The Stopper (Profile, 1991)

One of the first major-label dancehall albums, The Stopper is a short group of songs with simple yet effective dancehall beats.  The title cut was a hit -- with its irresistible hip-hop-esque rhythm and stuttered chorus -- but at least as enjoyable are the bouncy "Pon Pause," "Original Rude Boy Style," and "One Day Badness."  Cutty Ranks' aggressive, bad-ass style is entertaining, at least in small doses (making this an efficient album), and the production quality is crisp -- as can be expected from a major-label release.

From Mi Heart (Shanachie, 1992)

Although a bit of a let-down from Lethal Weapon, this album's tracks are pretty much all above average; they just aren't great.  The only really good song here is the bouncy "Badness a Madness."  The rest are fairly standard Cutty Ranks fare, except for a surprising hip-hop beat thrown in on "Living Condition."  Like Lethal Weapon, From Mi Heart has several songs that include guest singers, and while they're not quite as strong, they are still well-made, especially "Too Gravilicious," featuring Thriller U, "Don't Worry," featuring Fade to Black (who?), and "Love Is Not Simple," with Ken Boothe.  Still, after hearing his two previous albums, you feel that he is somehow holding back on this one.

Six Million Ways to Die (Priority, 1996)

Cutty Ranks seemingly returned from oblivion with this surprisingly major-label American release.  I'm not sure how he got the deal, since he hadn't exactly been hot in the time leading up to this album, but he did, so let's move on.  I was glad to see Ranks stay close to his dancehall roots here, unlike many major-label dancehall releases that tend to mix in R&B and hip-hop.  Unfortunately, few of these dancehall numbers strike with the impact that Cutty Ranks is known for.  No that any of the 15 tracks are really bad (except for the silly "One Gun Two Gun," which appears near the end of the album, by which time the gun lyrics wear a tad thin), but few stand out at all.  Perhaps he realized this himself, for he threw in his classic "A Who Seh Me Dun" to brighten things up, along with a hip-hop remix (the only one on the album) that fails to live up to the original because the music is too slow for Ranks' frenetic lyrics.  The only dancehall tunes that made an impression with me were "Rude Bwoy Game," "Bush Tonic," which sounds like it could fit on Cutty's better albums, and "Push Out Oonuh Head," only because it's always intriguing to listen to him dis a "who's who" of DJs: Beenie Man, Bounty Killer, Buccaneer, Terror Fabulous, Daddy Screw, etc.  It's a wonder he can show his face in Jamaica.  In the end, in an album of standard dancehall, the tune that rises above the standard is a rootsy remake of Bob Marley's "Guiltiness," with Eddie Fitzroy.

Back With a Vengeance (Artists Only!, 2000)

I admit it, I have a soft spot in "mi heart" for Cutty Ranks.  His old school, monotone delivery and unapologetically fierce, bridge-burning lyrics rarely fail to get my head nodding.  And now, he is back, returning yet again from oblivion.  Setting out to revitalize Cutty's career, legendary producer King Jammy peppers Back With a Vengeance with fresh hip-hop beats, a sound that may take fans aback initially.  The first two tracks in particular set the hip-hop tone, but "Shake the Thing" and "Eye for an Eye" are so contagious and well-done, you can't help but go with the flow.  Hardcore dancehall fans will be happy to find that by track 3 the album settles into the more familiar heavy dancehall sound for which Cutty is known.  "Vengeance," "Rule the World," "Like This," and the lewd "Slap" represent him at his bone-shattering best.  The hip-hop edge returns on the solid "Needs" and the space-aged "Any Way Any How," but that sound gets a bit old, especially when you just wanna hear good old-fashioned Cutty.  The rootsy "Road Block" isn't typical for him, but it is an interesting ditty in that he sings about social ills -- Cutty Ranks, Mr. Sensitivity?  Side note: a unique aspect of the liner notes is that they name the riddims that King Jammy and John John use -- a nice reference for those of us who can't tell your Angel Dust from your Grasshopper.