Prince of Fyah, Vol. 1

Ras Myrhdak | Format: Audio CD

Product Details

• Audio CD (June 5, 2007)
• Original Release Date: 2007
• Number of Discs: 1
• Label: Groove Attack
• ASIN: B000NDJST8
• Also Available in: Vinyl
• Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #786,036 in Music (See Top 100 in Music)

Track Listings

1. Gunshots Falling

2. Pre Dem

3. Never You Forget

4. Only for a Time

5. Swept Away

6. Global Warning

7. Trod It Alone

8. Prince of Fyah

9. Praise Thee

10. Mankind

11. Jahneasha

12. He Creates the World

13. Jah Is the Way

14. Too Much Guns Around

Customer Reviews

Most Helpful Customer Reviews

4.0 out of 5 stars Evolution. . ., June 5, 2007

By 

Achis (Kingston, JA/Philipsburg, SxM) - See all my reviews

This review is from: Prince of Fyah, Vol. 1 (Audio CD)

There is a rather unusual type of artist currently emerging in reggae music right now. Although the influences on this type of artist are great in number, never before has he had the stage on which to showcase his true potential on his own. It is also quite very conceivable that should the trends continue developing in the way in which they are currently going, that in the very near future, the local face of reggae music could definitely be one of the artists performing in this style. This style is one which was born simultaneously on both the roots side as well as the dancehall. The result is this somewhat `pure' hybrid style of chanter which feels as equally comfortable over the backdrops of the legendary King Jammy as they would over the simple nyahbinghi drum backing. This artist has grown not only in the era of Beenie Man and Bounty Killer, but likewise, in the same era as Capleton, Buju and Sizzla Kalonji (all of whom themselves belong somewhat to the genre, however they all saw their careers start with one style or the other before ultimately adapting to and adopting the other). While the ranks and ranks of top shelf dancehall artists and top shelf roots artists continue to increase and increase, this hybrid genre is also boosted by many young and dynamic faces entering the ranks every day. I had began to believe several years ago that it would actually take such an artist who was comfortable in both genres to ultimately take roots reggae to the level where dancehall had begun to go in the mainstream due to the likes of Beenie Man, Sean Paul and Elephant Man, and ultimately exposing the true roots culture to the masses and the true message of reggae music (either that or one of the Marley children to absolutely catch a flame, thankfully, both are appearing to happen now) to the worldwide audiences. Such a time just now appears to be drawing near! Take a short visit to your local West Indian record store and pick up any dancehall mix tape and notice just how many names you see on the track list which aren't exactly in the traditional or modern category of dancehall; the roots is taking over! It neither takes a genius nor a long winded reviewer to see that reggae music is changing and as a result of the now decade old Roots Renaissance era of reggae music we are now seeing the artists who took absolute heed of that message, all the while growing up in dancehall saturated Jamaica. He is not only the future of roots music, but maybe even the future of reggae altogether.

My first choice for such an artist coming to the forefront was the lyrically stacked Assassin. Assassin had emerged in a unique fashion, although originally seeing his beginning as a pure dancehall (and the very young `beginning' still continues I suspect) the still very young Papine native had been almost immediately taken under the guidance of legendary dancehall DJ Spragga Benz, himself a recent convert to the Rastafarian faith. Even from his very beginning while doing the obligatory gyal, gun and self aggrandizing tracks, Assassin would also `sneak' in the occasional conscious track and make them work (check the early ultra clever Wah Gwan? And more recently the best track from his debut album, Wandering Minds) adding credence to signature call of `Versatile!'. Still, with his dancehall background and vast experience at such a young age Assassin may ultimately be just the man to take over this new genre. Then there was Turbulence. The Sizzla disciple is very similar to the artists who have come strictly in the mixed genre although international mainstream audiences have just recently in the last couple of years began to experience Turbulence's vibes (largely due to the strength of his MASSIVE Notorious), one could make the point that he is in fact the most well known artist of the genre. However, at a whopping seventeen studio albums deep into his young career, Turbulence has proven where his true skill lies at this point, as at his absolute best, there is no roots track which immune to the wicked Kingston native's vibes. There are also several others belonging to part of the genre if not even as a whole, such as the insanely wicked Jah Mason; young dynamic singer Da'Ville; of course Damian Marley and lastly underrated UK DJ Chukki Starr: All of whom have shown a rather definitive inclination and ability for either style and not both equally (although none are exactly slouches on either vibe).

The actual artists currently budding in this new genre are amongst the most popular currently in Jamaica altogether. Check the insanely wicked Capleton protégé' Munga Honourable. The self proclaimed `Gangsta Ras' is currently amongst the biggest and most consistent young hit makers on the island and his rather odd background itself is evidence of this new stage of reggae music. Co-managed by both Capleton's David House group and dancehall genius producer Vendetta, Munga is constantly exposed to the finest of both roots and dancehall tracks on a consistent basis and has shown an inclination for both equally scoring hits on both vibes as well as tracks which have seemed to involve both styles simultaneously. Munga is definitely an artist to keep an eye out for as he is perhaps currently the most marketable act of this genre (and that management system certainly doesn't hurt at all!)(also a name to check for in the future, Jah Malo!). Then there's the one Ras Myrhdak. Hailing from the infinite beauty that is Brown's Town (BIGGUP ALL BROWN'S TOWN MASSIVE! MY PLACE OF BIRTH!) Myrhdak has been on the reggae scene for nearly a decade and while previously he struggled to make a name for himself in the rather crowded fields of young artists (a story not unlike that of many artists), now entering the prime of his career at the top flight Myrhdak stands as one of the most popular local artists and now international audiences are getting a taste of the vibes. Myrhdak also falls into this new category as well (should I call it Rootshall?) having already scored his first #1 hit, the self produced Blazer which definitely gave him a bigger name all over the reggae scene. Blazer is the perfect track explaining my theory of reggae evolution. The 2006 track encompasses both dancehall and roots and he basically explains the theory in the opening lines of the track, `Rasta keep di Sabbath day holy! Yes, every Saturday wi hold di order. But from di other day di warriah dem say Rasta unu know wi party!'. The track featured a sickness of ability and flow riding his own Breath a Fyah riddim (which also spawned Capleton's huge Forty Suppm hit) and showed exactly that Ras Myrhdak was far from the typical `Ras ______' artist, but of a very new modern style which just beginning to be explored.

While the young Munga continues to wait and build his arsenal for his assuredly wicked debut (he has dropped an outstanding pre-release album however which is mad!) Myrhdak has linked with the ultra-busy and ultra-steady Spain based German Brothermann's Minor 7 Flat 5 records to release his debut, the wickedly titled Prince of Fyah Vol. 1 (perhaps as tribute to Capleton, one of Myrhdak`s mentors). This is curious to me as, as soon as I heard of just who was doing Myrhdak's debut, I almost immediately eliminated half of his vibes. M7F5 is notoriously for being of the strictly roots style which has encompassed 100% of their releases. I had also had reservations as I had rather recently become disenchanted with the group as they had shown virtually no progress over the past 2 years. Having done fine albums previously for the likes of Turbulence (Different Thing and Do Good), a MASSIVE shot for Anthony B with My Hope and Josie Mel's excellent Rasta Still De' Bout (as well as many others and reportedly a boomshot on the way from Cocoa Tea) the past couple of years has seen virtually no change in the set. More importantly, the past few years have seen virtually no change in the vibes as album after album comes as pretty much a showcase for the artist over the same exact riddims. Normally this isn't a problem, particularly for reggae fans, but when you've been listening to each and every release it almost comes off as the producer is too lazy to produce exclusively for the artist. Brothermann doesn't even bother to change his vibes by giving the riddims certain identifying characteristics for each different artist, they are pretty much the same exact piece, every time out. What is the shining light in the vibes however, is the fact that M7F5 has made some outstanding riddims in their time and if I HAVE to listen to the same vibes over and over, at least they are top notch vibes.

I was very correct in my assumptions about Prince of Fyah, however, as the album is cut from the same role as M7F5's previous releases. This is disappointing in one way: We know Myrhdak's talents in the dancehall are top notch and its sad that the first real taste international audiences get from Mr. Stephon Moulton won't be a true representation of him at his full vibes. In another way however, its very interesting to see him at his full powers on the roots side (and now maybe someone like Greensleeves can complete the set by putting out a completely dancehall album for Myrhdak and then VP can put it altogether with his first album at full power) where is also very very talented as well. There is MUCH strong material on PoF to be heard. Check the strong opener, Gunshots Falling. As one of the tracks receiving a strong push from the album, the track is a very powerful track admonishing violence from both ghetto youth and policeman alike, and its just a very powerful vibe to get the album started on as well. The title track is one of the very few times that Myrhdak actually attacks a track over the relatively fresh Bodo Riddim (which the label is also releasing as their first riddim album I believe) and its one of PoF's most outstanding tracks. My choice for... Read more ›