Busy Signal and Tarrus Riley, two artists who from the onlooker would appear to be polar opposites in terms of their musical styles have both released new albums. Busy, known to most as a Dancehall artist and deejay, releases his first Reggae album entitled ‘Reggae Music Again’ a bold step for the artist having dabbled with Lover’s Rock and Culture for a few years now. On the other hand Tarrus Riley, is an artist whose ability to make quality Reggae records is undisputed. Daringly his new release ‘Mecoustic’ gives many of his well-known hits an acoustic make-over, and generally creates a more subtle tone to an already velvety tone that is trademark of his previous albums.
In a word, both artists take the collective perception of ‘Reggae’ and turn it on its head. Busy’s deejay style undeniably has an affect on the tone of many of the songs, whereas Tarrus exchanges One Drop and Culture sounds (bass and electric guitar, drums etc.) in favour of flutes and piano. The tempo of the record is considerably slower than Riley’s previous albums, making it easier for listeners to catch some of the lyrics. In particular I noticed the difference this made with the acoustic version of ‘She’s Royal.’ Lovers of the tune will remember it as much for the heavy electric guitar on the riddim and the saxophone intro as for the catchy chorus. However the acoustic version replaces these tropical sounds for a mellow piano, acoustic guitar and stirring drum pattern reminiscent of a drum core. This of course has a bearing on the tone Tarrus brings to the song. I think I still prefer the original as a favorite in parties in the Reggae section, and of course the glaring saxophone will sound better played loud out of your speakers, but the new version is a welcome alternative for easy listening.
‘Devil’s Appetite’ and ‘Marcus Garvey’ are favorites of mine on the album. Riley’s voice resonates, sounding golden as usual, its depth almost make it seem as if the artist is singing live in front of you. ‘Eye Sight’ is another stirring cover and demonstrates Riley’s diverse ability. My other favorites on the set are ‘Paradise,’ ‘One Two Order’ and ‘Africa Awaits.’
On the intro to Reggae Music Again Busy says “I&I jus’ do positive music, conscious music, mek sure di people dem have somethin’ to listen to, to relate to.” The first song ‘Run Weh’ begins and the intro screams familiarity – an archetypal Reggae drum pattern. ‘Run Weh’ is a good intro to the record, Busy’s energy on the track will have you bubbling along.
Busy’s toasting style on ‘Modern Day Slavery’ ‘Kingston Town’ and ‘Fireball’ works well, allowing the artist to tell stories on these conscious tracks. However in comparison to recent offerings from I-Octane and even the UK’s Gappy Ranks, the production throughout the record can sound a little repetitive. The track’s listened to in isolation are high quality, but can start to sound mundane.
For me the stand out tunes on the album are Busy’s Lover’s Rock records ‘Comfort Zone’ and ‘Come Over’ which have been doing well on the Reggae circuit for a number of months. Such records are the first encounter I had with Busy as a Reggae artist. Hits such as ‘One More Night’ and ‘Night Shift’ made me stand up and pay attention to Busy as a viable Reggae artist.
In essence both albums are personal interpretations of Reggae music, and I think it is encouraging to see artists creatively building on and expanding the perception of the genre. Many have been woeful about the state of Reggae in recent years, but I’m sure listeners to both albums will appreciate that it is indeed still flourishing.
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