs ended up having the lyrics still in them or were not at all clasaical-ified.


title: Gift for roommate

text: I ordered this CD for my roommate, he loves it. I have heard some of their music; it is good.


title: Excellent sounding cd

text: This cd was an excellent and perfect sounding cd showcasing Huey Lewis and the News!


title: Five Stars

text: I only have one word for Barry White music and that is 'SEXY'.


title: The cd's came so quickly

text: My husband and I Love Huey


title: Arrived more quickly then I thought it would

text: Excellent CD to listen to.


title: Five Stars

text: Very good


title: This brought back memories.

text: My mom and dad had this very album when i was a kid. Every Christmas it was brought out. It was lost years ago in a move. We had good times listening. I wanted the album. To hear that sound and music again. I now have a grandson to share in this with. Plus now Loretta Lynn has passed. A reminder of a great singer. Great sound.


title: Amazing!

text: Absolutely loved this amazing radio drama. It was dark, exciting, and had a dash of adventure in the mix. The HPLHS hit it out of the park with this one!


title: Moment in Time

text: Love the sound... Was totally surprised... how great it was. Most actors want to sing,,,this guy can and very well!! I just wish he had made another CD by himself. I have some with Jerome Flynn and Robson Green, but Robson by himself is better.


title: Modern chanting

text: This was a gift to my son-in-law, who is a fine singer. He has been learning how to lead prayers and services and generally loves to sing, so this recording has been greatly appreciated. Chaim David is well-within the tradition, but fully open to new influences that allow creative updating of wonderful old music and writing new melodies for our time


title: E-praise

text: My sister bought this cd for me back almost ten years ago, and i just Love how GOD speaks through other people through song. My sister is no longer living on this earth, but she is up in heaven praising GOD! I love you.


title: A Truly classic piece of recording history unavailable but a gem worth finding

text: This is a great concert if you like the simple yet complicated sounds of Joni, James & Phil. The song choice is great; the performances excellent; and the felling that is created listening to these cuts is extraordinary. People at the prime or well on the way to the best tiomes of their recording & playing careers. A truly lucky audience witnessed these magic moments. If you can grab a copy of these discs then DO SO!!! A gem to have and well worth the search. I thank the seller I got it from for putting me behind the wheel of somerhing special.


title: A fake

text: Do not be fooled, this is not an official Tarot release but a bootleg made in Greece.I unknowingly bought this same item on eBay only to learn from Tarot's Zachary Hietala on the Tarot website that this is not an official Tarot product but a fake. Support the band and avoid this product.


title: Christmas Jazz CD

text: I wish it was a little bit more Jazzy, but there are some good songs and different from the mainstream "Pop" music you hear on the radio now-a-days.  artist include Louis Armstrong, Jimmy McGriff, Duke Ellington, Anita Moore, Dick Wellstood, Frank Sinatra, Fats Waller, Babs Gonzales, & Dick Hyman.  Anita Moore's I'll be home for Christmas rendition is probably the best I ever heard! I don't regret buying this CD.


title: Gulda Plays Gulda

text: This composer's music is a unique cross blend of jazz and classical. It is very hard to obtain and was just re-released, thanks to Arkiv Music


title: love it

text: I love this CD right from the start. Brings me to a different world. I guess I'm kinda embarassed but I'm still going to say this, making love with this CD in the background is the most wonderful thing!


title: Maury's LP

text: Nice LP with a lot of favorite tunes.  The song Mister Bainbridge has a nice sound to it.  Very nice LP, would recommend to anyone trying to relax.  A+ all they way.


title: Perfect LP.

text: Perfect sealed album, nice collectible.  Thanks.


This is one of the best cassette tapes(still sealed) I've come across, love the artwork on the front- it's different.  Thanks.


title: Cassette tape.

text: Nice tape with some of Jim's hits, thanks.


title: Sealed tapes.

text: Classic tapes(still sealed)!  Definitely a product of the 1980's.  Thank you so much.


title: Five Stars

text: Excellent ensemble of musician's, and singer.


Five Stars


title: Reasonable price compared with other offers.

text: Compilation of a 2 volume LP record series of CW music. Includes a nice booklet with pictures and text. Thank you, Chris.


title: LOVE IT!

text: Such an amazing book, the narrator is wonderful very true to the feel of Roald Dahl, my son really enjoyed listening even though we had read it several times together.


title: Grab it while it's available!

text: I bought this set  (import - wink wink) really for the 77 show. The sound is fantastic! Very happy with it. A few flaws exist like some brief microphone static and some incomplete songs, but it's great to listen to. I was never a fan of Steve's replacement, but always loved the Omaha live version of Down the Road, so having a near perfect copy of this second show is a nice bonus.


title: REVIEW OF ALLIE ALLIGATOR CD

text: LOVED IT--HAD IT MANY YEARS AGO FOR MY OLDER GRANDKIDS AND IT GOT LOST IN OUR MOVE AND REMEMBERED IT AND WANTED TO ORDER ANOTHER ONE.  THANK YOU .  I LISTEN TO JULIE CHAPMANS PIANO ALBUMS ALL THE TIME. T.HEY ARE SO NICE TO LISTEN TO WHEN DRIVING IN THE CAR.....


title: Grand Arrangements and Soaring Vocals

text:
Hymn records are a dime a dozen these days. In a saturated market, artists often feel the need to reinvent these classic prayers but Audrey does not cave to that temptation. She manages to retain enduring melodies and texts but present them anew. I appreciate her willingness to record some lesser known songs that I grew up singing but had never received professional attention. Marian Grace has long been my gold-standard of hymn arrangments, but Inheritance has now taken that crown.

As you would expect from previous albums, Audrey's voice is the star of the album. Her unprocessed voice soars on top of the massive soundstage of reverb soaked drums, synths, and backing vocals. She retains the strings from Fortunate Fall and her signature intimate piano arrangements make an appearance (Deep Deep Love, It Is Well, Abide With Me & Softy and Tenderly), but most of the album focused on grand arrangements. It has the feel of a movie score, carrying your on a journey. I find myself closing my eyes and imagining myself singing in a huge cathedral. The producer and mix engineer deserve high praises for pulling off this balance.

This album is solid all the way through. The reoccurring drum pattern ties everything together and makes this more of a comprehensive whole than a collection of unrelated songs. Her new songs New Every Morning and Even Unto Death are worthy additions to the collection of enduring classics. I foresee myself returning to this album for years to come.


title: Beautiful

text: Love this album. Love her voice. I wish she would put out a new album.


title: A phenomenal presentation of Belanova's songs accompanied with an orchestra.

text: It's majority of their hits delivered in an astounding way. And the DVD that accompanied the Mexico-only Edition is sensational, something one as a buy should consider getting if they've been longtime fans of the pop trio. Along with the beautiful orchestra, the new tracks and the different arrangements, what made this entire production that much more enjoyable to watch is the special guest stars Belanova introduces to provide a new mix on their songs, for example making "Cada Que..." an emotional ballad with Javier Blake. It's a must-buy!!


title: Great album by a talented group

text: It's interesting to know that some of the songs were written, composed, and produced by various member of this group! It's even better to realize that my favorite songs happen to be those that were done by the members too!


title: Five Stars

text: cool


title: Excellent album. Just a note though

text: Excellent album. Just a note though, IF YOU'RE BUYING THE VINYL COPY, take the record out of the sleeve carefully. The one I bought had the sleeve in upside down and the record just fell right on my desk.


title: not bad

text: I heard a track from this album on an online radio station and bought it to play the same on my own online radio station.  I didn't expect much from it, as one learns to do with no-name orchestras.  While this isn't the greatest musical production ever done, it is impressive.  The songs are relaxing, not trying to hard to mimic the Streisand style, and generally well-done.  Granted, some of the music is electronically generated, but trust me, this album is better than most of the similar products you buy at discount stores for "background music."


title: Five Stars

text: Awesome CD. And it came days before the estimated delivery time.


title: Memory lane with a twist

text:
Ok, it didn’t lure me in like the original. Maybe because the band was so new with me.  But I listened a few more times and I do feel the benefit of having their some of their best albums (Comalies and Black Anima) mesh.

These are heavier and darker reimaginings of the Comalies tracks.  The ethereal melodies of the past still hold favor in my preferences.

One that is a good stand alone is “Entwined XX”.  If the original never existed, it would be an amazing song. But since the original does and it conquers the new one, I just appreciate the album that defined some of the early 2000s in my life.

“UnspokenXX” is definitely amazing and I think its almost as good as the first. I love some of the workings they did with “Heavens a lie” and “The prophet said”.

Andrea growls more than sings. Just one of the the examples of eerie Melodie’s get sacrificed for more distortion and heaviness.

The original “Aeon” reigns supreme. Don’t care for the new one.

This is definitely a cool project.


title: Five Stars

text: My sister said it was amazing!!!


title: Came As Expected

text: Came with everything as described, and in good condition. The poster was folded around the photo book to reduce sharp creasing, which I appreciate. Can’t wait to buy the rest of the Wings albums!


title: On time, decent packaging

text: Everything came as expected, and very quickly! The corners of the album are a bit bent, but that’s to be expected as it didn’t deliver in a box. Otherwise, it is defined worth the money! <3


title: Great service!

text: Appreciate the speedy delivery of this wonderful music cd!!  Ruth Fazel is quite something!  The Holy Spirit is all over her music!


title: Great Audio

text: Completely unabridged audio version of The Crucible.  I use this audio as a supplement to teaching this text.  The performances by the actors are great and help bring the text to life.


title: Breathe Easy

text: I think Jessie Sparks is a wonderful artist.  Couldn't buy  the CD in Australia and very pleased to get it from America.<br />New and still in its original packaging.  I will get my copy autographed by her!!!


title: I like the neat posters and the packet

text: I like the neat posters and the packet, however it only has two songs which made it overpriced for what it is.


title: perfect condition!

text: mine came in perfect condition with no dents, scratches, or marks. the sticker on the back had the little music note when i flashed my camera on it so the album is legit! i pulled jimin who happens to be my bias so i'm extra satisfied! if you're thinking about buying this album and from this seller then i say go for it!

attachment_type: IMAGE


title: ITS REAL!!!!

text: I got solji!! If anyone gets Hani I'll trade! Just message me !!!


title: Comes with everything!

text: Exactly as advertized! Comes with pre-order benefits and everything included in the album! Everything was undamaged and in good condition! I also pulled my bias twice hehe! I love Moms Hobby US, I love that you can choose which version you want, it always comes with all inclusions, always has freebies, and always arrives super quick!


title: Great condition and fast delivery!

text: I actually received my album a week earlier than the earliest expected date! It arrived exactly a week after I ordered, which was awesome! It came with all the inclusions mentioned and it was unopened and in great condition! The seller also put in 3 free handmade non-official photocards in the package!!! Which was really great for me, because one of the members (Dahyun) in one of the handmade photocards was the only member I hadn't gotten any photocards for yet! Loved the album!


title: This is worth your money

text: It’s worth it


title: The best of American progressive rock

text: A must have for progressive rock aficionados!


title: Exactly what I ordered

text: Just as the original I bought in cassette years ago!


title: Five Stars

text: Delivered as promised.


title: Five Stars

text: I loved the cd and it came right on time!!


title: great job

text: All of the same stuff I put b4 so read the last post and ya um 5stars .. .. ..


title: nice

text:
5Stars

Nice and timely great
Really appreciate the bonus CD given to me
Running out of words now that should be enoughbut great person to buy from


title: Good condition

text: Nice one


PRODUCTION: 5/8
VOCALS: 5/8
CONTENT: 5/8
ENJOYMENT: 3/8

GRADE: D+
A consistent album with a dragged out, repetitive sound.

PROS
- deep, meaningful lyrics
- cohesive feel and atmosphere, from the beats to the lyrics

CONS
- Killah Priest's flow is consistently subpar
- production is a little repetitive; nothing impactful
- everything blurs into one, unmemorable


title: Not even a proper release...

text:
If you are not familiar with Dom Pachino, he is in the group KillArmy who arised back in the late 90s. But why does Wu-Tang affiliates keep releasing double albums when you have minimal relevance? Everything on this album is pretty much totally irrelevant. The production is solely handled by Dom Pachino himself and he delivers less than average. The production is definitely adequate but there is nothing that captures you. From a lyrical standpoint, Dom Pachino is subpar and rather annoying at moments. Also add the fact that there is no content or cohesion, you have an extremely weak release. And how do you start the song bashing R&B but have a guy singing on the hook right after?!?! Huh!??!!

[....]


title: They Carried The Torch For James Brown's Funk

text: Wow, this album is so slept on, it's a shame. I asked a DJ with some Time records if he had "Jerk Out" and he said no. I was so disappointed. I'm going to keep this short, but my favorites are the title track, "Jerk Out", "Donald Trump (Black Version)", "Chocolate", "Skillet", "Sometimes I Get Lonely", and "Data Bank". "Jerk Out" and "Chocolate" are my top two, because they brink heavy, funny, charismatic funk. The band is in top form and this CD is worth its weight in gold for those two songs alone. Catch some footage of those two songs being performed on Arsenio and SNL online, they are incredible. I can't believe this a Time record isn't recognized as the best funk album of the 1990s and arguably one of the last true funk bands. They are timeless and I hope to pass this music on to my contemporaries.


title: They Did It Like Few Could

text: There aren't many words that I need to say about this compilation. It's fantastic and if you're a fan of funk and R&B, buy it. Zapp's unique flavor is prevalent on this collection, with jams like "More Bounce To The Ounce" and "So Ruff, No Tuff" being among my favorites. It's music fit for cruising, and they have some slow cuts like "Computer Love" that is not only seemingly prophetic, but quintessential for mood setting with a partner on a cool night. Buy the album, I guarantee that you won't regret it!


title: Five Stars

text: Everything was in perfect condition.


It was perfect.  I received everything listed.  There was no problems at all.


title: What a great memory !!

text: As a child in the 50's, my parents bought me many records, and this was my favorite by far. I would give almost anything to be able to get reproductions of this to share with this young generation of kids - it beats a lousy cell phone game by far, and lets kids be kids, with their imaginations running wild - the  enrichment they need plentifully provided and then some. If you should ever find this record, BUY IT - you will never be disappointed!!


title: Moving Music!

text: Other than the tiny scratch, the CD is amazing! The music is moving & so expressive in its lyrics. From happy to heartbreaking, Greg covers a beautiful spectrum of emotions.


title: This is a bootleg

text: Turns out that this is a Russian bootleg that looks very good. While from a decent source recording, the sound leaves much to be desired.


title: Excellent service

text: Got this item in less than a week. Love the cd. Great songs of worship.


title: Classic Charlie Pride

text: just one more Great album from a Great artist  Charlie Pride bring class to anything he does but really does a terrific job on some really good gospel song  way to go Charlie  i can only hope you continue to record more of this type of music


title: Five Stars

text: I never get tired of listening to this music.


title: I bought this yet is not listed in Amazon music

text: I bought this CD and yet is not included on Amazon music


title: Five Stars

text: Rocks.


title: I'm a dim light fan.

text: One of the greatest albums ever made. Both good and bad put together to make it, I think. It's nice.


title: Add to your collection

text: Firstly, thanks to Didrick for the other review here that provides great information and a photo of the cover art. The "So Yesterday" remix is NOT the Thunderpuss one but it's good. Sorry I can't pin it down as to which one it is. The "Party Up" remix sounds like the Australian "exclusive" one from the Little Voice single. This cd is an interesting mix of tracks and I am glad I added it to my collection although it does still puzzle me a little. I do like the cover art and if you are grooving on Hilary's music it's worth adding it to what you have.


title: Fantastic voice, profound lyrics, it reaches the soul

text: English not being my first language, I am much more sensitive to the emotion conveyed by the voice than to the actual words. After looking up the lyrics on the web for the lead song, "The space between", my mind was blown away. Perfect match of emotion and words. His song IS the pain coming from hoping for love to succeed against all odds. The space between is where we reside, and he is painting it.


title: Morton Downey Jr

text: I had been looking for this for a long time.  Thank you so much for offering it.  It was in great condition and arrived in a timely manner.


title: SMAP are the Kings

text: This single is a reminder of why Johnny's is the house that SMAP built.  Now, don't get me wrong--I don't love all of SMAP's singles, but this one was hot from the moment I heard it--especially Battery.  Uberlove.


title: Five Stars

text: good


title: industrial techno eastern

text:
anyone looking for an excellent industrial techo eastern album with tong of psychodelic elements and beats with lotz of bpm changes this is for you.  simular to laszlo's hyro album.  im more into the dub oriented stuff that gayan is famous for, and this contains all the same eastern recipe but just a bit too fast for me. but this is one of my favorite group even and they have been aroung scense 1979, check out website and other works. full review from el-horto web site

The Sangeet Novus Sensus has been composed for a socio-ethno musicologist coming from the Eridanus constellation 200 years later to our Earth. This demo was produced in 1995-1996 in the former East-Europe as a reflection of the sociological experience having obtained in the late 20th century.

It's technological basis have been a PCM morphology using up the old FFT spectrum-analysis as an algorhythm controller and a virtual overtone-synthesis software developed by me. Here appears the music as a physiological sôma (szleg) and seems to be one of the potential acoustical solutions of abbandonment from the earthly reality and of the generating the social-Möbius consciousness based on my computer mêmesis technology.

The modular goa-electronics, the matrix topologie of tablâ-mêms, synthesised carcinogen PCM sequences, the Hindusthân style of the astral-hallucinogen orchestration or the polyphonic application of the analyzed interstellar noise spectrum samples or the geometric fractal loops induced by Zipi programming and the Pythagorean methodology of the sound mixing - all have spun a mêmetic cobweb around the average phosphorescent acid-consciousness having been grow in consequence of the alienation trend in this century, so the Sangeet Novus Sensus appears as a refined "prâna of transociete" of the millenium.

Later on when the humanoid consciousness transplanted into networks and the human race settled down into the stratosphear of Jupiter - in those days the original frequency algorhythms of the music being converted into laser needle impulse were plugged in the synapse of the human neuron outcome and they were stimulated by thousands of 3D-16 Hz BPM impulse/minute - began a new area of the music history and the hidden meaning of Sangeet Novus Sensus became as an ethnological nightmare of the past.

L.H.'s memoires in Technomusicology,

2009/IV. pp.109-128, October Edition,

under title: The Virtual Mêmesis of Music.


title: From Behind the Shadows. . .

text:
There aren't many cases in reggae, to my memory, of talented artists living in the shadow of another artist for one reason or another. What first comes to mind is of course the situation of the legendary Bob Marley and the Wailers with Peter Tosh, Bunny Wailer and even the I-Threes (Marcia Griffiths, Judy Mowatt and Marley's widow Rita) forever having whatever musical directions they go tied to the King. Even in that situation, however, while none of those figures have attained the level of notoriety or popularity in the music as Marley has (as has no one else for that matter to date), they all have reached a level in their own careers where they are supremely respected for not only their work with Marley, but their own as well. there are also the countless stories of seemingly forgotten  smaller producers and engineers living and thriving in the shadows of more well known and in some cases, legendary, producers. In this case however, what you have is those overlooked names, eventually becoming the next generation of producers, having spent their times working for the bigger names as developmental years until the point where when they are ready to present themselves to the public, they are nearly ALREADY masters. In more modern times, particularly in dancehall we have seen the evolution of the dancehall groups and crews where a few of the lesser talented or still developing talents may spend nearly an entire career working in the shadows of bigger named artists (and definitely benefiting from that work). The first case that comes to mind is David House. The longtime star of the house, the Prophet Capleton, has been the flag bearer for the camp for nearly a decade, while still talented artists such as his younger brother, Lil' Capes, longtime David House members Jah Thunder, Military Man and Moses I have worked behind him in various roles, all the while still producing their own material. Even more talented names such as Jah Mason, Jah Cure, Fantan Mojah and Reagan have also spent time at David House before venturing out for their own solo successes while still keeping a link to the camp (especially in the case of Mason who still considers himself a member of David House). Even Capleton, however, has to acknowledge supreme talents which is what he has now as the latest member of David House, Munga Honourable, has begun to establish himself amongst the young reggae elite. Other similar cases exist, such as Sizzla's Judgement Yard which houses, besides himself, talents such as Congo Judah, Joseph Shepherd and others (and that situation has lightened even as the family tours, even without Sizzla headlining)(remember the name Zoom Raggedy) ; Vybz Kartel has a similar camp with his Portmore Empire which consists still of mostly developing names (and Aidonia)(remember the name Deva Bratt) as does Spragga Benz with his ever pushing Red Square Camp(remember the name Bad Greg Hines). The bottom line being that eventually, true talent rises to the top in reggae, no matter the situation.

Perhaps, however there has been no greater and better example of one artist living in the shadow of another, than in the case of (Little) Kirk Davis. Virtually Davis' entire career has been spent with him being known first and foremost as the brother of reigning dancehall ace Beenie Man (born Anthony Moses Davis). It also doesn't particularly `help' matters that his sole introduction to international audiences over the years has been part of the trio of artists which has been Beenie Man's main opening act for the past decade or so during his hectic touring schedule (this group also includes Silver Cat and off and on again Don Maffia (aka Gringo)). Locally as well, he hasn't been the most active artist in the business as his recording schedule almost coincides with that of his more well known brother and he hasn't been exactly flooding the market with singles either. What he does have, however, is the definite respect of many, if not all, of his peers and definitely that of his brother who is sure to include his slightly older sibling almost every time there is a big project to be done. In stark contrast to his rapid fire spitting brother, Kirk Davis is a soulful voice, almost r&b styled crooner who readily acknowledges his inspiration as consisting of many old school US singers and at first made his name singing, amongst others, Michael Jackson covers. He also grew in the same areas and corners as his brother, thus has over the years worked for some of the strongest production talents the dancehalls have had to offer, affording him some of the better compositions with which to work. What has alluded the very gifted singer, is that career and life changing hit promoting him to a level of stardom, but even in spite of not having such a hit, he has remained one of the most respected vocalists in all of reggae music and has appeared on many of the finest stage shows and festivals in Jamaica. He also, perhaps more notably, has a reputation of being one of the easiest artists to vibe with , and in a business of not so many people having such a reputation, certainly that is something which has stuck out for Davis' career. Davis' career also received a revitalization of sorts over the past half decade or so when he followed in a line of several top notch reggae artists, and came into the glory of Rastafari, dropped the `Little' moniker (and his way of saying exactly why he dropped it is very funny and something reserved for those who catch Kirk Davis live, and his stage show has to definitely rank with many of the finest singers as well). With this change came a slight change in his music as well, not taking anything away actually, but adding a very nicely defined area of roots to his already proven well done dancehall and lover's rock formula. And Davis hasn't gone completely rootical to a Luciano or Bushman level, but the vibe has done absolutely nothing but make listening to his music a truly more enjoying experience.

Speaking of his music, 2007 has brought many joys and surprises to reggae fans with the releases and another nice one to add to that pot is Kirk Davis' very well done One More Chance. One More Chance quietly becomes the third album release from the singer following 1999's I'm Ready and 2000's Too Hot to Handle (good luck finding either one of those albums). With it, he rolls out the majority of his better known songs from the past two to three years, giving the album somewhat of a compilation feel to it, however, even the most hardcore of reggae heads (myself included) will have to confess to not hearing the majority of these tunes, still giving it a tinge of a new album feel, despite the fact that these songs were not specifically recorded for this album (which is hardly ever the case in reggae music anyway). As expected, the album is a solid and jam packed mixing pot of dancehall, r&b, lover's rock and roots (Davis' entire career has been a mixing pot of dancehall, r&b. . . )  with a few twists and turns and appearances by some of Davis' friends and some of reggae's most well known names. His vocal style is a mix of a few others as well. While he definitely has the Mykal Rose/Junior Reid wail to his voice, he also has much more of a standard voice: Imagine Mykal Rose mixed with Everton Blender and you pretty much have the very soulful tones of Kirk Davis. The first tune on One More Chance is the very nice rootical effort Spread Jah Love. Spread Jah Love is a strong acoustical vibes, which sounds like something that Marley would do every once in a while. It never really gets too heavy and although strong throughout, Davis never really taps his voice to the max, but its just a very strong and nice vibe to open the album with. The title track follows over the  very lovely nyah drum infused Mystic riddim. One More Chance, the song is undoubtedly one of the biggest local and international tunes Davis has ever scored with and is quite a nice peace to have on an album, a piece which went virtually unnoticed by the big compilations when it was released.  The riddim itself is a very nice and heavy piece from the previously all but unknown Gogan and although Macka Diamond also scored a nice piece over the riddim with her tune Your Mistake, Davis certainly has the signature track on the riddim with One More Chance a vibe for all those behind bars to keep their heads up and aspire to do better upon their release. It was actually a different kind of vibes because the song explicitly speaks to those who are behind bars who have truly done the crime, and its just a wonderful vibe, regardless of your own personal situation.

The first combination, Liar with the wicked Mega Banton is pretty much one of the weaker tracks on the album. Its kind of something out of the late eighties pop style, it just doesn't really do a lot for me or the album, and checking in at twenty tracks full, Liar definitely becomes part of the `filler' for One More Chance and that is definitely a disappointment because I was looking forward to the combination. The second of five combinations, however, pretty much makes up for Liar's shortcomings. Bad Boys & Police is an excellent effort over Goofy's Eight Ball riddim featuring DJ Lion Heart. This one is definitely one of the album's best pieces overall and it gives the dancehall something over Goofy's very odd riddim (if you're familiar with Elephant Man's Draw Wi Out, it's the same kind of stop and go style riddim). Immediately following that one is Forever, a combination between Davis and reggae superstar Buju Banton over the Reggaementa riddim (which backed Queen Omega's disturbingly lovely I Believe in Love). The tune is a nice lover's piece and is actually the second (that I know of) combination between the pair who also scored with Don't Waste Your Time for Goofy in 2000. Loverman is another so-so piece in combination with man of the moment Sean Paul. Its pretty much what you would expect with neither of the two doing anything unusual (although Davis does pretty much DJ his final verse) or exceptional. The last combination was the biggest of them all. One More Time features the bros. Davis in a nice combination from Beenie Man's The Doctor album The very jovial track was amongst the nicest highlights on that album as it is hear, nearly a decade later.

All that being said, my favorite track altogether on One More Chance is the one which immediately follows One More Time and ends the album, the wonderful (and misspelled) Concurring Lion (Conquering Lion) which floats nicely as a tribute to His Imperial Majesty over the Firehouse Crew's superb Black riddim. Ultimately, this is what reggae fans would like to see someone who has such a wonderful voice as Davis using it for, nearly alone on its own merits, Concurring Lion is worth the price of admission you would pay for this one, definitely need to hear that one.  The other track which did relatively nice damage is One More Chance. The song is almost a bit to melancholy for my tastes, but within the style it offers quite the nice message and that's where the true strength of the tune lies.

Other tunes worth checking out definitely include Don't Cry for Me over Goofy's Fresh Air riddim. I'm guaranteed to pretty much enjoy anything that I hear over that riddim (especially Warrior King's Breath of Fresh Air and Natural Black's Free Again) and Don't Cry for Me is no different. It stands as one of the few tracks on the album where Davis actually pushes his voice to its brink, and its overall just a high quality and well done piece. Check the very nice and bouncy Tell Me Why over the wonderful Music Man from Shocking Vibes. The album also includes Davis' cut of the Lalibella (aka the If Jah) riddim and lastly check All I Have to Give (which I'm sure is a remake of some song, just don't which and regardless of who it is, Davis does a better job than the originator, trust).

Overall, I can pretty much recommend this one to anyone. To his credit (which is a credit you can lay on so few reggae artists) Kirk Davis' style is one of a kind that lends itself quite easily to the crossover without leaving the reggae arena at all. I don't mean to say that you can expect to see him on BET or MTV alongside Sean Paul and or his brother anytime soon, but for those that enjoy r&b and maybe even a little pop style, definitely check out One More Chance if you want a bit heavier kind of reggae vibe. For the more established reggae head out there, I'd recommend this one to you as well. Undoubtedly you've heard the big tune One More Chance, the album features a very solid supporting cast you will enjoy as well.


title: For the Rootsheads Only. . .

text:
Should you ever find yourself seeking a really really mellow reggae vibe, eight times out of ten I'll probably recommend that you seek out the latest Luciano release. Those other two times I'll suggest you take the route that I've been doing for the past year or so and check out a Batch release. Batch is one of the preeminent producers and ever developing artists coming out of the Virgin Island reggae scene and briefly being based in the States (in the very reggae heavy Virginia I believe, to my knowledge he has since returned operations to St. Croix) Batch continues to spread his heavy, yet very smooth blend of reggae music through his label Sound Vizion Records. Having originally made his name as a virtual utility musician, playing a variety of instruments for a variety of very well known artists including some Jamaica's finest roots and dancehall talents, Batch is now very known and respected for not only his own music, but having done production work for some of the finest talents in the Virgin Islands (and I'm just waiting until an artist from Jamaica, especially Lutan Fyah, makes his way to Batch's studio). Batch has even done production work for the Midnite band (on the He is Jah album), the dominant name of the Virgin Island reggae scene and has pushed his name alongside the most respected production and musician names of the genre such as Tuff Lion, Laurent `Tippy' Alfred, Ronnie Benjamin and Dean Pond. All the big producers have definitely their own style; while often times the VI reggae sound is categorized by many (including myself sometimes) to be like the old school Jamaican sound just before the digital dominance began, it isn't always a fair comparison on categorization as the genre continues to develop nearly daily. The brilliant Tuff Lion for instance (and check his debut album, Utterance, as well) is most noted for his guitar works and thus his productions (which occurs largely with Laurent Alfred) reflects that; while with Alfred himself, he seems to take his compositions in a variety of directions, encompassing both that ultra heavy, old school vibe as well as, at times, that large anthem sound of today's roots for his label, I-Grade Records; Dean Pond, most noted for working with veteran St. Croix singer Army and doing lead production for the debut of Pressure Busspipe, The Pressure is On, but also having a basis which began with Midnite production as well as works for other artists, almost exclusively has that large sound of `neo-roots' reggae. Ronnie Benjamin's production style is almost completely the very heavy and mellow old school sound which blends perfectly with the style of ultra roots music his band, Midnite, makes. Batch's style is closer to Benjamin's style with a touch of Dean Pond and others. Could you take somehow take Batch back to 1960's-1970's Jamaica, today he would probably be a household name in reggae music.

His own works have lead to the creation of his label which most notably has served as a launching pad for one of the future (and arguably current) superstars of the genre, Ras Attitude. The connection between the two artists has proven to be quite successful, Batch's Sound Vizion has, to date, released two albums (his debut Happiness and the very solid Love Life) from Attitude, and as his base has also pushed him into very successful ventures with other producers all over the world (I recently saw a video for a Ras Attitude song played here in Jamaica!). Credit goes to Attitude definitely for encouraging the previously almost exclusive studio and instrumental performing Batch to take the front stage  more and more and actually produce for himself. The result has been a very respectable run of now five albums (the fifth is I-Ver Strong which I'm currently listing to), four of which were produced by Batch (the new one was not) and three of which saw their exclusive release on his own Sound Vizion label. I'm anticipating that someday the two will actually be releasing an album together, that album will undoubtedly be one of the most substantial pieces for the genre to date. Batch has also done production work on his label for Mada Nile, a very nice chanter from out of St. Croix as well (check out her new album on Sound Vizion, Many Roads), his `secret weapon' the developing Ahfyah and others such Masta Chang, Shepard, fellow producer Ras L and even Ima, Batch's wife (who plays a very prominent role on this album, as a background singer, although wonderfully credited as a `front ground` vocalist). I've always maintained that Batch's production work is undoubtedly where his true success lies, I hope someday Sound Vizion grows to the size of Alfred's I-Grade label thus giving Batch the opportunity the opportunity to work with nearly every sensational young roots talent from out of the VI scene, but his talents on the mic are definitely not to be overlooked. While Ras Attitude often times comes off as the supremely talented wordsmith capable of adopting almost any style while still seemingly (at least these days) being entirely more comfortable as a singer, Batch, on the other hand is almost a pure chanter. His style of chanting, however does involve a great deal of singing and he basically veers between the two styles at such a rate that they both, combined, actually BECOME his style. I liken him to an overall more vocally talented version of Vaughn Benjamin, lead singer of Midnite (although certainly not as talented with the word as that lyrics machine, but very respectable still) and perhaps even more closely related vocally to a lite version of Bambu Station lead singer Jalani Horton (minus the occasional volcanic outbursts which make Horton's style so very unique to him). And the good thing about Batch, the artist, is that he obviously continues to grow, on one of his most recent albums, To the Root, he displayed a much more melodically nice vibe which wasn't present on his previous work, Jah Guidance (although that album STILL stands as musically, in my opinion, his greatest piece to date).

Besides To the Root, I-ver Strong and Jah Guidance, his three most recent pieces, there was the beginning with Who You Are, which really got the international buzz going about him as an artist, becoming one of the most popular underground pieces in the brief history of the VI reggae genre and then Keep the Faith. Keep the Faith didn't exactly attract much of the same attention as Who You Are (which I took an extraordinarily long and dumb time in picking up) but purely from a musical standpoint stands in very fine comparison to that album just a year before.

Checking in at a very healthy seventeen tracks and featuring no official combinations, Keep the Faith is an excellent showcase of Batch's overall musical game. It is, for the most part a heavier vibe (which he himself attributes to having had more experience at the point) and an album which definitely requires a several listens to truly appreciate. Keep the Faith is just, in its simplest form, knowledge, you can literally learn something about yourself listening to it, and its all delivered in that typical laid back, Batch style which is just doing wonders or me these days. The album opens with Leave Out of Babylon a very solid repatriation anthem which Batch is very good at writing (also is devastatingly proficient at the herbalist tune as well). The song isn't too dissimilar lyrically to a track which appeared on the To the Root album, Carry Beyond. Batch can write a repatriation vibe that just makes you want to pack up everything, get your family and head Black to Afrika at that MINUTE, all done in a very mellow style, just a nice inspiring vibes. The aforementioned herbalist tune (which is also a nice penchant Luciano) comes in the form of early track Tree of Life. Batch's method of writing these types of tune is almost a praising vibe where you almost personify or in some cases even deify the herb itself, focusing more on the positive aspects of it (which is his style with almost everything), rather than taking the road used by so many in defending it. Tree of Life is no different and it stands as one of the more interesting songs on Keep the Faith and if you are an enjoyer of the herb, definitely a song you would be interested in hearing. Sons & Daughters is just a compete praise His Imperial Majesty and HIS followers from all walks of life and one of the best tracks you will probably hear Batch voice (my two favorite Batch tunes remain Ah Rulah from the Who You Are album and Hail the King from the To the Root album). Later on in  Keep the Faith is a very interesting song Reaching. Reaching speaks on many of the trivial and inconsequential things which have arisen to divide Afrikan people. While definitely not his greatest creation musically (its built over a riddim which is pretty much all over the place), you definitely need to hear the lyrical vibe poured into the message on Reaching , definitely a must hear for fans of Batch and others as well. Check Justice. Justice is a quietly aggressive of all the struggles Afrikan men and women face in the world and its just a lovely done song over a riddim done so minimally but one which certainly is one of the most powerful on the album altogether.

My absolute favorite tune on Keep the Faith is the title track (I don't think that happens very often at all). Keep the Faith, the song, is an excellently done challenge to those in the struggle to maintain and `keep the faith' for the reward for doing such will be great. While not an official combination, his wife, Ima, compliments her husband very well adding vocals throughout and while she appears on several tracks (and on some in slightly more prominent roles)(check Jah Run Things) Keep the Faith is undoubtedly her highlight as she voices the wonderful twenty five second long intro to the track and continues to hold a high vibe throughout.  Another tune here which stands out to a very high case is the wicked wicked Sane Cry. While you could never describe Batch's musical style as even bordering near anywhere dancehall, Sane Cry is about as close as he gets to that vibe, even almost getting to something which gives a semblance of a DJ style on the tune. Sane Cry is Keep the Faith's changeup, a nice mix of the vibes and what you're used to from Batch into something different which is definitely worth listening to. One of the other real standouts on Keep the Faith (there are four altogether) is the tune When. When is an admonishment to those in society who have lost their way and not living in a positive way or in a selfish way. Its done over one of the best riddims you'll hear out of the Sound Vizion camp, I recognized it almost immediately as the tune which backed Ras Attitude brilliant War to Win, from the Love Life album, the riddim is such a heavy heavy one drop which absolutely serves perfectly as a showcase for Batch's talents as a producer and simultaneously, an excellent backdrop for one of his finer tunes as a vocalist. The final truly big track on Keep the Faith is the closer, the To the East instrumental. To the East is the name of the riddim which backs the aforementioned tune When and its almost a reward to the fans. You hear that wonderful riddim and its almost not even a matter of opinion, but a matter of fact: The To the East is a beautiful riddim. The decision to include it as the final track on Keep the Faith was a wonderful idea and one that truly strengthens the album overall.

Another nice spot of tracks I have to mention on Keep the Faith comes just before the very solid ending tracks. Check Zion Kingdom Come which is a lovely song speaking not only the wonders of Zion itself, but the wonders of seeking Zion as well; check the song for the Empresses, the lovely Good Virtues, very nice track for the Black Queens and men who treat their Queens like such;  and lastly I'll mention Full Circle which sounds like something snatched out of 1960's Jamaica, I was expecting to hear Alton Ellis chime in after the very nice beginning, but Batch does a very respectable job with the vibe.

Overall, I'm recommending taking undoubtedly long road it would take to find this very hard to find gem (although, shockingly, you can RIGHT NOW purchase it on Amazon) to the more experienced and initiated roots fans. Newer fans, I think you may find Batch's newer and extremely more accessible (both musically and actually finding the albums) material. When considering that  along with recording  and producing this massive album, he was also recording and producing Ras Attitude's Love Life album as well as Mada Nile's debut album, Rise Today simultaneously. While all the productions were definitely similar, they shared very little in the way of actual production and riddims. Batch is to be commended for that along. Also commend him for the very nice album that is Keep the Faith, a very nice and mature roots album for the well versed and experienced roots fan.


title: The Professional. . .

text:
(4.5stars)
The reggae underground is literally sprinkled with names which mean nothing to those outside of it, but absolute brilliance to those who follow. While a select few of these names may eventually make it to the lights outside, the grand majority of these names are certain to achieve somewhat of a cult status and those who follow these artists will continue to do so (and rather happily at that) in virtual anonymity. Traditionally, much of this category has been reserved for those select few of talented artists from Jamaica who just couldn't seem to (or were downright unwilling to make such a commitment) make that next step by virtue of scoring the necessary large hit needed to propel one's career. This type of artist (I.e. names like Delly Ranks, Frisco Kid and others) remains very popular amongst those who enjoy them and rarely ever see a decline of their popularity (see the ever popular Louie Rankin as an example of that who I'm convinced could sell out any show in New York given only a days notice to this day!) but they never fully reach the level, locally or internationally of their more popular, but not necessarily more skilled peers. When you take this type of phenomenon and apply it to today's day an age in a world almost oversaturated with reggae vibes reaching the four corners of the map and reggae artists you have a TON of brilliant artists the majority of the reggae listening masses has really yet to hear or are unable to tie to where they have heard them before. These days, besides the usual suspects and up and coming names in Jamaica (I'm claiming wicked wicked DJ Bramma to be the current leader of the dancehall underground, but with that kind of talent, almost certain superstardom is right around the corner) we now have names from all over the world and all walks of life pushing and championing one of the strongest vibes the world has ever seen. Names like Ras Fidel Nadal from out of Argentina; Alborosie from Italy, Lyricson from Guinea and France; Fefe Typical from France and all the way to Lightman from Finland go to show the extreme lengths to which the power of reggae music (particularly of the roots variety is felt and appreciated) has traveled completely outside of the Caribbean. Here in the Caribbean our artists roaming the `underground' (I don't even know if you can call it such a thing here these days as information travel so fast and the scattered but well connected reggae listening Caribbean spread the word of any particular artist overnight and at light speed. Still, we have names like the Reggae Bubblers, Sistah Joyce, the wicked Ossie Dellimore and Malika Madremana and as more and more countries continue to push their finest talents toward reggae music, this list grows literally by the day.

A very full and active support of the reggae underground over the past decade or so has been the Virgin Islands and the seemingly countless number of reggae artist the area boasts. While there are artists from the VI who have been so fortunate to see their popularity ascend to the point of rivaling some of their Jamaican peers (I.e. Midnite, Bambu Station and now seemingly Pressure Busspipe seems headed to such a fortune having linked with ace Jamaican producer Vendetta), the majority of their compatriots have yet to take that next step. Such a name would definitely be Tuff Lion whose popularity actually in the genre of Virgin Island reggae arguably rivals that of his more well known neighbors. If you follow reggae from the area it is almost certain that you have been enjoying the vibes of Tuff Lion without having fully known as he has made his name over the years as a wicked guitarist/producer/arranger/bandleader for some of the biggest names of the genre. Having performed with the likes of Bambu Station (which is where I believe I first became aware of him) the name Tuff Lion is easily amongst the most respected in all of underground reggae and truly, the only people fortunate enough to have heard of the Lion are those who virtually live and breath reggae music. Over the past few years Tuff Lion has aligned himself with the largest record label dedicated to  the genre, I-Grade Records, which has afforded him to play on some of the more high profile releases from the Virgin Islands over the past half decade or so alongside I-Grade lead producer and owner Laurent `Tippy' Alfred. Thus, if you've happened to pick up either of the most recent two Midnite albums for I-Grade, Rule the time or Jah Grid (he also played on their classic Ras Mek Peace album), you've heard Tuff Lion playing a wicked guitar already. He's also played even bigger roles on recent releases from the likes of Dezarie, Army, Niyorah and Abja on some of which his role has almost seemed to change from the point of being a musician playing on the album to one of assistant producer. When you combine this with the fact that he is full fledged member of the Bambu Station group who has not only advanced themselves but also (through their wicked Talkin' Roots series and tours of the same name, and now the new Chant of the Lions series) which advanced younger talents who are now making their name in the music (including Pressure). AND, were that not enough for his credits, he also plays with the Red-I band, the group of musicians who tour in support of I-Grade's artists. Simply put, should you look up the word VETERAN in reference to VI Reggae (and he hasn't `limited' himself to just the one side, he has also performed with legendary Jamaican group, the Itals as well as Apple Gabriel) you will undoubtedly see a picture of the Tuff Lion and a virtual whose-who of the genre that he has played with over the years. It crossed my mind to think of a name in terms of Jamaican reggae whom Tuff Lion's status may resemble and of course, given the instrument change, he is probably the equivalent to a Dean Fraser or a Bongo Herman.

So now, the master of the behind the scenes now steps to the forefront on his long overdue and long anticipated debut solo album (he did, around twenty years ago tour with a band, the Bottom Lion Band, who I believe released an album). Utterance, released on his own Outpost label based out of Virginia is an album well worth the wait as Lion offers his brand of ultra-matured, and yet still fun reggae music for the masses.  The Lion first tipped his hand at the forthcoming in 2005 with the release of Bambu Station's Talkin' Roots Vol. 2 album on which he showcased his tune Good Works. From that MASSIVE album, Good Works, alongside Baggawire from Ijah Menelik and My Powaz from Pressure Busspipe and became one o f the most talked about tracks from the album, and the album which was primarily to showcase the younger talents, went to showcase one of the most experienced. Utterance is a wonderful trip through the years of experience of Tuff Lion which he puts on full display on his biggest stage to date. And this is a trip for those who appreciate a STRAIGHT and hardcore roots vibe as the roots don't lax at all during the thirteen tracks. It is also an album which stands as unique based on the vibe: Utterance is an album to be enjoyed at once, meaning you shouldn't listen to it track by track, you should really enjoy it  all at once which really makes that vibe bigger. Also interesting going in here is that despite all of his many connections over the years, Tuff Lion links no official combinations for Utterance and it strains the quality not at all and perhaps is even more fitting that his debut album be HIS debut album.

The album gets off to a very strong start with the very solid and laid back Stream of Consciousness and were you unfortunate enough to have missed out on hearing Good Works (which is surprisingly not on Utterance, but probably stands best described as the album's unofficial first single) it lets you know immediately that you need to turn your speakers up and listen carefully to the song's lyrics. Known for the wicked hand on the guitar, Tuff Lion's pen hand is just as ever swift as he writes some very good roots Rastafari material and Streams of Consciousness is strong up front and one of the album's best offerings. It also should be said that vocally, I would say Tuff Lion's tone is somewhat similar to Vaughn Benjamin of Midnite's, but a lot more traditional, he is much more of a singer than Vaughn who prefers to almost exclusively chant. The second track, Rootstafari is my choice for Utterance's second best offering overall. The tune has a very BIG sound, it almost sounds like an r & b track from the 70's on its opening and it eventually expands to a very beautiful roots track. Yet again, you really need to follow the word of the song as it is there where the true strength of the tune lies (and the solid guitar work throughout isn't bad at all either): "We haffi chant bout di Blackman redemption! Conscious livity humanity's salvation!". Rootstafari, the song with the curious name is exceptionally strong. A nice surprise here as well is the Lion's take on a classic Marley tune Pimper's Paradise with his version, Pimps and Parasites. While a Marley cover is certainly something not out bounds on a reggae release, you wouldn't think you would hear such a thing coming from Tuff Lion at all. He does the tune more than justice, it's a bit more laid back than the original for the most part, much more in tune with his own style and he's added his own flares here and there but it is a very solid track and nice highlighting tune for Utterance. The other track here guaranteed to receive more than its fair share of attention based on its name alone is without a doubt the title track. Utterance the song is a microcosm of Utterance the album, a very mature roots reggae album in praise of His Imperial Majesty.  And I think it says a lot about the album that I don't even rank the title track in the top four or five or so of the album's tracks and its still definitely well solid and one of the tracks on which the Lion shows a greater dexterity to his voice.

My choice here for the album's best (if it isn't Rootstafari) is the VERY jovial Be N.A.T.T.Y. Be Natty is without a doubt the certified head bobber here certain to get you moving a little bit and is still armed with the Lion's tuff message. The song's message is one of pride in happiness in one's acceptance of Rastafari in your own life, `N-A-T-T-Y, let your dreadlocks fly!'. It goes to show the true accepting and `come as you are' nature of Rastafari for all African sons and daughters. Also, have you ever had the fortune of seeing Tuff Lion perform live, where he sings himself, you know that occasionally the vibe catches him and he goes on a tune full tilt, you also see this in the very nice changeup of the last verse of Be N.A.T.T.Y. The tune itself is a wonderful changeup for Utterance and its presence alone makes the album much stronger.

Other tunes to check out on the balance of Utterance include. . . Balance. Balance has somewhat of a neo-ska vibe to it and as it immediately follows Be N.A.T.T.Y. it shows a nice swing in the album to a higher vibe a much more dance type of vibe, never journeying ANYWHERE NEAR a dancehall vibe, but sounding like something you may hear coming out of Penthouse Records in Jamaica these days (check out that Stop Your Fighting Riddim Driven). Another big tune from Utterance and one I believe was pre-released is Love Now. Love Now isn't quite to the range of Be Natty or Balance but with the very nice keyboard thrown in, its more up-tempo than the rest of the album outside of those tracks and is very very strong. And I HAVE to mention Dreamin'. While listening  to Utterance I had found myself already making up my mind that a side of Tuff Lion's music was missing and I didn't discover I was wrong until I rolled across Dreamin'. Dreamin' is basically an instrumental, a very nicely done instrumental which after the intro goes a full three and a half minutes before we get any substantial vocals. I could have honestly sat through an album full of instrumentals by Tuff Lion and not complained a bit, or even a dub (which his website claims is in the works), Dreamin is a very high vibe and probably the one tune I'm most happy was included here.

Overall, Utterance is one of the strongest and most all around solid pieces I've heard this year (I've found myself saying that a lot recently, its been a wonderful year so far for reggae albums). As I mentioned, this is definitely one for the hardcore roots reggae heads, however if you're a newer fan who feels they are on their way to being such, this album is probably heavy enough to push you over the edge. It also may help you enjoy this album if you've been indoctrinated in the VI reggae scene as if you have been, Tuff Lion has been all over what you're listening to anyway. Like his VI and VA neighbor (both currently live in Virginia) Batch, Tuff Lion's skills as both musician and vocal artist make him one of the most crucial names on the VI scene. If that's your scene do yourself a favor and take a listen to his Utterance.


title: Baptized in Vibes. . .

text:
You may hear many many names of artists coming from the 'non-Jamaican' reggae producing stations of the world right now, but non shall be more well known, accepted and critically acclaimed than the mighty Midnite Band. The band has toured extensively all over the world for nearly a decade earning their name and their now lofty status in reggae music. The band returned to their island home of St. Croix in the US Virgin Islands in 1999, coming home from a long stay in the states (based primarily in Washington DC I believe) the band went on to lead a VI reggae revolution to which we have yet to see the end of its flourishing nearly a decade later. Names like Bambu Station, Army and Dezarie have all reaped benefits from the toiling of Midnite in virtual obscurity for several years in the states. The band themselves have assumed a status in reggae that is quite rare: Widely acknowledged (even in Jamaica) as one of (if not THE) the best roots reggae bands in the world, despite not being nearly as widely popular on a large scale as many of their Jamaican counterparts on one hand, and on the other hand, not even being Jamaican in the first place. Their arrival on the grand stage of reggae music also marked the true arrival of an era of superb non-Jamaican reggae music. They also (in an area which I believe they remain largely unaccredited for to this very day) created the VI reggae sound. The reggae music of the Virgin Islands is not the same way things are done in Jamaica. The music comes in a form which is almost completely roots one drop reggae, but its not the typical Jamaican one drop which you may be accustomed to hearing in that its slightly slower than Jamaican roots, and it absolutely retains its power on that modified scale. Many of the artists and producers who followed Midnite also have adopted and developed that same style.

Amongst the more popular younger and yet to be established artists who have followed the might Midnite are artists like the outstanding Pressure Busspipe and Niyorah of the Star Lion Family, the dub poet styled Abja, the wicked Ras Attitude and of course the Empress Divine, Dezarie also from St. Croix. Included in that group are the countless number of musicians and producers (which is a discussion in itself speaking of the Ronnie Benjamin's, Batch's, Bambu Stations, Junior P's and Donny Dread's of the world) also involved in continuing the vibes that Midnite set forth (along with in many cases, working with Midnite themselves as well). The next group of artists you come into contact with who have yet to gain the larger break as some of their peers are just as (and in some cases even more so) wicked as their more popular peers. Included in this `batch'  of artists  is the up and coming M. Lionel, better known as St Croix chanter Xkaliba, the `Original 9 Fingers'. I actually found Baptized in the Ghetto, Xkaliba's debut album (he has apparently released one since this one which was actually recorded a few years back but just released this year) being play ad nauseam by a rather enthusiastic salesperson at a record store here in St Maarten, and (although it takes much to sale me on an artist, especially when I'm in the mood for something new to vibe) I was sold. After doing my research on the artist, I was rather surprised to learn that Xkaliba is actually a fairly experienced chanter and is widely regarded as amongst the strongest talent overall emanating from St. Croix. He sits in the same regard as the might voiced Ancient King and the almost disturbingly wicked Sabbattical Ahdah (who is apparently a friend of Xkaliba's).

His style actually reminds me somewhat of Ahdah's, although not as supremely talented (no shame there, I've been telling everyone who will listen for the past 2 years about Ahdah's ridiculous talent) and entirely more vocally laudable. I also find a bit (both vocally and lyrically) of Norrisman in Xkaliba's style as well, somewhere between the two artists is Xkaliba's style, and although he never reaches a full blown singing style as does Norrisman, he has a very very similar vibes to those of the Trenchtown native. Oddly enough, his debut album, Baptized in the Ghetto is produced by similarly styled chanter (although entirely closer to Ancient King in terms of vibes) Donny Dread and released through Dread's Groundbreaking Records of St Croix, coming on the heels of Dread's own album, Set De Pace, also for the label. Xkaliba's first bit of business is that he is listenable throughout the (relatively brief) album and that he can hold his vibes. He only goes the combination route once and he appears almost to, at times, have an old school dancehall sound to him. I found it most interesting when I learned that St Croix singer Ikahba Stone had been inspired by Jamaican singers such as King Kong and Tenor Saw, and again, Xkaliba has almost that old dancehall cadence to his flow and even throws his material in storybook form, recapturing the days of Papa San, Lieutenant Stitchie and Professor Nuts, just in terms of style he resembles those artists. However, like most of his peers, Xkaliba's style is strictly Virgin Island roots. His style definitely works throughout the entire album and by my own rule, when every song is about something, it generally makes the album much easier to listen to (and review!).

Although I rarely describe a roots album as such, the word that first comes to mine when really listening to Baptized in the Ghetto is FUN. It is thoroughly informative and even more so entertaining to listen to this album. The production is top notch (and even up to a few years ago, in my own experience with the music, that wasn't necessarily always the case in VI reggae as the talent was still developing and the attention and necessary funds were still accruing) from Donny Dread, and for his own part, Xkaliba not only has a full understanding of his topics (which run the usual roots gambit from first and foremost HIM Jah, the Empress, Mama, Babylon business and Black enlistment) but a unique method of creating not only vibes and melodies, but odd little stories which more than get his point across, and although I mentioned that he wasn't as talented as was Sabbattical Ahdah, he's no rookie at the game and his actual lyrical and flow ability is top notch, whether pure roots or dancehall. To say a thing about the producer himself as well, Dread's style of production strays away from that typical slower one drop style which I described as the VI reggae sound, although he does do that type of vibes (check the track Jelousy) Dread is more than capable of pulling a complete dancehall riddim out of his bag of tricks if needed, and Xkaliba just as easy makes very good usage of those riddims as well. Baptized in the Ghetto is just thoroughly pleasing to both the heart and the mind to listen to.

The finest track on the album, and one of the strongest pieces of reggae from the Virgin Islands that I've ever heard is without a doubt the exceptional Jah Rescue Me. Jah Rescue Me is MASSIVE and I'm recommending it definitely to anyone who will listen, you are more than very unlikely to hear it through any other means than picking up this album so definitely go and pick it up if only to hear the one song. The song is very much so in the same vein as I described with the odd method of story telling Xkaliba employs, as he relates dozens of one line `stories' and attach the punch line title of the song, and it's almost done in an over simplistic way, but there is no vibe on which the song doesn't work, it is an absolute gem of a song to hear and the type of tune which makes you happy should you put forth the required work in tracking this one down! Besides Jah Rescue Me, the other musical highlight here is definitely the album's sole combination, Help the Poor, which features the aforementioned producer and label owner Donny Dread and pioneering Midnite front man Vaughn Benjamin alongside Xkaliba. The song is strong but not even necessarily amongst the album's finest pieces, but should you be a fan of the music, you'll definitely enjoy the rather signature method in which Benjamin announces his presence on the track (I think Sizzla could maybe get away with that kind of epochal wail, but definitely not anyone else), but I think you'll be checking this one out, so I won't ruin it for you. Xkaliba holds his own alongside the pair (he is actually more talented than his producer, who is also a talented chanter in his own right) and the song works finely.

Amongst Baptized in the Ghetto's other strong tracks is definitely the rather odd but strong Tell Me Bout Selassie. The song shows Xkaliba to be a fan of Destiny's Child (lol) but also is a very strong track which admonishes the education system which has conveniently seemed to have forgotten the name Ras Tafari in it's program. Strictly on that point alone, perhaps no tune I've ever heard makes a greater case for teaching the people about His Imperial Majesty and Xkaliba himself seems to absolutely enjoy each and every second of the track. A `similar' track Babylon Lie, another song on which Xkaliba condemns babylon for seeking guidance in the entirely wrong direction (baby wrong!), and another song on which he invokes several different melodies, most notably, the melody from TLC on their track `Scrubs', "No! We nah praise Babylon god. Babylon god could not be a god for me!". It's something that I would probably normally not like and count as a negative, but when you've provided completely quality material up until the point of that track and it loses the gimmicky feel and comes across as a nice change up, and it doesn't hurt at all that the song is very very strong as well.

Lastly, just a few other tracks worth checking out; definitely check the complete dancehall selection here, Praises Unto the Father. The song probably is the best example of his style resembling that of Sabbattical Ahdah as he approaches that sick mumbling madness several times in its duration (now if we can just get a combination between the two on Ahdah's next album, which I-Grade should put out this year, and I hope they're reading this!). Check Reggae King, Xkaliba's rather clever ode to Bob Marley, one of the few times which Dread does stay in the `parameters' of the VI reggae sound (and even on this one he manages to incorporate a very welcomed horn). Xkaliba makes the majority of his rhyme through just using Marley titles and does so in a very unforced manner (I.e. you probably won't even notice it your first time listening through the tune), so that the song doesn't lose its point and become muddled up until the point of the chorus. And lastly! The song which closes the album isn't necessary but it is. Checking in at just 1:04s is Loose a Finger. When you learn that Xkaliba is called `the Original 9 Fingers' (or if you really paid attention like you should have on Jah Rescue Me) you will definitely wonder why and he utilizes that story telling style and recounts exactly how he became the Original 9 Fingers. The riddim sounds like something unfinished from Tony Kelly's studio or something, but it works, and again, when you've put forth such quality until that point, I don't mind at all!

Overall, I'm definitely recommending that you do the  necessary work and track down Xkaliba's Baptize in the Ghetto (and if you get his new one, you link me to tell me how it is). Xkaliba is one of the first of the lesser known artists from the VI to really get that message out there, and TRUST the vaults of wicked artists over there don't just stop with him. Names like the aforementioned lyrics demon Sabbattical Ahdah and Xkaliba are complimented same way by names like Mada Nile, Volcano and the truly wicked singer Danny I, all of which are worthy of your attention. Baptize in the Ghetto is world class, and every bit as well done as the works of some of Xkaliba's more well known peers. His style is something different and he focuses on things and stresses things and vibes which you wouldn't necessarily expect a kid from St. Croix to be focusing on and through his style its very refreshing to see the VI vibes being taken into a more `worldly reggae' style while still not completely abandoning its identity as VI reggae. While this might not exactly be what you'll hear on a Midnite album (and Midnite, then again, has been known for just being. . . Out there sometimes), its something that maybe your more standard reggae head might be open to vibing to. Nevertheless, I'm recommending it for all!