Search - Lutan Fyah :: Africa

One For The Ages. . .

Achis | Kingston, JA/Philipsburg, SxM | 12/21/2008

(5 out of 5 stars)

"I often find it quite interesting, just as I'm sure it has always been for fans from other eras, to think about just how well or poorly the reggae artists of today will stand the test of time. While, undoubtedly and perhaps forever more, the name Marley will dominate and be the face of the genre, years from now, definitely at least some of our artists will be regarded as legends and as highly as just about anyone to have ever blessed the game. Through all the various changes of reggae music (like how the music is made, the greater attention paid to the music and the absence of BANDS as opposed to solo artists) you have a bit of a historical question mark as to how exactly some of our finest artists will be remembered and how some of their most lauded material will be regarded years and decades down the line. In particular, I'm wondering how people years from now will examine to the prolific nature of the artists of this era. The answer of such condition could ABSOLUTELY determine a great deal of this current era is defined from a historical perspective, given the almost OVER-active recording schedules from many of our artists today. How will the future look back at Sizzla Kalonji? Undeniably one of the (if not THE) greatest lyricists reggae music has ever seen, Sizzla has also, unfortunately been one of this era's most controversial and polarizing figures as well, given his penchant for not putting his best material forth CONSISTENTLY while given fans occasional glimpses that indeed, the once and always downright LETHAL ability for making modern roots CLASSICS, still so obviously remains within. On the dancehall side, how will the fans and scholars of reggae music look back at the fire and brimstone battle waged by dancehall aces Beenie Man and Bounty Killer for more than a decade? What is so interesting is (amongst MANY other things of course) that despite trends within dancehall (both musically and culturally speaking) tend to `change just like the weather', the trend which never changed this entire time has been Beenie in one corner with Bounty in the other. Given that even people right now are a bit weathered by the constant on and off again and downright RIDICULOUS warfare between the two, I can't imagine in the future it will look better in retrospect, but who knows. There are figures like Sizzla protégé Turbulence, DEFINITELY Vybz Kartel as well as Lady Saw who I'm very interesting in seeing what the `kids' will think of them, when I'm an old man.



Far more comfortable are the respective places of artists of today such as Luciano, Everton Blender and Junior Kelly. All of whom, while they aren't necessarily amongst the most popular of this era (with the exception of Luciano, who definitely is) make a brand of music which, at their absolute respective bests, brings the type of vibes which simply seem to get better with time and that should continue. And, by comparison, you can look at their peers, such as the aforementioned Turbulence, Jah Mason and even the controversial (but SICKLY talented) Jah Cure and I'm not sure if history will be so kind to them. An artist, however, of whose historical relevance and respect I'm seeing more and more as COMPLETELY secure is Lutan Fyah. I just may be the most biased Sizzla fan that there is on the planet and I'll full on say it nice and clear: I have not been as impressed with ANY artist as Lutan Fyah than since the first time I really began to listen to Sizzla. Period. Lutan Fyah comes armed with some of the most on point and nearly perfect (in terms of their usage, of course) lyrics and it has seriously gotten to the point that despite the fact that I've probably heard well over fifty or so new tunes from him within the last year or so, I haven't heard a single flawed VERSE, much less an entire tune. And I'm not saying that I enjoyed all of the material (that would be impossible) but I think that even that speaks to an artists strength that he can convey his powerful message while not really catching the nerves of the listener. Indeed, what you have when you listen Lutan Fyah is simply one of the most skillful vocal artists that reggae has EVER seen. Lutan Fyah has, over the last few years, kept his name relevant locally, scoring a relatively steady stream of hits of varying degrees and gaining the opportunity to voice with some of the best in production talents as well as opening himself up to being able to perform on the biggest stage shows locally. ALSO, alongside good friend and mentor Jah Mason, Lutan Fyah headlined a European tour in 2008 which was reportedly quite successful (although I have heard different opinions on what happened there, to be completely honest). What definitely will help his case later on down the line (especially to international heads) is dropping top notch ALBUMS for the masses and to date, Fyah has done exceptionally well. By my count, to date Lutan Fyah has released five studio albums for various labels (with at least two in the can waiting to be released), including two Healthy Lifestyle and the EPIC Phantom War, have risen to the levels of highest in the game in terms of reggae coming for the industry's giants in VP Records and Greensleeves Records, respectively. Of them all, Phantom War was definitely his greatest creation. The album, which I called 2006's best reggae album, was a nineteen track MASTERCLASS which, at least to my ears left no doubt that in terms of skill, Fyah was amongst the greatest practitioners in the business, despite not yet (and still not) achieving that level of acclaim. That the Phantom War album didn't quite receive its just due (at least by standards) was just WRONG? However, were you one of the unfortunate souls who didn't (and still haven't) pick up the album, apparently something even better just walked through the door, something which they'll be talking about for a VERY long time.



Of all Lutan Fyah's releases, definitely the most interesting arrived in June of 2008, his first live album, Live In San Francisco from the very solid Californian based label, 2b1Records. Now, as if to finish what they began, the same label releases Lutan Fyah's EXCELLENT double disc release, Africa. This album, produced by Fyah himself arguably tops even the Phantom War album as it features, in its whopping thirty tracks, some of Fyah's biggest hits to date (as the album cover boasts, :4 #1 JA HITS) alongside some nice newer material and some truly interesting combinations. Brilliance runs throughout. Opening disc one is the fine social commentary piece Never Once (In My Life), over Chilla's bubbling Deep Love riddim. While definitely not the finest tune you'll find on this project, you probably couldn't have asked for a more fitting opening as the tune gives a pretty nice example of Lutan Fyah's style overall. Very very nice opening and one where (like most of his music) you REALLY need to pay attention to the lyrics. Up next is the first of several combinations on Africa, the OUTSTANDING Rasta Set Di Trend alongside the Morgan's (Heritage) over Fyah's very own Sledge riddim from his label, Tsahai Productions. I'm not too much a fan of Morgan Heritage, I say it all the time, but I do have to give credit, they make similar type of tunes as this, with other artists and they're generally quite well done, DEFINITELY no exception here! Completing the opening to Africa is a tune perhaps destined to go overlooked, the very nice What A Woe (which bothers me because I KNOW I know that riddim from somewhere but can't quite pinpoint it) is a tune seeking to expose the truth of the corrupt system and does exactly that in Fyah's own wonderful way, over a downright SPARKLING one-drop. The tune is might y powerful, again, one of those tracks likely to not get much attentions, but indeed its one of the better tracks you'll find anywhere on this project. Superb way to get things started.



Had someone packed up JUST disc one here and released it as a full on album, it alone could have been a candidate for reggae album of the year. It features he lion's share of the hits on the project and some VERY nice combinations as well. Check the lineup: (St. Jago) De La Vega, a previous number one tune for Fyah and a tune which has never been on any other of his albums to date. A HUGE tune reliving the cultural history of Fyah's native Spanish Town. Immediately following that is another big tune, Save The Juvenile for Real Lyfe's spotless Foundation riddim. As the title would suggest, the vibes are for the youth, our most important group of people, of course. The tune found struck on so many when it first reached and attracted a nice bit of attention and, again, good luck finding it any other Lutan Fyah album (not happening). The same is to be said for Mightier Than Them, Fyah's DIVINE cut of Danger Zone's big Jam Down riddim (same riddim features Ce'cile's big hit Waiting and Jah Cure's ridiculous Sticky). This one is probably my favourite tune on the entire project as it has been a personal anthem of mine of the past year or so and seems to get better to my ears almost every day. The tune is a HUGE Rastafari affirmation, its vibrant and its beautiful and, of course, landed in the hands of Fyah, its BRILLIANT! EPIC TRACK! Now you run through what is the rest of the tracks on disc one and see all the `featuring'! The second, after Morgan Heritage, is truly a shocker, No Matter What the Crisis, Fyah's second combination alongside Midnite front man, the incomparable Vaughn Benjamin. This one is MUCH better than their (solid) first effort, Stay With His Majesty and is really one of the best tunes you'll find here altogether and DEFINITELY just something which will attract so many eyes, your ears will thank later, trust me! Big tune praising His Majesty between two undeniable masters of the craft over a very nice piece from Al.Ta.Fa.An. HUGE tune. Speaking of Midnite, Move Out which features Fyah alongside literal peers Natural Black and Turbulence over a riddim I only know from Benjamin`s tune Dew on the Infinite Quality album from Lustre Kings. This is an ODD one. But it did grow on me (with that stringy riddim its almost an accapella, a very nice one at that) and it will do the same for you. I will mention that it's Fyah's album and his star does shine the brightest amongst the three although Turbulence does turn up the vocals later on. The title track! The title track is SUPREME, it features Fyah taking his shot over the Taxi Gang's timeless Baltimore riddim. SO many accomplished vocalists have tackled that track and Africa could stand quite well next to any of them! And I'll mention that the vibes step up a bit at the close of disc one as famed Inner Circle joins in on the anti-violence Gun Ting, a wonderful vibes from the Circle's own Miami based Soundbwoy Entertainment with a bit of old school vibes.



Did I mention that was just DISC ONE! Disc two, while lacking the big highlights, is just as consistent as the first. Check the opener, Season Of Love (BKA Four Seasons), a wonderful lover's piece, probably the best on either disc. Too Much Suffering Kids is on a vibes similar to Save The Juvenile (sounds NOTHING like that tune, however) and another tune which I'll say (especially due to the presence of Save The Juvenile) will most likely exist below the radar and do so at the peril of those who don't REALLY dig into it (especially the third verse I believe it is). Is This The Way is Fyah's solid cut of Rootical's LOVELY Cruising Altitude, one of the most beautiful tunes over that beautiful riddim definitely, this tune is just an anti-poverty and violence track which definitely is something the masses need to hear in this day and age. Check the somewhat unusual and dancehall/poppy Rising which is the only combination on the second disc. The two together (for the second time, I THINK) just sound very nice and even though it's a rather unusually paced tune, it still manages to work quite well at the end of things. Trodding Alone really caught my ears as well because I had been listening to it for a bit as it features over Itation Records' very nice Show Love riddim. It was one of the finest tunes on that fine riddim and it remains one of the finest tunes on this more than fine album as, to my opinion, it features what should be one of the signature lines of the album, "Trodding alone, The Most High see us through", HUGE tune! Up In Your face is a nice relation tune which I actually recall buying last year, it grew on me a nice bit and I think it stands as one of the finer examples of the excellent track selection by 2b1 and Lutan Fyah, because it wasn't a big hit at all. Gifted with that addictive one-drop of Black Shine's Weed Seed riddim, Up In Your Face is definitely one of the `dark horses' on Africa altogether. I don't know a thing about the tune really, but I have to mention the very uplifting Its All On You, which is just a nice meditative vibes as well, definitely check that one. It's All On You precedes what is in my opinion the single biggest tune on disc two, the SCATHING Watch Over Me! Amongst the songs I'm not very familiar with, I've probably spun through Watch Over Me more than any other. The tune reminds (and does so HARSHLY) that the most important thing is to know that you walk with His Majesty, because in doing so, no wicked force shall stand in your way. HUGE vibes on that one. I'll also mention the duet, I Love Everything About You which is an unofficial combination (with a nameless singer who I'm sure I'm familiar with from somewhere). As the title would suggest, it's a very nice and STRONG lover's combination and probably has one of the strongest riddims on the entire album. And disc two ends with the dazzling chanting Set The Children Free, another BIG vibes and wonderful message for the people. You could have picked EASILY any of these thirty tunes to end this album and probably none of the other twenty nine would have sounded as fine as Set The Children Free. Big credit goes to the setup, the entire project, VERY well done.



And I didn't mention at all tunes like Red Alert, Be Real (BIG TUNE!), Mek It So Hard and A Dat Mi See, ALL big tunes!



Overall, I hear often someone say something like, "Yeah I rate Lutan Fyah, but I really haven't heard that ONE thing from him that puts him over the top for me". If that's you, then `that one thing' has just arrived (even though you should've gotten the point on Phantom War) and more. Africa is the type of an album I can recommend to seasoned fans merely due to the fact that, although it has that compiled type of situation, it STILL gives you more than enough new material and even the older ones seriously, you probably don't have most of them or even have heard them at all. Big respect goes to 2b1 for placing out the piece and Lutan Fyah himself for delivering his own finest album to date. Africa is one of the best albums you'll hear anywhere in 2008 and beyond. When fans in the future look back for some prime Lutan Fyah, hopefully they'll star t at Africa: One of the best reggae albums of 2008. AMAZING! GO GET IT!

"