Customer Reviews

Riddim Driven: Smash

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There are several factors which can go into the longevity (or lack thereof) of a particular riddim coming out to road these days. Particularly on the dancehall side where the real hits come and go much more frequently (as do those making said hits), it can be very very difficult for a particular producer to make his/her riddim truly standout from the pack as anyone who can afford a board and studio time these days are turning to production. Gone are the days where such work was left to a very tight knitted group of ultra experienced veterans subjected only to the occasional `promotion' of a well experienced engineer and studio head to enter the production game; nowadays, everyone from current and former engineers, artists, soundmen, VJ's and even dancers are not only entering the production game, but bringing with them a clout to where the biggest stars in the industry are willing to voice for them. There does still exist that upper class of producers who, seemingly, in order to retain much of their strength have turned to more exclusive measures (I.e. signing a particular artist (which always occurred, but formerly on an entirely much more frequent scale) and producing less riddims for the masses). The current dancehall elite of producers include names such as Vendetta, Scatta, the Genius, Lenky, production trio Daseca and of course the Bros. Kelly, Dave and Anthony who both have attained a status now of legends and only really commit to a few projects per year (Lenky has also taken that route is recent years), and just a few others (i.e. perhaps a case could be made for Snowcone or Ward 21, and I DO NOT include legends such as King Jammy in the discussion). For a young producer these days to attract a modicum of attention, it is near impossible as the dancehall planets almost have to align just perfectly in order to open the gates to bring forth a new talents first, where as before, it was simply a matter of one having to pay his/her (although the concept of a female producer, save for just a very few names historically, is quite new, particularly in full fledged dancehall music) (Biggup DJ Sunshine) dues and be skilled. Now, where the game is entirely more patient when it comes to an artist in search of their first big (and mandatory) hit, producers are almost expected to deliver a big hit on their first production, failure to do so can make for a fairly quick return to one's FORMER career and complete desertion of a once promising career as a producer.

Of the few ways a producer can ensure themselves to be a name in the future front of dancehall and scoring that big hit, probably the most difficult is aligning oneself with a talented artist, or even a smaller group of artists, and focusing on just that one or those few. This method is difficult just because of the nature of the game where not the most talented ALWAYS become the biggest stars (see Madd Anju and Roundhead), but in the few cases where it has worked, it has worked perfectly. No one can doubt that both the careers of Vybz Kartel and production ace Donovan 'Vendetta' Bennett would be greatly diminished had the two not made acquaintances and began a working relationship. Also, even though he had previously made his name, legendary producer Dave Kelly has taken that route entering the second phase of his career as much of his time at the top flight has been spent developing the now top flight and TRULY wicked DJ, Sherlock native Baby Cham as an artist. Another (and seemingly very popular) method for producers to hit the big time has been through simply getting lucky! Even `luck' however requires a definite skill and in dancehall TRUE skill is definitely rewarded. Take for instance the case of Stephen `Lenky' Marsden, who having well joined the ranks of talented musicians and engineers long ago through his apprenticeship for another legend, Penthouse's Donovan Germaine (an apprenticeship which included having been the primary musician and lead engineer on such fine pieces as Jah Mali's legendary El Shaddai album) joined the ranks of top notch producer on the wings of the terribly odd, gimmicky and yet sickly complex and highly addictive Diwali riddim. Such is also the case with another Stephen; `Supahype' Davis. Who, pretty definitively, scored with the biggest riddim of 2006, the Smash. `Co-built' with Craig Serani Marsh (meaning Marsh did most of the work), the head of Daseca, the Smash became the riddim of choice all over the dancehall listening world and the former soundman, former VJ and part-time (awful) DJ had scored his necessary immediate hit as a producer and is seemingly on his way to being one of the most unlikely of the elite dancehall producers (although he, perhaps even more than any others in my mind runs the risk of being a one hit wonder considering that he tapped one of his closest peers to pay his entry fee). The riddim was every where and if you were listening and paying attention it is almost certain that even to this very day, you are, at the very least, a little tired of hearing the Smash! So what was so interesting and new and fresh about the Smash? Besides the songs, which I'll get to in a minute, the Smash had a vibe which almost perfectly fit its name. Pushing a tempo which at times borders on Soca vibe (and it would have been very nice had they thrown in a soca head for the riddim by the time it reached album, just to see what might have been). Built atop a well mighty drum arrangement, one the best I've heard in quite awhile, the Smash is a riddim to be enjoyed in spurts, I CANNOT imagine what the person would even look like who could have a good time with this riddim for any particular significant length of time (well actually I could, see Asylum at closing time!). Despite its extreme power, the Smash is a riddim which requires PATIENCE to enjoy.

Then there are the songs. Part of the reason why you, who may not exactly be a dancehall fan at all, have probably heard this riddim is based on the supreme popularity of one its songs, which, again, comes from one of the most unlikeliest of sources. If you found yourself anywhere near a radio in 2006, it's a fairly forgone conclusion that you've undoubtedly hear the `phrase' Dutty Wine. While said phrase was the title at the helm of several songs, the one you know is without a doubt the version which introduced the now rather infamous dance of the same name. One could make the case that based on popularity alone, Tony Matterhorn is now amongst the most in demand DJ's on the scene right now. The former (and still current) soundman came from that background as easily one of the most notorious, popular and successful soundmen in the world and made the transition over to actual Djing just two years ago, and the wait for his first big hit was very brief to say the least (especially when you consider that vocal talents in all of reggae can wait upwards of five years for their first truly big hit, see Turbulence. . . See Delly Ranx, Bling Daw, Kid Kurrupt, Gabriel and Danny English for that matter). Matterhorn's sickly addictive version of the Dutty Wine helped introduced an equally addictive and notorious dance, which to this day, you can't step foot in a dancehall and not see being done on some level. The popularity of both the dance and the song has spread huge throughout the reggae listening world, and right along with has been the Smash riddim (which is quite often referred to as the Dutty Wine riddim) which would probably take the title as most internationally popular dancehall riddim of 2006 as well.

Thus it was no surprise when the riddim caught the attention of reggae giant VP and became an addition to their wonderful Riddim Driven series. The Smash Riddim as an album is decent enough, although quite difficult to maintain its pace over an entire 17 track album, it does a fair enough job although falling well short of being one of the better dancehall pieces in this series (that type of status belongs to riddims like the Liquid, the Juice and more recently, the Dreaming riddims).

Although Matterhorn definitely takes the prize as the most popular piece here, the absolute best track comes from one of the `professional' DJ's. The Smash riddim easily hits its peak on the good and properly wicked Lu Lu Lu from Busy Signal. It was crazy difficult tongue twisting soon to be classics on which Busy Signal originally made his name. Although since his emergence there have been several names to challenge Busy for the title of best young DJ (namely Aidonia, Munga and Bramma) there can be no denying that Busy, at his best, is definitely amongst the most talented artists the dancehall has seen in recent years. Lu Lu Lu, although definitely something different, is amongst Busy's early nice sized hits and the best the Smash has to offer. Checking in immediately following Busy is dancehall's first boy band TOK, who have been up and down in terms of quality in my opinion in recent years and their Haters definitely marks one of their bigger `ups' as of late as their kind of `streaky style blends well with the otherwise unforgiving nature of the Smash. TOK probably does more with the riddim (which doesn't make a noticeable change at any point during its 17 tracks) than anyone else and makes their Haters one of the best tracks on the Smash altogether. One of the two other significant acts is unsurprisingly Vybz Kartel (sitting here thinking of the last big time dancehall riddim which was sans Kartel. . . Off the top of my head I'm back in Diwali days) with his XXX rated Ben Ovah which probably challenges Lu Lu Lu as the most complicated tongue twister on the Smash and well overtakes it in the category of MOST SLACK. Ben Ovah is pretty much standard Kartel, he also goes a little odd, like Busy, at certain areas but he well stamps that traditional Kartel seal on the Smash. The other big name here is Elephant Man who doesn't turn in a necessarily BAD effort with his See Dem, but the tune is well away from his best (another a tongue twister) although, like most of Ele's offerings, still highly entertaining. Just listening to the track on its own and predicting who might be one of the better choices for the riddim, one of the first names to emerge in your head would definitely be Ele, and he gives the Smash his usual treatment with a bag of lyrics just as unforgiving as the riddim itself (and OUTRAGE is still angry!).

The balance of the riddim is made up of younger talents, most notably Mavado and Alaine who, at the time of this voicing, were still in the process of developing themselves to that next level. Both being mainstays at Daseca, their presence on the Smash is quite expected and they lead some very impressive young talent on the riddim which is ultimately quite thin at the top (no Beenie, no `Sassin, no Sean Paul, all of whom would have more than done justice to the Smash). Alaine shines brightest on her outstanding and very easy on the ears Baby U. Mavado, unsurprisingly, also favors the slack side on his XXXXXXX rated Pushing Hood, and shockingly doesn't at one time take the violent route on which he has so often made his name. Recently separated Left Side & Esco tune in for their neighbor Davis with their surprisingly solid Humble & Cool, very nice track. Upstart Annex mainstay Ice Cold goes social for the only time on the riddim with the very very nice Change and yet another producer Flava Unit rounds out the vocalists on the album with the very nice You Ah Di Wife before the very useful version closes the album.

(Incidentally, DO NOT check neither Turbulence's awful Dun Di Place!)

Overall, this one is strictly a do's piece. I can't exactly recommend this one for that stone cold well hardened dancehall fan either, vibing this one as is, is just not something I would try (although that level of fan probably had this one a year ago, myself being a prime example). Actually, despite the nature of the riddim, on the whole, singers come off as entirely more productive on the riddim with several of the singers scoring bigger pieces across the board. However, should you happen to find yourself as a DJ, even a year later, if you don't have the Smash in your box, you're doing your audience a great disservice, this one was made for you.