Customer Reviews

Keep the Faith

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(4.5stars)
I have to admit, one of my greatest joys as a music fan has always been discovering new artists from different walks of life and different styles of making reggae music. With the music now actually being just about as finely promoted as it has ever been, the limits of the reach of reggae music has grown tenfold and artists from the farthest corners from walks of life which you would never imagine could feel the vibes are now producing and involved in producing reggae music. Over the years, we've seen very significant reggae artists emerge from areas not only outside of Jamaica, but outside of the Caribbean altogether. Names such as Lucky Dube from South Africa, Gentleman from Germany, and of course the Maxi Priests, Ras Shilohs and a whole heap of other names from out of the UK and USA have all gone to show reggae music (and perhaps even more significantly and specifically, roots reggae music) to have such a powerful vibes which cannot be contained by purely by the Caribbean alone (although of course we claim and boast (and will continue to the end of time to claim and boast) (because we're right) to having the absolute best reggae being made anywhere in the world). True, reggae music, once solely identified with Jamaica, has now become a truly international and worldwide vibe. The result of this, depending on whom you ask is both good and bad. The good? Well undoubtedly for the artists themselves, the music has never been as commercially and financially viable as it is at this time, there's nary a region in the world where reggae musicians don't at least perform on a semi-regular basis; also, with that avenue of travel and spreading now opened to the music, the future figures to only show a continued increase in the popularity and spreading of the music. The bad? The reggae purists amongst us (of which I am qualified as) may have a problem with that spreading as it is a chance that the face of what reggae music is known as may someday no longer be exactly just what is going here in Jamaica first and foremost, and other places whom are more open to mixing the vibes with other forms of musical vibes may actually receive the same credit in reggae music as Jamaica, though producing a well diluted form of the music; also, some of our musicians previous works have now been opened to the international world along with their new pieces, the result of this can be found anytime the discussion of misogyny and homophobia in the dancehall is raised. Still, amid all of this, to date at least, we've seen absolutely fantastic artists entering the game from nearly every direction, who at least SEEM intent on doing the music how the music was intended to be done.

Amongst the various reggae artists over the years from outside of Jamaica who have made a great impact in the music the world over is the legendary Ivory Coast native Seydou Kone', better known as the brilliant Alpha Blondy. Alpha Blondy ranks as one of the very few living truly International Reggae Superstars (just thinking of other names which also qualify under the title, names like Burning Spear, Sean Paul, Damian Marley, Beenie Man can lay a claim to such a title). It is definitely fitting that when the conversation turns to French and Francophone reggae has to at some point pass through Alpha Blondy as the current situation in French speaking reggae music is blowing up to a peak previously unseen anywhere in the genre. Young acts from not only the country of France itself, but also in the very talent rich French West Indies are making themselves known to the international world, representing places such as Martinique and most notably, Guadeloupe. I myself have just recently got into the vibes of Francophone reggae within the last year or so, having moved part time to the half French (and geographically much closer to the FWI) St. Maarten where the vibes are greatly appreciated as well. Having previously only taken an interest in two French reggae artists Guadeloupe's Admiral T (who is apparently the biggest name in French dancehall) and Martiniquian Sael, who is probably my favorite French speaking reggae artist overall. Other names I've come across and enjoyed since I began listening include the likes of Straika D, Daddy Mory, the outrageous Lord Kossity, the very nice Slikee who I stumbled across very recently on the very nice compilation from Vikings, Rasta Legacy Vol. 1 and Tiwony. Then there's an artist whose name I've heard before, but really never gave an honest chance to, this despite buying his first album which until very recently (in fact after listening to this album) sat comfortably forgotten in the back of a closet. However, further inspection would reveal that this artist, the aptly titled Lyricson (perhaps even `Vibeson' might have even been a little better more characteristic, but `Lyricson' hold suit as well) would have eventually certainly forced himself into my players sooner or later on his own. Of all the artists I've mentioned I see no more greater, nor likely heir to the throne of Alpha Blondy than Lyricson, one of the single most unique reggae artists you'll find anywhere right now. Besides being Blondy's literal neighbor, having been birthed in neighboring Guinea to the Ivory Coast born Blondy, Lyricson shows all the signs necessary for a developing roots reggae artist, and I'd go so far as to suggest, were he actually a born Jamaica (or even just a resident, see Natural Black) Lyricson would ALREADY be a rather large name on the island and in the music. Out of all the `Francophone' roots reggae artists, definitely Lyricson is the one who should claim the most of your attentions.

What is easily most unique about this French speaking artist is that you'd never know he was French speaking based on his music alone. Although I've seen interviews with the artist where he converses and chats in French (his homeland, Guinea used to be a French colony named French Guinea and the national official language of the country is still French) the supremely cultured youth chooses yet a different language in which to deliver his message. Be it through deciding that the a `different' route may be more viable or choosing to honor the music in it's original form, the French resident sings in patois styled English. His style is one that is somewhat unique, he is a singjay in the purest since of the word and probably the artist who best comes to mind when analyzing Lyricson's style is Turbulence. Imagine a higher pitched (think Warrior King or an exaggeratedly louder version of Gyptian, but not all the way up to I-Wayne heights, though not terribly far away from that) slightly less agitated version of Turbulence and you'll have a pretty good general overstanding of Lyricson's style. Also, much like Turbulence, one of his greatest assets and abilities is something which is almost the element of surprise in that you'll almost never know exactly what he'll do with a track having the skills to go nearly pure singer and nearly pure DJ and a mix between the two at any given time. His previous album his debut, 2004's Born 2 Go High was recorded for Bost & Bim at Special Delivery Records (who also produced Queen Omega's most recent album the divine Destiny) and now he comes forth with his sophomore album the ultra sleek and solid Keep the Faith for French label Jouquet (which I've never heard of before and further research reveals that Keep the Faith is the labels maiden release) and distributed by Nocturne who I am familiar with, being the distributor for many fine albums over the years, most notably, Jah Mason's opus, Never Give Up. And although I'm doubtful this album may ever reach shelves (but then again, as I mentioned with the spreading of the music, perhaps it will) in the west outside of the Caribbean, all fans of modern roots reggae are doing themselves a great disservice by not tracking down Lyricson's Keep the Faith.

Lyricson's previous producers aren't gone completely as they provide the backing for three very solid tracks on Keep the Faith. The most solid of which is undoubtedly the very nice hard driving one drop for one of the best tracks on the album, Don't Give Up. Don't Give Up has one of the best hooks on the album as well and one of the things which has to be said about Lyricson's style is probably best evident on Don't Give Up; he has a way of writing which is almost time delayed. You don't really grasp exactly what he said the first time through (and this will happen normally if a riddim for a particular song is just so outstanding or odd that its difficult to concentrate on what is said) and you'll often find yourself between the first and second listening being able to really appreciate just what was said in the song, definitely check Don't Give Up, very powerful tune. Bost & Bim also provide the backing for the very serene Be Wise & Conscious and Keep On Moving with the latter being the stronger track (actually one of the better on the album) but the former is not too far behind. A great deal of the production here is done by names which are either completely new to me or newer in the sense that I've encountered them recently on French productions.

Such is the case for Moolood who I `ran into' on Tiwony's most recent album (which you need to check out as well, entitled Fly) who produces some of the finest pieces on the album. First check Choosen Ones which is at worst, the second best track on the album, I go back and forth deciding between it and another track as to Keep the Faith's finest piece, I'm leaning towards the other now (probably because I'm listening to it now) but Choosen One's we'll call 1B. Very very powerful roots track which goes so nicely with Lyricson's natural style. He takes more of an aggressive style on the track but drifts back and forth on singer and DJ and its truly something very nice to hear, very nice track. Moolood also chimes in on Solid Ground with the big Frenchie roots riddim the Purple Ting which I swear sounds like something made strictly in downtown Kingston, a BEAUTIFUL one drop with a very nice horn (it may actually be a remake to an older riddim which I don't recognize), I remembered hearing the riddim on the heavy voiced Tiwony's opener for his album as well, Priye' Jah (probably the best tune on Fly) and I'm starting to think maybe Moolood needs to come with Lyricson the next time he comes to yard! His other productions includes the very nice lover's track Only Lady and `lastly', he also does the foundation for the opener and scores not only the second best track on Keep the Faith, but also the finest overall. Give Jah Praise is about as fine as new roots track I've heard all year and one of the most impassioned pleas for Rastafari you'll probably ever hear. The wonderfully packed full sounding track leaves absolutely nothing to be desired and Give Jah Praise is definitely worth the price of admissions to Keep the Faith alone.

Other tracks definitely worth hearing include, first and foremost the very powerful Jah Me Call On which shows just about every style Lyricson has in its 4:02 and is yet another very strong praise to the Almighty Jah Rastafari (again, you have to credit reggae music for the spreading of Rastafari as well, truly a tool of His Imperial Majesty). The song flows nicely over Elohim's MASSIVE Black Marianne Riddim which I recognized as well from Tiwony's album Fly, utilized on the track Oupatebizwentousa. Definitely check Jah Me Call On. Have to mention the beautiful Repatriate which sounds like something out of Vendetta's one drop catalogue, and is a creation of Ghost, the lead producer of the entire album a very interesting selection coming from a native son of the motherland for whom Repatriation of himself is not a very hard concept at all, but definitely the track is for the rest of us. Check the nice Youthman Rise, probably has the best one drop on the entire album; and lastly check Live Upright which is the only combination from Keep the Faith featuring one of Lyricson's friends from his Black Unite crew, young Guadeloupe native Suga Moss, who for his part, does his various portions of the tune in French while Lyricson sticks to English. Very nice combination over Blackhouse's well powerful Poutchi Riddim.

Overall, I'm definitely recommending Lyricson to ALL fans of modern roots reggae. Keep the Faith is a very interesting album in that, THIS album now becomes the one (along with Lyricsons first album, but this is the more solid of the two) to start with in order to appreciate the French vibes. I'd also recommend the aforementioned Rasta Legacy Vol. 1 album, however, that album features French artists over Jamaican vibes, this is French artists over French vibes and the result is one of the better reggae albums over the first half of 2007.