Search - Mr Vegas :: Mr. Vegas: The Hits

Eleven Years Later, And Heads Still High. . .

Achis | Kingston, JA/Philipsburg, SxM | 11/06/2008

(3 out of 5 stars)

"(3.5stars)

The terms `modern dancehall' and `longevity' are SEEMINGLY two different pieces of phrase which just do not belong together in this day and age for most. In today's time, its not at all rare to see a name just pop up and score a hit or two only to all but vanish within a year or so. That is at least the perception of it all. However, when you take juts a slightly more in-depth look at exactly what has been going on in the dancehall (both those in and outside Jamaica), what you'll see is, at or near the top level of the game, the same group of names, which, although they almost routinely boot members from the ranks, they hardly ever do a wholesale SHIFT and those names have been where they are for quite awhile. This is not just a phenomenon reserved for the absolute KINGS and QUEENS of the game, such as Beenie Man, Bounty Killer, Buju Banton, Lady Saw etc. Just a step away from those artists you also have artists such as Elephant Man (who now has well over a decade in dancehall to his credit and probably belongs in that first group), Spragga Benz (who is a fine example of an artist once belonging to that top group but due to periods of EXTREME inactivity has since left that group, but is still FAR and AWAY dancehall royalty and is now nearly two decades into his career), the wickedly underrated General Degree (nearly fifteen years to his name) and even dancehall poster boy, Sean Paul, himself with over a decade under his credit all of whom have rather quietly become more than just 'veterans' while dazzling fans with years and years full of hits. Need more examples? Check the younger class: Can you REALLY see either Assassin or Vybz Kartel going anywhere anytime soon? Both younger veterans will move into the point of having a decade AT THE HIGHEST LEVEL OF THE DANCEHALL to their credits within he next few years (and Assassin will do so well under the age of thirty). Also, in the next year or so, the typically `odd man out' of dancehall, Baby Cham (so called due to his `reluctance' to voice for producers NOT named Dave Kelly), whose place in the game is only held secure due to the fact that YOU KNOW whenever he reaches, whatever he brings will potentially be magic, will also be a decade deep into his career. And of course there really are several more cases, such as Merciless (who somehow and someway is still around), Lexxus, Ce'cile, Tanya Stephens and even (unfortunately) Red Rat, all are artists who emerged either directly after or much further down the line of the emergence of Shabba Ranking who have in the years since established SOLID longevity in Jamaican dancehall. So, if you here someone (even if its me) tell you longevity (and it might be) in dancehall CANNOT be done, know otherwise (even though I can, and have, give you literally dozens of names who didn't withstand the test of time).



Another name to add to that list, and perhaps one of the most unique, is dancehall singer Mr. Vegas. It may be quite ODD, but completely TRUE, to say that, with a few breaks in time here and there, the Kingston native has been making HITS for a decade. And within the last eighteen months or so, his propensity for producing top notch material has, arguably, never been more consistent during his career (despite the fact that he just 'retired', more on that at the end). Originally, Vegas' arrival on the scene was marked by his being one of the up and coming stars (amongst names such as the aforementioned Red Rat and General Degree, alongside the wickedly creative and underrated Madd Anju and Goofy) of the once famed Main Street Records from Danny Browne. The same label which would launch Red Rat into the stratosphere would do the same for Vegas and even though Main Street (which was, in retrospect one of my favourite outfits in modern dancehall history). Throughout the years, Mr. Vegas has perhaps been outshined (and, at times, rightly so) by newer singers Wayne Marshall and Mavado and even the return of Wayne Wonder (himself at an astonishing two decades + into his career), but when it was HIS time, were there a need for a male dancehall singer, despite his rather unusual vocals, Vegas was the choice. Thus, his career also parallels that of Sean Paul as the two have more than one hit in combination to their resume' (and one which included the duo alongside US hip0-hop star DMX, Top Shotta). He has also worked with the likes of Elephant Man (check the WICKED herbalist anthem Bun It), Beenie Man, Ce'cile, Mad Cobra and even soca heads Machel Montano and Destra Garcia along the way, as well THE finest in Jamaican dancehall/reggae production, thus really amassing an almost infinitely impressive catalogue for himself. Vegas also attracted international attentions along the way and to that goes the credit of the veteran now having (by my count) a very respectable six studio albums for himself. The first two of which, Heads High (1998) and Damn Right (2001) were for UK reggae giant label Greensleeves (who I THINK, briefly had the singjay signed to an official deal at one point). In 2004 he Vegas dropped the first of two albums for the US based Delicious Vinyl, Pull Up, which was probably his most high profile international release to date. In 2006 Vegas went the way of so many of his peers and released the Constant Spring album exclusively through a Japanese label, before returning to the west just last year for another quite high profile release, Hot It Up (there was also a HORRIBLE greatest hits album in there from Jet Star, Reggae Max in 1999). Now, as his career has reached its `end', Mr. Vegas returns to where it all began for his final dancehall album, where he released his first dancehall album as The Hits comes via Greensleeves (now owned by VP Records, which technically makes this his long awaited VP debut). Just within the last year, Greensleeves had a very nice series by the name of Monsters of Dancehall (which included releases from Elephant Man, Beenie Man, Ninja Man and finally Red Rat); why The Hits isn't a part of the series is a MYSTERY to me. However, what I do know is that it stands as just as strong as any of those releases and a fairly strong representation of one of the STRONGEST careers in all of modern dancehall.



Mr. Vegas' career, much like many of his peers, but perhaps even more so, is a case of living `payday to payday' or, in their case, `hit to hit'. His time is highlighted by OUTSTANDING stretches of consistent hit making and times when the proverbial well ran dry which makes it seem as if his stretches of activity where HUGE, when, although there several, weren't really very long comparatively. If his career was in fact from `hit to hit' the BIGGEST hit of them all begins the show on Mr. Vegas: The Hits, the title track of his first album, 1997's MASSIVE Heads High. I THINK Vegas had a hit before Heads High (and its present here as well). The tune caught on almost IMMEDIATELY with the masses over Browne's once mighty and ridiculously addictive Filthy riddim. The rather gimmicky tune's strength can be measured by the simple fact that after ALL Vegas has done, especially recently, Heads High remains his one signature tune to most hardcore dancehall heads. And to my ears included, having not listened the tune in quite awhile really, it can STILL strike the same chords in me it did a decade ago. Next up is the far more recent (2006) Tek Weh Yuhself over the BANGING Dutch Pot riddim. This tune was a bona fide Jamaican #1 tune even though I really didn't like it! Tek Weh Yuhself came well into the time when Jamaica had taken the actual DANCE to the song (instead of the other way around) and even though it didn't catch my ears (because I was WELL tired of that by the time it reached), still many regard it as some of his finest work and it was one of the tunes in his current hitmaking swing, definitely. Completing the opening to The Hits album is a song I BARELY recall, another of my not so favourites, Hands Up. The tune flows over Jeremy Harding's LAME Faith riddim (named after the Limp Bizkit tune of the same name which it shared a bit of vibes with). The tune just never really gets off the ground to my ears and, although it was a decent sized hit (and did reach the Heads High album), it just doesn't show the artist at his absolute best in my opinion. Hands Up (Yuh Sure) ends a rather predictable beginning to The Hits album.



As I mentioned, Mr. Vegas' career runs (or at least DID run) parallel alongside that of Sean Paul, so, it's a given in recapping said career you would HAVE to add at least one combination between the two. The one which is chosen for The Hits album is DEFINITELY my favourite tune on the album and Vegas' career altogether, the wickedly CLEVER Hot Gal Today over the CLASSIC Street Sweeper riddim. The tune features a nice back and forth between the two artists, arguing for the attentions of a special young lady, as both haffi get di gyal. BRILLIANCE! The balance of Mr. Vegas: The Hits is sprinkled in with some of my favourite Vegas tunes as well. Check the very nice Jack It Up over Tony Kelly's WICKED Bookshelf riddim, representing nicely from that early era (pretty much ANYTHING on that riddim is a winner, same riddim spawn Sean Paul's Deport Dem and Beenie's riddim title track). Check the INTERESTING Girls Time, which I once used to not like very much AT ALL. Fast forward a few years and I'm liking the tune over the other Browne's (Richard Browne) ultra creative country tinged Orgasm riddim. That's one of the real highlights here for me actually. The album's downright NECESSARY changeup is the wonderful Do You Know over Yogie's lovely one-drop, the Old School riddim. The tune is a straight forward lover's peace and Vegas' high pitched and even higher paced vocals don't necessary translate well into that style very much, but definitely Do You Know is THE exception. There's a stretch smack in the middle of The Hits album of four tunes in succession, Under Mi Sensi (alongside one of my LEAST favourite DJ's EVER, Alozade), Pull Up over Scatta's Coolie Dance alongside once promising St. Mary singer Wayne Anthony, Taxi Fare, alongside Lexxus over the Baddis and of course Hot Wuk: All of them hits, top Jamaican hits. And the only one I REALLY like is Pull Up, but you might like each and every one as so many did and really, in terms of what they did, it's the most impressive such stretch on the entire album. As the album winds down, however, things get further back on the lines of my tastes. Check Latest News over Steely & Cleevie's strong Bagpipe riddim which was really one of my favourite riddims from awhile back and Latest News, although it was a pretty decent sized hit, is definitely the type of tune which would get overlooked on such an album and thankfully it is included here. I think the same could be said for the tune Jacket, which I didn't really like, but is well deserved of being present here as it was simply a Hit. The three tunes here which go to complete The Hits album are really three of my favourite pieces from Vegas and end the album on a very high note. Go Up chimes in on another of my favourite riddims, the wicked Juice from Richard Browne. Go Up was one of the stronger pieces from that well stacked release, which I still spin somewhat frequently even all these years later. LUCKILY, Greensleeves throws in Bun It (it was number one EASY of tunes they would have forgotten for me if it weren't here). Bun It is nearly as strong as Hot Gal Today as Elephant Man and Vegas make a WONDERFUL pair on one of the `busier' herbalist combinations you'll EVER hear (thankfully, I have to mention, this tune was recorded twice, the second time HORRIBLY over the Bollywood riddim which Vegas produced, the one here is the original over the addictive Crash, also produced by Vegas and Byron Murray). LOVE THE TUNE, second best tune here overall. Ending the album is what I THINK was Vegas' first hit, Nike Air over the (Who Am I) Playground riddim from Jeremy Harding. EVERY tune over that riddim is forever cursed (except one) to live in the shadow of another, but easily the second best tune over the Playground and one of the best one this album, is Vegas' Nike Air.



What's missing? The one which shines easily as being ridiculously absent, is another which I didn't necessarily like, but definitely have to well respect is Constant Spring. EASILY. And one of my old favourites Mek Mi Si Di Hand Dem Sway, which shouldn't really be here, but I used to LOVE that tune.



Overall, as I always say regarding greatest hits albums, this one is strictly for the newer fans and the collectors. For most hardcore dancehall fans (even if you aren't necessarily a fan of Mr. Vegas'), you, like me, are likely to have reached the point where you'll simply find yourself SO familiar with these tunes that, whether you like them or not, you're singing along the entire time. However, I still feel these type of albums are necessary to promote an artist and ultimately dancehall as a whole as a casual or `semi-fan' is far more likely to check out an album full with the `best' an artist has to offer, versus an entire new album. And, as I mentioned, recently Vegas announced his retire from dancehall (while having the number one tune in Jamaica at the time) and his conversion to Christianity (much like Danny Browne himself). While I do certainly wish him well in whatever he chooses to do; with an album having just been released full of certified hits to his name, the number one tune at the time (tune named Daggering and he is now ranking high with Muss Come A Road, a combination with reggae legend Barrington Levy) and still riding a string of hits stretching back almost two years, it'll be hard to see him REALLY leaving the dancehall. If he has, know that, despite its limitations and my own personal tastes, no greater compiling of one of the most consistent and unique talents the dancehall has seen in recent years.

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