All Hail the Queen!. . .
Achis | Kingston, JA/Philipsburg, SxM | 05/01/2007
(5 out of 5 stars)
"In reggae we have `King' Yellowman. We have Beenie Man, the `King of the Dancehall`. We have Bounty Killer, the `Warlord'. We have Capleton, the `Fire King'. We have Super Cat, the `Don Dada'. We have Lady Saw, `The Queen of the Dancehall'. We also have Dennis Brown, the `Crown Prince of Reggae' and Bob Marley, `the King of Reggae. Some of these titles were earned (some to far greater degrees than others), some were simply bestowed upon the particular artist for some reason or another, and some even still were bestowed upon the particular artist by. . . well that particular artist, his/herself, and some of these artists (well most ALL of these artists) have other, in some case just as well known (such as Bounty also being referred to as the Poor People's Governor), nicknames. However, amongst all of these nicknames and the thousands of others by which other artists are known, perhaps not a single one has been EARNED to a greater scale than that of the legendary Marcia Griffiths, The Queen of Reggae. No woman (and perhaps no living male) has been a greater ambassador for not only reggae music, but Jamaica as a whole. The regal and intensely respectable (and respectful) Griffiths hasn't necessarily been as well known as some of her peers (most notably Marley's widow, Rita Marley) or as some of the younger generation of female artists (outside of Jamaica, in Jamaica you`d be hard pressed to find a living creature who didn't at least know of her), however, they ALL owe her a bit of credit as having been one of the true female pioneers in reggae music. It also doesn't hurt her respectability that not too many artists, regardless of their gender, have been more talented than the West Kingston native, that is all to be credited when one looks at what is undoubtedly Griffiths greatest achievement to date, her longevity. A staggering FORTY year veteran in the business, Griffiths holds a claim to longevity that even the most decorated of the typically fickle reggae business can't dispute. She has continued to along all the while as well, whether it be performing with Marley and the legendary I-Threes, or as she does currently, tour the world with renown singer Beres Hammond. And between Marley and Beres, even the two top notch artists cannot see Marcia Griffiths in terms of longevity (they'd have to combine their years to top her!).
Undoubtedly Marcia Griffiths is best known these days for the near decade she spent in the 1970's and early 1980's touring with Bob Marley & The Wailers as part of the lead backing vocalist group, The I-Threes. The group was comprised of Griffiths, Marley's wife, Alpharita Marley, and the supremely talented vocalist Judy Mowatt and while the group went on to perform very well with Marley (as well as having some success on their own) , one could argue that Griffiths might have even had a bigger impact had she remained in her ways as she was before the group, which was as a predominantly solo artist. Having originally gotten her start with Byron Lee of Byron Lee & The Draigonaires fame (who now that I think about it is one of the very few artists around who can claim a longer history than Griffiths) Griffiiths would come into contact with several musical geniuses early in her development as an artist to whom perhaps the credit goes for delivering such an outstanding and devoted pillar of reggae music such as her. Besides Byron Lee, young Griffiths would work with, amongst others, Bob Marley, Bob Andy, Coxsone Dodd and she who was actually most instrumental to her development, Mrs. Sonia Pottinger of High Note records who most consistently put out Griffiths' music including compiling material as well as recording exclusive material for official albums from Griffiths' (most notably the outstanding Naturally album), during the first half of her career. Griffiths had already been very successful before entering the I-Threes and touring and recording with Marley, arguably just as successful as anyone in the entire camp, not named Robert Nesta at the time. As a decade veteran, she had already been half of the ultra successful duo, Bob & Marcia, with singer/songwriter Keith Anderson (bka Bob Andy).
After spending her near decade long stand with the Marley camp (and to her own words learning a great deal about making music) Griffiths' , her reputation and popularity now sky high, resumed her solo career, recording in all facets of the music and establishing her legend. She would later go on to work in the dancehall phase of the music as well, and even scoring a very very unusual hit with Bunny Wailer's Electric Boogie which would spawn the very Macarena-ish (about 15 years before the Macarena) Electric Slide dance. Her career is one of legends, encountering legends, performing with legends and ultimately becoming a legend. Her own style is a very laid back one, which is perfect for reggae music. However, she occasionally reserves the right to show just exactly what she can do with her voice at certain moments. She herself will tell you that she is no great songwriter, however, all but the most studious of listeners will beg to differ as she has throughout her aligned herself with some of the finest songwriters Jamaica has ever produced. She is also, actually one of the few artists in Jamaica who have an well encompassing appeal, in that she can find her audience amongst children and the elderly just alike, with the overall message being , IF YOU DON'T LIKE MARCIA GRIFFITHS MUSIC, SOMETHING IS WRONG WITH YOU! She touches ballads and dance songs equally well and of course, her music most strikes a chord with women all over the world, definitely women of Afrikan descent as she simply sings most often for them, and their struggles and men as well, we should also be able to find a vibe in Griffiths music.
Melody Life, her official anthology is a well timed downright crucial collection of Marcia Griffiths' finest material. From the earliest of days, including her first #1 song the Dodd produced Andy written Feel Like Jumping and all the way up to her current works of today and everywhere in between, Melody Life, so named after one of her more well known earlier songs, is yet another awesome greatest hits styled release from VP Records. The same label just last year released a double greatest hits release from Bounty Killer, a double greatest hits release from Beenie Man (2000), a wonderful double piece from Beres Hammond and another double release from Sizzla Kalonji, which Griffiths' anthology most resembles. The project is entirely well done, complete with awesome liner notes from reggae historian Roger Steffans, very very rare photos and just a well put together set by the people at VP, showing the respect only naturally due to a Queen. Musically speaking, the 2 disc piece is split noticeably in half with the older and more classic vibes coming on the first disc and the newer material coming on the second. So, its quite hard to compare the discs together in terms of quality (which is what I normally do in the case of double albums like this one), but they compliment each other very very well. Also, worth mentioning is that even though Griffiths has had such a long career and undoubtedly you could fine more greatest hits albums from her, this is without a doubt, the begin all and end all when it comes to such an album for her, Griffiths and VP has done an almost overwhelmingly good job with Melody Life.
The first tune that will surely catch your attention here is Oh My Darling, a combination with Bob Marley. Its will almost assuredly bring about the `THAT'S BOB MARLEY!???' response to all who hear it! Marley and Griffiths share the Dodd production which comes off like an old post-swing era love song circa 1935 in Jamaica. The quality of the song is almost an afterthought. While it is a strong song, and would have been particularly strong in its day, the curious nature of the song is what will draw you in, no its not near the best material here overall, but you pretty much have to hear that record. The lovely lovely title track soon follows on the first disc as well. Melody Life is a rather odd choice for the name of this album as a song. It was a very popular song, but certainly nowhere near amongst her most popular and probably only those who would make the connection are reggae enthusiasts or really big Griffiths' fans in particular. But considering the story of her life, it is very fitting. This time, the song is amongst the album's finest, Melody Life sounds like something that would be sitting in God's cd player, its just a lovely song, showing Griffiths at the height of her abilities. The overabundance of vibes evident on the first disc doesn't end there however as probably he biggest hit ever and most highly regarded song is also on disc one. Young Gifted and Black is one of the coolest song's I've EVER heard. Bob & Marcia's very nice and simple covering of the Nina Simone penned track and the track which came even before her involvement with the I-Threes and shows Marcia Griffiths was truly on her way to being a HUGE star before she ever began recording with the group.
I also love the way in which disc one reaches its end. Check Survival, the Pottinger piece has always been one of my favorite (and very hard to find) Griffiths tracks. I take the song as a very empowering track, not only for women, but for all people everywhere, and the pounding one drop which backs it makes it sound like something directly out of Marley's studio, but Griffiths in Pottinger's studio was equal magic and the duo made some awesome material with Survival being amongst the absolute very best. The final track on disc one is the outstanding remake of Dreamland, penned by Griffiths' good friend and fellow Wailer, Bunny Wailer. She does a job so well that it FAR and away outshines Bunny's own version, not to take anything away from Wailer, but the song (which I believe he himself adapted from another and has been remade by several others since then) has never had a greater home than in Griffiths' catalogue, again under the Pottinger banner. Disc one could have stood rather nicely (from any other label) as a greatest hits album on its own, as many of the other tracks which I didn't mention (especially the ULTRA strong combination with Bunny Rugs, Really Together), but VP gives you another disc to ponder over.
The first difference between the discs is the production. The first disc was split between Dodd, Griffiths' childhood friend Lloyd Charmer and Pottinger (with Dodd getting the most work), while the second is almost completely a Penthouse operation with Donovan Germaine manning the boards for most of the disc. Disc two is where you'll find more of the tracks which are on paper as exciting as they are in the `flesh'. Check the really unusual combination of Marcia with dancehall royalty BEENIE MAN, BUJU BANTON, MAD COBRA AND TONY REBEL on Steppin` to Mount Zion. Besides the fact that she has recorded with Rebel before, this combination is one so odd, and yet it works, COMPLETELY, without a doubt the tune is one of the project's finer pieces overall. Also check the wonderfully nice combination Live On with touring partner Beres Hammond. Having seen the duo perform the song several times over the last few years, I still hold a special appreciation for the song which they do so so well. I'm also very very fond of the penultimate track her, the divine All My Life combination with young dancehall singer Da'ville. Da'ville holds his own with the Queen and the unlikeliest of combination is actually one of my favorite current tunes, I love the song. Also check the closer, Wave Your Banner, which is a very nice Cocoa Tea produced piece.
All of that doesn't even tell the whole story as the two tracks which in my opinion the strongest on the project are here on disc two. Check the outstanding Stepping Out of Babylon which Griffiths did for Mrs. Pottinger (noticing a trend here about quality with Mrs. Pottinger?). The track, written completely by Griffiths, is actually versed as a Rastafarian track which was one of the very first times Griffiths had done such a thing on a song, and she made a very very lovely decision in doing it, as Stepping Out of Babylon is one of the greatest roots tracks you'll hear from an era in reggae music in which roots was king. The absolute best track on the entire project is definitely I SHALL SING. You really get a summation of the entire piece with the track when Griffiths says, `I SHALL SING FOR THE REST OF MY LIFE!'. I hope so!
Overall, this one is a no-brainer, definitely pick it up. I just love the way VP produces these greatest hits albums, I don't listen to much music which isn't reggae, but I can imagine this is exactly the way in which other more mainstream musical genre's have their best produced. Everything here is on point in that aspect. Musically, Marcia Griffiths' game is second to none having recorded some of the most beautiful music Jamaica has ever heard, if you're not a fan then this is definitely one to wrap your hands around for a healthy introduction to Griffiths. And for the hardcore Marcia Griffiths fans you need not worry, this piece is very very well done with Griffiths having a healthy role in its production and arrival outside of just singing the songs. You will LOVE the liners with this one, being almost like a herstory lesson. Marcia Griffiths is one of the true reigning ambassadors of reggae music, her anthology, Melody Life is certainly not to be missed."
Track Listings (15) - Disc #1
