Nyah Man Chant (VP, 1997)

Along with Prince Malachi's Jah Light, Shalom's Baby I've Got News For You, Isaac Haile Selassie's Unite, Gondwana's Together, and Jahmali's El Shaddai, this is one of the most impressive debut albums of the '90s.   Bushman's rich baritone singing voice and cultural style will remind many of Luciano (although Bushman's vocals are perhaps a bit deeper), but I think that his range is wider than the more celebrated Luciano. On Nyah Man Chant, he traverses between roots, dancehall, and lovers rock with such self-assured ease, you'd think that he was a veteran in the business. Aiding Bushman in his varied styles is the revered production duo Steely & Clevie, who start the album with the horn-filled roots of the title track, following it up with the straight R&B of the the irresistibly catchy "Remember the Day," the sentimental lovers rock of "She's Gone," and the high-energy digital dancehall of the hits "Rude Boy Life" and "Call the Hearse."  Perhaps the best song here, however, combines several styles within one track: "My Day," an inventive version of Ruby & The Romantics' "Our Day Will Come," incorporates an up-tempo dancehall beat with an old-fashioned country-western guitar and a gospel-like melody.  Sounds odd, but it works.  And all the while, Bushman maintains his stellar vocals, which are at once emotional and smooth, cultural and romantic. He definitely deserves more attention than he's gotten thus far.

Total Commitment (Greensleeves, 1999)

If there was still any doubt that Bushman is anything more than a Luciano clone, a listen to Total Commitment should clear things up.  Maintaining the variety of styles that he flexed on his debut -- from the catchy roots of "Fire Bun a Weak Heart" to the lovers rock of "Afraid of Commitment" to the old-school dancehall of "Mr. Gunis" to the modern dancehall sound of "Send Dem Come" -- Bushman avoids the sophomore slump.  Just as appealing as his eclectic sound is the fact that he never really treads into the sentimentality that Luciano adopts occasionally.  He puts forth positive, righteous messages without becoming sappy.   Solid yet understated production from veteran King Jammy allows Bushman's lush vocals and rootsy melodies to flow on gems such as "Hard Time," "Give Jah the Praise," "Live Your Life Right," and "Works To Do."

Higher Ground (Greensleeves, 2001)

Bushman returns to Greensleeves and returns to form (coincidence?) after the disappointing A Better Place.  Higher Ground doesn't have quite the eclectic mix of styles that his earlier albums did, instead favoring a modern roots/light dancehall sound that won't do anything to cease the comparisons to Luciano.  The opening tune, "Yadd Away Home," for instance, could just as easily be Luciano as Bushman, as far as I know (Come to think of it, have you every seen both of them in the same place at the same time?  Hmmm . . . ).  "Make a Change," "Your Love," the emotional plea "Love of the Heart," and the operatic-edged "100% (The Highest)" highlight this strong set.  The overproduced, rambling "This World (Hold Strong)" ends Higher Ground on a sour note, but it isn't enough to ruin the album.

Signs (VP, 2004)

Another strong effort from Bushman, who I'm afraid may be destined to perennially toil in the shadow of similar-sounding Luciano. As much as any album he's released so far, though, Signs should be able to draw in new fans. In particular, roots reggae listeners should relish the cultural, roots-heavy sound of this set, which includes very little of the digital dancehall and lovers rock styles that have peppered Bushman's previous releases. A forceful, brooding sound matching the singer's full-bodied vocals runs through tracks like "Wicked Man," "77 Times 7," "Talkative," the Peter Tosh-like "Lighthouse," and perhaps the choicest cut here, "Creatures of the Night." More rousing, yet still roots-grounded, numbers include "Downtown," "Sanctuary," "Light It Up," "Every Day," "Pleasing People," and "A-Merry Mecca," which pulls no punches in exposing the warts hidden behind the American Dream. Wonderful from start to finish, Signs is possibly the best album Bushman has released to date, but I would eliminate the "possibly" were it not for the inclusion of the couple of experimental and/or crossover tracks that we've unfortunately come to expect from him. I don't really know who the intended target audience is for songs like the limp, dated pop of "Signs" and the God-awful cover of the '60s protest tune "One Tin Soldier" (makes me want to punch a hippie) -- particularly given the fact that they're buried in such a righteous roots showcase -- but Bushman seemingly can't release an album without a few head-scratchers like these.

Get It in Your Mind (Burning Bushes, 2008)

Four years is an eternity in reggae circles to wait for a new album, but Bushman fans have patiently bided their time (I hear sudoku is a real time-killer) and now are rewarded with Get It in Your Mind, perhaps the singer's best album to date. Keep in mind, though, that this is a collection of singles and not necessarily a proper album (granted, that's what a lot of reggae albums are), so listeners might already be familiar with a good portion of the material. That said, these songs, coming from a variety of producers and musicians in Jamaica and abroad, remind us why Bushman is one of the most sure-fire reggae artists around. The quality of his work is generally without reproach, and Get It in Your Mind is no exception. "Rasta Nuh Dead" rides the subtly awesome Good Times riddim that Capleton used on "Steppin' Up" from his Reign of Fire album. "Nuttin Nah Gwaan" is a classic sufferers' tune that bemoans, "Nuttin' nah gwaan, / Nuttin' nah broke. / Only the poorer class a feel it." "Source of Life" might be the best track, though, showcasing Bushman's heartfelt vocals in a groovin' love song. Another highlight is "Scent of a Man," written and produced by Joe Gibbs' son Stephen "Gibbo" Gibbs, a slinky tune that takes advantage of Bushman's growling, Peter Tosh-like baritone. Speaking of Tosh, Bushman updates his disco number "Buk-In-Hamm-Palace" with surprising effectiveness. Where Bushman really showcases his versatility, though, is in the dancehall tunes "Can't Get the Best of Me" and "Born fi di Ting," in which he both chats and sings over fun, pulsating digital riddims. Although this is the singer's first independent release, Get It in Your Mind shines with major-label quality. Check it out at cdbaby.com.