Miracle (Mantra, 1996)

This is a truly "miraculous" album in that it manages to create a sound completely original and unique within the sometimes constricting bounds of reggae.  Utilizing little more than an acoustic guitar, a bass, and Indian tablas (drums) and strings, Miracle is atmospheric, meditative, and spiritual.  Adrian Sherwood -- whose African Head Charge productions come about as close a comparison as I can make to this album -- is largely responsible for this wonderful change in Sherman's sound (from his roots background).  If you're not careful, you might forget that this is reggae, but Sherman's rootsy vocals -- reminiscent of a cross between Pablo Moses and Horace Andy -- his supple melodies, and the oh-so-subtle reggae bass and/or rhythm keep things within the genre, more or less.  But be warned: this album is slow; it shifts to low gear and stays there.  It is definitely an acquired taste that some listeners may find dull and listless (given the mood, I may be one of those listeners).  Both the sound and the quality are consistent -- though never overwhelmingly great -- with little truly standing out from the pack, the best being Sherman's remake of his own "Golden Locks," "Over the Rainbow," and "Missing You."

It Must Be a Dream (Mantra, 1997)

The phrase "couldn't leave well enough alone" comes to mind when listening to this remix album of material from Miracle.  A large part of what made the original album so great was its airy acoustic Indian touch, and inexplicably, someone comes up with the bright idea of dumping that sound in favor of a more modern, Western one, with heavy bass, digital effects, and sampled dance beats.  While this actually works on a few tracks, the "Europeanization" of the songs ruins most.  The best of these new versions are the ones that utilize subtle beats and effects -- quiet, unobtrusive changes that blend well with the placid nature of the original tunes.   "My Woman," "Just Can't Stand It," and "Over the Rainbow," for instance, each add just a subtle bass line, drum, or echo.   However, several of the remaining songs are dominated by dance/techno/drum & bass/trip-hop beats that overpower the vocals and drain any impact of the originals.   The "Solid As a Rock" remix actually made the UK charts, but it is one of the worst cuts on It Must Be a Dream, and I doubt that the people that made that version popular were reggae fans.

Across the Red Sea (On-U Sound, 1998 [originally released 1985])

This is one of those albums that sounds like it should be better than it is.  With an adept singer like Sherman and an adept producer like Adrian Sherwood, you'd assume that this would be a great album (They worked together on Miracle, after all.).   However, as the saying goes, when you ASSUME, you make an "ass" out of "u" and "me" (insert rim shot here).  Indeed, neither man brings his best to the table here, particularly Sherwood, whose music sounds a bit sluggish.   In fact, two of the best 3 tracks on Across the Red Sea -- "Slummy Ghetto," with its playful organ, and the airy "Golden Locks" -- were produced and recorded in Jamaica by Jarret Tomlinson.  Sherwood's best production is the echoing, bass-heavy "Revolution," while "Just Like a King" is OK.

Love Forever: The Classic Jamaican Recordings (EFA, 2000)

If you fell in love with Miracle (and, if you're a masochist, It Must Be a Dream) and wanted to find the original '70s recordings, here there are finally (well, some of them).  It's easy to see how Adrian Sherwood adapted these tunes to the tranquil acoustic sound of Miracle; the originals are quite peaceful and muted on their own (just more traditionally rootsy).  This is both a boon and a detriment, however, as the same sound that can hypnotize you can put you to sleep.  The tunes from Miracle -- "Golden Locks," "Just Can't Stand It," and "It Must Be a Dream" -- are all solid, but it's the other cuts that carry Love Forever.  The rollicking title track, "Golden Stool" (two of the only up-tempo tunes), the mournful "My Whole World," and the righteous Israel Vibration-ish harmony of "Mighty Ruler" form the core, while "Lightning & Thunder," "10,000 Ethiopians," and "Tribulation" are also OK.  But, after 17 subdued tracks, lethargy sets in, making you wish the compilers had exercised a little restraint in their selection process.