Universal Struggle (VP, 1997)

Anthony B. (don't forget the period) reminds me somewhat of Terror Fabulous.  Not in style per se, but rather in the way that I perceive their status in dancehall.   Just as Terror Fabulous was a moderately talented artist who always seemed to fall just short of both the quality and popularity of similarly-styled DJs in the early to mid-'90s (e.g., Beenie Man, Bounty Killer, and especially the pre-Til Shiloh Buju Banton), so Anthony B. seems to fall just short of late '90s cultural sing-jays like Sizzla and the post-Til Shiloh Buju Banton.  Although the talent is there, the consistency is fleeting.  At times, as on the African drum-laden hit "Damage" or the inventive use of Gregory Isaacs' "Night Nurse" music on "Waan Back," he shows sparks of greatness, but other times, he seems to be just happy to be there; some of his material is just plain generic, nothing special.   Part of what I find disconcerting about his songs is his quote-unquote "singing."  No one will argue that fellow sing-jays like Sizzla, Lion, Prezident Brown, and Buju Banton are great singers, but Anthony B. sticks out in my mind as being particularly bad.  His singing is discordant and distracting, even on pretty good tracks like "Storm Winds" and the aforementioned "Damage."  Perhaps he just shouldn't try so hard; it sounds like he is on the verge of bursting a vocal chord (or an eardrum, in the listener's case).  Still, Anthony B. manages to overcome his vocal shortcomings with enjoyable tunes like "Heavy Load," "Seek Jah First," and "The Mockingbird," although overall, Universal Struggle is merely OK.

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Judgment Time (2b1, 2004)

With his prolific release schedule (rivaling Sizzla and Turbulence), Anthony B's albums can be a bit hit-or-miss affairs, but Judgment Time is a definite hit.  It begins on a high note with the popular anthem "God Above Everything" (featured on Reggae Hits 30), followed by another rootsy gem, "Not an Easy Road."  Switching gears, he bludgeons you with a series of heavy dancehall numbers, highlighted by the topical "Queen House" (AKA "Queen Face"), "Big Time," "Defend Yourself," and perhaps the best song here, "A No Nice Place," which warns that prison is not a nice place (in case you were wondering).  The funky, funky hip-hop jam "Reda Dan Red" adds a nice touch.  Although roots fans may be dismayed to find that only 5 of the 15 tracks are rootsy, all of them -- the opening pair, plus "Defend the Poor" (AKA "Fire Starter"), "Its Time to Change," and the groovy "Love Triangle" -- shine, and really, the dancehall cuts are strong as well, so why not take this opportunity to broaden your horizons?  The only questionable tune is a remake of R. Kelly's "Storm Is Over Now" done in a simple, almost acoustic style with just a bit of backing percussion.  Otherwise, Anthony B fans should "judge" this album worthy of his talents.  (It should be noted that several of these tunes have alternate titles.  Besides the previously mentioned "Queen House" and "Defend the Poor," "Dance With Me" is also known as "Fire Dance," released previously on his That's Life album).  

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Black Star (Greensleeves, 2005)

*GUEST REVIEW*
This album was technically released before My Hope, but I bought it a while after. Either way, the two are both successes for Anthony B., who seems to be transforming from a mediocre singjay into a very good one. His voice hasn't really improved, but he seems to understand how to use it better now, with a boisterous but still tuneful delivery that really works over a specific kind of modern roots backdrop. Black Star isn't as strong as My Hope, but it's very much in the same vein -- maybe with a somewhat darker vibe -- and anyone who enjoyed one should enjoy the other, too. Highlight tracks include "World A Reggae Music," "Praise Jah," and the driving ska of "Black History." "Sunshine" also is good, with a bouncy groove and a repetitive but endearing melody.

- Dale Cooper

My Hope (Minor7Flat5, 2005)

Anthony B. has released over 15 albums since his 1996 debut, but My Hope may be the best one yet. A large helping of the credit goes to the production talents of Spain's German transplant Andreas "Brotherman" Christophersen and the Jamaican Al.Ta.Fa.An. collective, both of whom brought an organic roots sound to past Minor7Flat5 releases from Turbulence and Luciano.  Seemingly inspired by the rousing music, Anthony B.'s vocals, which have been his downfall on past albums, rise to the occasion. His rich baritone has settled into a comfortable range, harkening thoughts of what Peter Tosh might have sounded like if he'd been born in the dancehall era. Featuring a bevy of top-line veteran studio musicians, My Hope leaps with a retro live-instrument roots power that makes the more popular computerized dancehall seem all the more rigid and artificial. Only on the faux operatic "Dancehall Thing" does a digital rhythm seep through, but it stands out like gainful employment at a Phish concert. Not surprisingly, this is the least engaging track on the album and really the only one that fails to find a spark. Anthony B. doesn't introduce any revolutionary lyrical content here -- maneuvering adeptly through social statements like the anti-war "Global Awareness", pious statements like "Jah Alone", ganja anthems like "More on More", and even love songs like "Rastaman She Love" -- but he covers all the requisite bases with veteran skill.The title track is a soaring statement of faith in future generations, while "Strong Shoulder" injects dancehall energy into a surprisingly vulnerable love song.  "Watch Over My Head" meanwhile stands tall as a gorgeous prayer for protection powered by the gospel trappings of a buoyant organ and full-blooded chorus.  Cultural roots-cum-dancehall artists like Anthony B. may never be deemed marketable enough to gain substantial mainstream airplay in the US, but they're nonetheless producing music as electrifying as any digital party anthem the dancehall can churn out.  It's the mainstream's loss.

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Higher Meditation (Greensleeves, 2007)

Anthony B. has been around for quite a while now and though perhaps not winning as large a fan base as fellow cultural DJs Sizzla and Capleton, he's a revered veteran on the reggae scene and could very well be at the artistic height of his career right now. His latest offering, Higher Meditation, isn't his best album to date, but it's a solid continuation of his ascent into the upper echelon of modern reggae talent. While fans of his rootsy side should enjoy this album, they should also be aware that a good portion of the tracks (5 or 6) are dancehall or hip-hop-oriented -- although frankly, some of the best tunes here are dancehall numbers. "Jah, Jah, Jah, Jah, Jah," for instance, pops with the intense fire of the DJ's faith, while "No Passa Passa" sounds like an Elephant Man crossover hit, and "Hold On" is an old-school, waist-grinding '80s digi-dancehall jam that could be the highlight of the album. On the roots tip, the title track is a nice Rasta anthem, although it sounds like a lesser sequel to his "God Above Everything." Better is "Nah Run From People," a thumping slice of funk-roots with a vibrant horn line that could've been the theme song to Jamaica Five-O. Anthony B. also scores with the slower emotion of "Just Can't Live That Way" and the solid ganja ode "One Chalice." That said, there are weak spots: "Tired of Waiting in Vain" is a "tired" cover of Bob Marley's too-familiar "Waiting in Vain" that doesn't need to be redone, "Your Time Has Come" is an acoustic ballad that tries too hard to sound heavy, and "Smoke Weed Everyday" seems like the type of simplistic hip-hop tune that someone who smokes weed everyday would indeed make. Still, despite its faults, Higher Meditation delivers the type of quality you'd expect when an artist of Anthony B.'s caliber teams with a "reggae major" label like Greensleeves.