| | Strictly The Best, Vol. 26 CD
Strictly the Best, Vol. 26 serves up the year's best lovers rock and roots reggae, with an expert eye toward sparkling love ballads. This album boasts 16 tracks that all demonstrate the power of soothing reggae riddims. It's a stellar offering from beginning to end, but the stunners are the remakes -- Terry Linen's stylish cover of Celine Dion's "That's the Way It Is," Sanchez' brillant treatment of Britney Spears' "Sometimes," and Girlfriend's spirited interpretation of Macy Gray's "I Try." This CD is a treat for any music fan in general and reggae lovers in particular. ~ Rosalind Cummings-Yeates
Producers include: Lloyd & Michele Campbell, Patrick Roberts, M. Stanford, Phillip "Fattis" Burrell, Louis "Flabba" Malcolm. Strictly The Best, Vol. 26 Music Strictly The Best, Vol. 26 Songs | 1. | Love So Nice - Junior Kelly |
| 2. | That's the Way It Is - Terry Linen |
| 3. | Say What - Singing Melody |
| 4. | Reunion - Wayne Wonder/Buju Banton |
| 5. | Sometimes - Sanchez |
| 6. | Just Be Good - Half Pint |
| 7. | Nothing at All - Ghost |
| 8. | All My Love - Marcia Griffiths/Da'Ville |
| 9. | Don't Play With My Heart - Beres Hammond |
| 10. | I See It in You - Freddie McGregor |
| 11. | I Try - The Girlfriends |
| 12. | Grab Yu Lass - Louie Culture/Mikey Spice |
| 13. | Lately - Mr. Biggs |
| 14. | Six-Eight-Twelve - Tony Curtis |
| 15. | Strangers in the Night - Glen Washington |
| 16. | All I Have to Give - Christopher |
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Strictly The Best, Vol. 26 Review
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It was not pure ego that led Buju Banton to title his 1993 album VOICE OF JAMAICA; his unique voice is a gruff, melodic instrument, and his lyrics are precise. He built his career on controversial hits and slacker anthems, but has since helped spearhead a movement to swing reggae's pendulum away from sex and violence, back towards conscious lyrics and Rastafarian themes. On `TIL SHILOH, the voice of Jamaica has visibly evolved.
Still, don't let all this consciousness talk scare you; Buju's strength is his ability to create hooks that buoy the weight of his words. The choruses of singles like "Murderer," "I Wanna Be Loved" and "Champion" drill themselves into your head and nest there for days. 'TIL SHILOH is also one of the most experimental dancehall releases ever, utilizing an a capella intro, a track built out of African chanting and percussion ("'Til I'm Laid To Rest"), and a song featuring an acoustic guitar ("Untold Stories"). A duet with the late Garnett Silk ("Complaint") provides a nice respite from Banton's trademark growl. For the most part, Buju and executive producer Donovan Germain steer clear of pandering to cross-over audiences, choosing instead to rely on innovative rhythms and Banton's natural pop sensibilities to win over listeners.
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Released nearly five years before his violent death at the hands of thieves in 1987, MAMA AFRICA was the last studio album of new material released in Peter Tosh's lifetime. From his days as one of the original Wailers in the '60s, Tosh was one of Jamaican music's most outspoken and controversial artists. Though his former partner Bob Marley never shied away from political or social statements himself, Tosh eschewed Marley's gift for metaphor and parable in favor of such explicitly political slogans as the legendary "Legalize It."
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According to Steel Pulse front man David Hinds, Elektra Records informed the band--just prior to the 1984 recording of EARTH CRISIS--that they wanted the band to sound like then-popular, commercially oriented reggae artist Eddy Grant. Elektra's bid for a mainstream reggae cash-in helps explain the slick, highly polished sound of EARTH CRISIS. The breezy "Steppin' Out" and the bouncing, poppy "Tightrope" (both of which became permanent additions to the band's live repertoire) kick off the set, buttressed by bright synth lines and lush, layered vocal harmonies.
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Not quite the landmark that Handsworth Revolution was, Earth Crisis suffers from uneven songwriting and dated, polished production that's sometimes too slick for its own good. What's more, the album is poorly sequenced, placing the weakest cuts, "Steppin' Out" and "Tightrope," at the very beginning. "Throne of Gold," the album's love song, has beautiful lyrics but lacks a truly compelling melody to get them across. After that, the album picks up with a string of superior songs, all of which decry social injustice and ...
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