Wolves and Leopards (DEB, 1977)

The London-based DEB label had a brief but eventful existence in the late '70s, proving that it's quality, not quantity, that matters most.  Started by Dennis Emanuel Brown (thus the DEB) and Castro Brown in 1977, DEB released an impressive array of albums and singles by big names like Brown, Gregory Isaacs, Black Uhuru, The Heptones, and Junior Delgado, and lesser-known acts like 15-16-17, Me & You, and Black Harmony.  Wolves and Leopards was the first album released on the label.  It's a bit more edgy than many of his other releases – lacking a polished sound and a lot of cutesy melodies – as epitomized by the title track, a righteous anthem sung somewhat off-beat.  Even the rendition of the popular "Here I Come" included here has a stripped-down sound that's not as accessible as other versions you may have heard.  Aside from "Wolves and Leopards" and "Here I Come," this album contains Brown standards like "Whip Them Jah Jah" and "Children of Israel."  The somewhat lesser-known tunes, like "Created By the Father," "Emanuel," and the kinetic "Boasting," maintain the high standard of these hits – complete with Brown's trademark moaning choruses.  Additionally, there are a couple of nice covers here: The Heptones' "Party Time" and Slim Smith's "Rain From the Skies" (AKA "Rolling Down").  Released between his two classic albums Visions and Words of Wisdom, Wolves and Leopards finds Brown at his creative peak – although he wouldn't dip very much for the length of his astounding career. While this album may be a bit too raw for newcomers to reggae in general and to Dennis Brown in particular, but Brown fans and more seasoned reggae listeners will definitely want to add this classic to their collection.  Newly re-released in 2004!  See baddamusic.com.

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Revolution (Yvonne's Special Label, 1985)

*GUEST REVIEW*
This album is a wonderful showcase of Dennis Brown's skill and variance. The tracks include distinctly political or "conscious" numbers as well as the love songs he is so adept at crafting. It is a strong album on the whole, with only a few real low points. The title track is a militant call to arms, starting the album on a serious note. The next tune is more light-hearted, yet serious in its own way, with a classic '80s drum/bass section and awesome flute (or synth?) part. "Armagedeon" is a remake of Bunny Wailer's classic. This is not to say that the Dennis Brown version isn't solid; it's just that it really isn't different from Bunny's version. One of my personal favorites is "Promise Land," which is just a great song. The instrumentation is tight, with a really nice horn section and Dennis Brown's vocals are right on the mark. Unfortunately, the album ends on a somewhat sour note with a cover of Paul McCartney's "The Long and Winding Road," which I do not care for whether it is the Beatles or Dennis Brown singing. Overall, this is a classic Dennis Brown album that I would not part with. 

- Isaiah

Visions (Shanachie, 1989 [orig. released 1978])

Visions is undoubtedly one of Dennis Brown's best studio albums, made all the more intriguing by the fact that few of these tracks are among his "standards," songs that are too often included in his too numerous "best of" compilations.   Visions finds Brown at his creative, cultural peak, as he paints vivid, poignant "visions" of social ills.  His reverberating wailings help make each cut an emotional, striking mirror on life.  "Oh Mother" is probably the most engrossing, its heartbreaking refrain a gorgeous high point in Brown's career.   Similarly intoxicating are the funky "Concrete Castle King," the cautionary "Stay At Home," and the enjoyable remake of the Earl Sixteen classic "Malcolm X" (see Sounds and Pressure Volume 4).  Every single tune is solid, as the legendary Joe Gibbs' understated production allows Brown to shine on this masterpiece.

Words of Wisdom (Shanachie, 1990 [orig. released 1979])

This album is often lumped together with Visions because they were released so close together and because they're so darn good.  Words of Wisdom in particular helped to establish Dennis Brown as a reggae superstar, as it contains the international hit "Money in My Pocket" (The original version was actually recorded in 1972.).  Other tunes that are now Brown standards and that listeners will likely have elsewhere (in one form or another) are "Cassandra," (originally released earlier, but with a crisper sound here) and the infectious "Should I" (later to be re-recorded), both bona fide classics.  "Ain't That Loving You" -- originally performed by Alton Ellis -- and "Drifter" are oft-versioned tunes that will also be familiar to many (the latter of which Cornell Campbell does a superior rendition), but there is still some good not-so-well-known material, like the wailing "So Jah Say," the '70s funk vibe of "Don't Feel No Way," and the righteous roots of "Love Jah," "A True," and "Black Liberation." 

Go Now (Rohit, 1991)

A short, cheap (this is the best pic they could get for the cover???), mediocre selection of material from Dennis Brown's mid-'70s to early '80s heyday, Go Now truly contains no good songs that can't be readily found on better collections.  The best tracks here are the classics "Silver Words" and "Only a Smile," each wonderfully written old-fashioned love songs.   Some of Brown's somewhat less intriguing -- but still solid -- standards included are "Blood Sun" and "Run Too Late" (AKA "Run Too Tuff").

Some Like It Hot (Heartbeat, 1992)

This is Part 1 of Heartbeat's Dennis Brown "best of" collection (the second being Open the Gate), which in total provides greatly comprehensive coverage of the songs that made him famous.  Conspicuously absent, however, are some big hits like "Money in My Pocket," "Sitting and Watching," and "Revolution."  And, since this is a two-parter, several of Brown's standards aren't on this particular volume: "Silver Words," "Only a Smile," "Blood Sun," and "Silhouettes," for instance.   Without these tunes, this album is dominated by the conscious, haunting, at once militant and tranquil tracks "Africa," "No More Will I Roam," "Tribulation," "Conqueror," "Here I Come," and his remake of The Heptones' "Why Must I."  You don't get to see much of Brown's lighter, more romantic side, however, which is available here only on "Cassandra" and "You're No Good."  Still, Brown's sweet, powerful vocals and the raw energy of this album show why he has been dubbed The Crown Prince of Reggae.  Just about all of the songs were recorded in the fruitful and transitional 1970s, and thus they reflect a cohesive mix of upbeat rock steady, early reggae, and later, more refined reggae.

Musical Heatwave: The Best of Dennis Brown 1972 to 1975 (Trojan, 1993)

Focusing on Dennis Brown's early '70s material, Musical Heatwave contains a mix of his early hits -- "Cassandra," "Silhouettes," "Westbound Train," "I Am the Conqueror," "No More Will I Roam," and the original version of "Money in My Pocket" -- and some of his lesser-known tunes that aren't found on a lot of other compilations.  Most of the more famous tracks were produced by Winston "Niney The Observor" Holness, while other respected producers like Derrick Harriott and Lloyd Daley produced most of the others.  Since the Niney tunes are so readily available elsewhere, it is the not-so-well-known songs that make this album stand out.  Not all of them are great, but most enjoyable are "It's Too Late," the funky "What About the Half," as well as "Cheater," "Moving Away," the jazzy "Black Magic Woman," "He Can't Spell," "How Could I Let You Get Away," and "The Song My Mother Used to Sing."  With 24 cuts, you're bound to find something you like on Musical Heatwave, as well as some stuff you don't care for so much.  The title of this album is appropriate, for the sheer musicality of it all is so striking.   The full-band sound of '70s reggae is alive and well here, a welcome change in sound from today's digital sound.  While not the best Dennis Brown compilation out there, Musical Heatwave is worth a listen.  

The Dennis Brown Collection: 20 Magnificent Hits (Sonic Sounds, 1994)

Magnificent indeed.  Whereas some other collections spread Dennis Brown's hits out over two albums, this one tries to cram it all into one -- and it does it pretty darn well.  Like others, it has omissions -- "Whip Them Jah Jah," "Here I Come," etc. -- but other choices not included on many other "greatest hits" compilations -- the excellent "Deceiving Girl" and his remake of The Heptones' "Party Time" (here called "We Are Having a Party") -- make up for them.  The worst part of this collection is the sound quality; although Brown's songs have a raw power, the weak sound makes it a bit too raw at times.  Although they're sometimes known by different names ("Wolves and Leopards," for example, is here called "Too Much Informers"), many of Brown's best are here: "Silhouette," "Silver Words," his classic rendition of John Holt's "Only a Smile" (here titled "You and Your Smiling Face"), "Africa" (here "Africa We Want To Go"), the cool, tender "Let Me Down Easy" (here "Give Me Time"), "No More Will I Roam," the funky "Tenement Yard," "Yagga Yagga" (here "Empty Barrel Makes the Most Noise"), and "Here I Come Again" (here "Live Up Rasta Children"), not to be confused with "Here I Come."

Light My Fire (Heartbeat Records, 1994)

To my delight, upon listening to this album, I found that the title doesn't mean that there is a Doors' cover song on it. To my even greater delight, upon listening to this album, I found that it is damn good. The "Crown Prince of Reggae" shows that he is certainly not past his prime, as he together an album that is enjoyable from beginning to end. Brown conjures up memories of past greatness with sociopolitical songs like "Liberation" and "Easy Chair" echoing earlier hits like "Revolution." But he wouldn't be Dennis without love songs like the uptempo "(You Know How To) Light My Fire" and "I Miss You," alongside a nice remake of Gregory Isaacs' classic "To Be My Lover" and the uplifting, acoustic guitar-laden "I Am a Winner." In Light My Fire, Brown has managed to adapt to the modern age by throwing in just enough digital technology to sound up-to-date, but he tempers the new with a healthy dose of old-fashioned melodies and music. The end result is one of his best albums ever (yes, I know that's saying a lot).

Open the Gate: Greatest Hits Volume 2 (Heartbeat, 1995)

Heartbeat seemingly realized that although Some Like It Hot was very good, it left out some vital portions of the Dennis Brown legacy.  Thus, some 3 years later comes Open the Gate, which goes a long way towards filling those holes.   Necessary additions here include: the militant duo "Whip Them Jah Jah" and "Run Too Tuff" and the romantic duo "Silver Words" and "Only a Smile."  Balancing out the album are solid, somewhat lesser-known tracks like "Love Jah," "God Bless Our Souls," "Take a Trip," "Give a Helping Hand," and a cover of "Moving Away" that is somewhat less strong than Ken Boothe's more famous version.  You can't help but think of the missed opportunities on Open the Gate, however.  Like Some Like It Hot, this volume contains only Winston "Niney the Observor" Holness-produced songs, so there are some of his "greatest hits" that are not included, and some tracks from Some Like It Hot are even repeated here, albeit in different versions: "Here I Come," "Tenement Yard," "Cassandra," and "My Mama Say" (AKA "Truths and Rights").

Africa: Best of Dennis Brown Volume 1 (Esoldun, 1995)

Like Heartbeat's two-album set, Esoldun's two-album set of Dennis Brown's greatest hits focuses only on Niney the Observor-produced material.  In fact, if you add the Go Now album to the Heartbeat pair, you have all but 3 of the tunes on the Esoldun albums -- a cover of "Rain From the Sky" and two versions of "Here I Come Again" being the only difference.  The non-DJ version of "Here I Come Again" is a true classic -- the other two songs are forgettable -- and thus is the only advantage the Esoldun set has over Heartbeat one.  Even the Go Now tracks not on Heartbeat -- "Long and Winding Road," "If I Didn't Love You," "Home Sweet Home," "Birds Have Their Nest," and the title track -- are certainly not Brown's best.  That said, of course Africa has plenty of good stuff on it, since Brown and Niney put out so much quality material in the '70s, but there's certainly no need to get both the Heartbeat and Esoldun sets, and given the choice, go for Heartbeat.

Travelling Man: Best of Dennis Brown Volume 2 (Esoldun, 1995)

Predictably strong material here, but it's obvious that the compilers took the song selection straight from other compilations.  Every tune from Go Now, for instance -- not all of which were real hits -- is included, even the "Disco 12" Mix" of "Home Sweet Home."  Coincidence?  I think not (As added proof, they call "Run Too Tuff" "Run Too Late," the same title used on Go Now.).  An they're quite sloppy about it also, as they place "Run Too Tuff" on Volume 1 and "Run Too Late" on Volume 2. . . but they're the same friggin' song.  To top it off, they also put "You're No Good" on both volumes.  And the last straw is that they repeat "Only a Smile" on the same volume (the other one titled "You and Your Smiling Face").  I can overlook the butchered English in the liner notes, but this is a bit much.

I Don't Know (Grapevine, 1995)

An uneven album whose highs are diluted by its lows, I Don't Know is dominated by modern digital rhythms that are epitomized by the title track. "I Don't Know"'s midtempo swaying beat and catchy melody make it one of Brown's best efforts ever, but only a few other songs even approach this quality, namely "Come On Girl," the sultry remake of his own "Should I," and "True True" (although I have heard him perform a superior version of the latter elsewhere).   "I Believe," "Piece of My Heart," and "Give It Up" are also solid.  However, a couple of excruciatingly corny dancehall duets -- "Treat Me Bad" with Anita Boone and "Running Around" with Little Lenny -- bring the album to a grinding halt. On top of that, "Fly Away Home," though not horrible, isn't particularly interesting, and certainly not worthy of two versions. A little trimming here and there would've made this a good effort instead of an erratic album with unrealized potential.

Joy in the Morning (Lagoon, 1995)

This compilation groups together many of the lesser-known tracks from the fantastic Dennis Brown/Niney the Observor pairing.  While not outstanding, these songs are good -- a testament to the talents of singer and producer that these aren't generally considered their best work.  However, 9 of these 14 cuts are also included on Esoldun's two Best of Dennis Brown albums, a pair that provides a much more comprehensive overview of Brown's Niney-produced material.   Still, the 5 songs on Joy in the Morning that aren't on Best of are fairly enjoyable: the dancehall-rhythmed "The Feeling Is Right," "Oh Girl," "I Feel To Shout," his remake of Slim Smith's classic "My Conversation" (here called "I Need Some Good Loving"), and the slow bluesy guitar of the title track.  While these aren't seminal works, they are nice for fans who have heard enough of the same Brown/Niney tunes over and over.

Reggae Max (Jet Star, 1997)

Unlike many Dennis Brown compilations, this one focuses on his '80s tunes, which were less successful than his '70s gems. However, since the older ones get more exposure, the newer ones sound a bit more fresh. Still, this compilation doesn't exactly pull together the best of his '80s stuff -- where is "Revolution" and "Sitting and Watching?" Still, it does have a few very good numbers: "Deceiving Girl," the funky, rocking Linval Thompson-produced "Caress Me Girl," the sweet old-fashioned standards "Little Green Apples" and "Perhaps" (AKA "Perhaps Perhaps Perhaps"), and the more edgy party jam "Rocking Time." "Do I Worry" -- previously a hit for Derrick Harriott -- "Love Light," and an '80s remake of "Here I Come" are also nice. Still, with 20 tracks, it's hard to maintain such quality, and generic material creeps in liberally, drowning out the good stuff (See covers of Lionel Richie's "You Are" and Teena Marie's "Ooh La La"). Still, for Dennis Brown fans who don't mind sifting through the rubble, this album provides some intriguing ditties that haven't received much exposure.

The Prime of Dennis Brown: 16 Cuts From the Crown Prince of Reggae (Music Club, 1998)

Why do I own so many Dennis Brown compilations?  I'm not sure myself; I suppose it's a testament to how great his music is.  This collection is one of the most far-reaching out there, covering 23 years, from 1973 to 1995.  Some of the great but obligatory '70s Niney the Observor tunes are here -- "Cassandra," "Westbound Train," "Yagga Yagga," and "Africa" -- alongside some little-known '90s tracks that seem to be thrown in just so the compilers can proclaim that they've covered 23 years of music.  Really, there's only 7 years of music here, though: about half of the songs are from 1972 to 1974, while the other half is from 1992 to 1995.  The older stuff had been compiled to death before this compilation came out, while the newer, more digital, more lovers rock stuff isn't worth compiling -- "Call Me" being the only OK song of that latter bunch.

Tribulation (Heartbeat, 1999)

One of Dennis Brown's last studio albums before his untimely departure from this world, Tribulation makes apparent why his legacy will live on.  While not a stunning album, Tribulation is remarkably consistent throughout, as Brown displays his flair for concocting well-structured melodies and delivering heart-felt vocals.  The songs here are a mix of original tunes and well-selected remakes, giving the album an overall old-time, classic sound with modern elements thrown in here and there.  The material is so consistent, it's tough to pick out tracks that stand out from the crowd, but I enjoyed a trio of Glen Ricks-penned lovers-edged cuts: "Are You Ready," "Stop Your Fighting," and "Summer Time Again."  Brown's covers of Slim Smith's "Watch This Sound" and his own "Tribulation" and "This Love of Mine" are OK, but don't really add much to the songs (Freddie McGregor did "Watch This Sound" better on his Jamaican Classics Volume 3.).   Better are the sultry R&B "Heart Breaking Girl" and the rootsy "Make It Easy."  This is the kind of album to which you can kick back and relax (not worrying about fast forwarding through tracks), one that helps you realize that Dennis Brown will never truly be gone as long as his music survives. 

Stone Cold World (VP, 1999)

Dennis Brown received some criticism near the end of is career that he was spreading himself thin with all of his releases (which may have some validity, but I'd much rather have too much Dennis Brown than too little).  It's somewhat ironic, then, that two of the very last albums he recorded (this one and Tribulation) before his death would be two of his most solid efforts of the decade.  Whereas Tribulation has a more old-fashioned, vintage Dennis Brown sound, Stone Cold World has a definite '90s vibe, dominated by rich, echoing digital dancehall, lovers, and roots rhythms.   Augustus "Gussie" Clarke's production is a lush work of art, while the songwriting (none by Dennis Brown, but who really cares?) is the most catchy and well-crafted I've heard from Brown since Light My Fire.  Despite the serious overtones of its title, Stone Cold World is a buoyant marvel that only falters a bit near the end (The first 8 tracks are all very good, especially "I'll Never Leave You Alone" and "This Morning," but of the last 5, only "I Did It All for You" maintains the magic.).

Generosity (Meditation, 1999)

Generosity is the last studio album that Dennis Brown recorded before his death (or so it claims), but I'd prefer to remember his legacy as being cemented by Tribulation and Stone Cold World instead of this marginal effort.  Unlike those two albums, all of the songs on Generosity are written by Dennis Brown, and although the melodies are solid, all except "I Believe" and "There for You" are are merely OK -- neither particularly good nor bad nor noteworthy.  The music, produced by Karl Pitterson and Frederic Laing (who produced Meditation Records' stellar compilation New Era Reggae), is light, thin, up-tempo dancehall -- a bit sterile and cheap-sounding in comparison to Stone Cold World.  Still, Generosity is alright, and the more hardcore Dennis Brown fans probably won't be terribly disappointed, but for the rest, I recommend getting New Era Reggae, which contains the best song here, "I Believe." 

Let Me Be the One (VP, 2000)

OK, maybe this is Dennis Brown's last studio album.  I dunno.  He puts out more posthumous material than 2pac and Biggie Smalls combined, and I doubt that he's done.  But if all of his unreleased material is as solid as Let Me Be the One, then it's the listeners' gain.  It's close, but not quite as good as Stone Cold World, but it's got an undeniable charm that few other than Dennis Brown can offer.  And apparently, some people have taken notice, as it was nominated for a 2001 Grammy Award.  As with the inferior Generosity, practically all of the songs on Let Me Be the One were written or co-written by Brown (along with producer Don Hewitt) -- although you may want to take that with a grain of salt, since that includes "co-writing" remakes of The Association's "Never My Love," Tom Jones' "What's New Pussycat," and Bread's "Baby I'm a Want You" (the latter two with slightly altered melodies and/or lyrics -- thankfully, in the case of "What's New Pussycat").  (Note: "Give Peace a Chance," thank God, is not the John Lennon song.)  The songwriting here, however, is much better than on Generosity; it has a catchy, classic feel similar to Tribulation that is established in the first 4 tracks, all appealingly sweet lovers rock gold (particularly "I Dig You Baby" and "Gee Baby").  From there, Brown moves into a harder (well, compared to the other cuts), more righteous sound on "Honor the Lord" -- accentuated with cool semi-New Age keyboards -- "Keep It Up Girl" -- which returns to his funky '70s roots -- "Say a Prayer," "Clean Up Your Heart," and "Give Peace a Chance," the latter two with an edgy R&B/hip-hop sound.  Let Me Be the One closes with mediocre instrumental tribute to Brown, but it is the other stellar tracks that will echo in listeners' ears.

Ultimate Collection (Hip-O, 2000)

There have been and will continue to be compilations of Dennis Brown's work, but few do as effective a job as Ultimate Collection at mixing his standards with some of his more under-appreciated work.  Smartly, this doesn't limit itself to Brown's Niney the Observer productions.  As great as that '70s work was, it's been collected to death, and Brown did lots of great stuff in the '80s and '90s also.  Of course, though, you have to have some, and Ultimate Collection delivers classics like "Wolf & Leopards," "Westbound Train," "Here I Come," and "Tribulation."  But the compilers reach beyond the obvious for selections produced by heavyweights like Joe Gibbs, Sly & Robbie, and Alvin Ranglin.  Joe Gibbs' "Money in My Pocket," of course, is one of Brown's most famous tunes, but did you know that the Gibbs-produced "Love Has Found Its Way" actually charted in the US in 1982 (#42 Billboard R&B chart)?  Its serene "AM reggae" sound kicks off a series of lesser-exposed Gibbs tracks, four of them from Brown's magnificent 1981 release Foul Play -- highlighted by "The World Is Troubled," "I Need Your Love (Rasta Children)" and one of the singer's most endearing releases ever, "If I Had the World" -- and another being the excellent title track from 1983's The Prophet Rides Again.  You might think that four tracks from Foul Play might be a bit much, but that is really one of the great overlooked reggae albums, and I relish the freshness of hearing Brown's overshadowed '80s work on a "best of" album.  Sly & Robbie's productions meanwhile feature, of course, the eternal duo "Sitting and Watching" and "Revolution," along with the strong "Have You Ever" and "Hold On to What You've Got."  And wait, what do we have here?  There are actually two tracks from the '90s?  You mean Dennis Brown made music in the '90s?  You wouldn't think so, based on other greatest hits compilations, but frankly you could do an entire album of the best of his '90s  work, in my opinion.  The two '90s tunes on Ultimate Collection -- "Cosmic Force" and "Liberation" -- aren't great, but they're solid.  Of course few things titled Ultimate Collection really live up to the billing -- for Dennis Brown, you'd have to have at least 3 CDs -- but this collection does about as good a job as you can do on a single disc.

The Best of Reggae Live (Gator, 2001)

Part of a series from Innerbeat Music that includes over 20 reggae stars performing live in concert, this album is similar to the Gregory Isaacs release in that it has great sound quality and so-so music quality.  Not that these songs aren't good; they're just not what you'd generally consider Dennis Brown's all-time best.  Still, with the glut of "best of" Dennis Brown albums out there, it would be overkill if this one had all of the same songs.  Unlike the Isaacs set, the Brown album is made up largely of extended medleys, some with tunes he's known for ("It's Magic," "Here I Come," "Wild Fire") and some not (remakes of Tracy Chapman's "Sorry" (AKA "Baby Can I Hold You," The Righteous Brothers' "You've Lost That Loving Feeling," The Drifters' "On Broadway," and a trio of Bob Marley songs).  If you're into live albums more than I am, then this may be your cup of tea.

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The Promised Land: 1977-79 (Blood and Fire, 2002)

The Promised Land is a much-needed showcase of Dennis Brown's DEB label from the ever-reliable folks at Blood and Fire. It includes all 10 tracks from the epic 1979 album Joseph's Coat of Many Colours, plus a pair from Wolves and Leopards ("Emmanuel" and "Promised Land," AKA "Lately Girl") and singles like "Troubled World," "The Half" (featured on the DEB compilation Black Echoes), and the massive cautionary tale "Want to Be No General," which is perhaps alone worth the price of this set. Some might argue that Dennis Brown's prime lasted for a decade or more, but this is Brown at the prime of his prime. Smooth, charismatic vocals, lush melodies, and faultless musical accompaniment from seemingly every great roots musician of the era (Sly & Robbie, Leroy "Horsemouth" Wallace, Carlton "Santa" Davis, Errol "Flabba" Holt, Headley Bennett, Bingy Bunny, et al.) make Promised Land a treasure trove from the Golden Age of reggae. It's also a testament to Brown's under-appreciated production skills, which he put to good use on many of DEB's releases. Promised Land is flush with classics, although they may not all be the most well-known of Brown's tunes: "The Half," "Man Next Door," "General," "Oh What a Day," "Three Meals a Day," "Troubled World" (AKA "World Is Troubled," one of many tracks that he would later re-record) -- heck, it may be easier to name tracks that aren't classics. All in all, it's an elegant showcase for a true reggae legend.

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Emmannuel (Orange Street, 2002)

Emmannuel packages Dennis Brown's classic Wolves and Leopards album with a selection of tunes recorded between 1978 and 1984 for producer Joe Gibbs, including five of the six tracks from 1984's Love's Gotta Hold on Me (leaving off, ironically, "Love's Gotta Hold on Me"). These five lead off the second half of this set, lending a cohesive feel, although the sound quality improves dramatically after the Wolves and Leopards tracks (1-10). The Love's Gotta Hold on Me tracks may not be as well known as "Wolves and Leopards," "Here I Come," or "Whip Them Jah Jah," but they are quiet killers in their own right, particularly the cautionary tales "Right Fight" and "Hooligan." The remaining five songs are scrumptious lovers tunes highlighted by "How Can I Leave Her" (covered later by Roots Radics as "How Could I Live"), the popular "Should I," and a pair from the underrated A&M album Love Has Found Its Way (and featured on The Complete A&M Years), which, though more poppy in sound, are still bubbling joys that hint at how cool Brown could've been in any genre. If you are thinking about buying Wolves and Leopards, consider Emmannuel instead; there's nary a weak track, and although the sound quality is a tad spotty, you get more bang for your buck.

The Complete A&M Years (A&M, 2003)

Between 1981 and 1983, Dennis Brown released three albums on A&M Records in an effort to bolster his barely measurable popularity in the United States.  Unfortunately for him, America was no more ready then to adopt roots reggae and lovers rock than it is today (dancehall, of course, is making some headway nowadays), and these albums quickly faded not only in the minds of the mainstream public but sadly also in those of reggae fans, who in general seemed to dismiss this trio as crossover fluff.  Thus, they have been out of print for some time, with a few tracks popping up here and there (such as on Hip-O's excellent Ultimate Collection), but thankfully A&M regained its senses in 2003 and released all three on this wonderful two-disc set.  While it's true that there are some pop and R&B overtones here (increasing progressively with each album), it's also true that these albums were recorded when Brown was at the top of his game; as such, they contain some of his best work ever.  Particularly strong is the 1981 album Foul Play, as represented by the first 10 tracks on the chronologically arranged The Complete A&M Years.  It is easily one of the best albums in this legend's illustrious career, and perhaps his most overlooked.  Classics abound, from vintage lovers rock of "If I Had the World," "If I Follow My Heart," and "The Cheater" (the latter two being re-recordings of his earlier works, but that doesn't really take away from their brilliance) to the full-blooded roots of "The World Is Troubled," "The Existence of Jah," and the more pop-inclined yet still awesome "On the Rocks."  In fact, only two songs on Foul Play -- "Come On Baby" and the title track -- prove to be less than excellent.  They both are more bouncy and mainstream in sound than the rest of the album, though still not as much on the other two sets.  Love Has Found Its Way (1982) -- the second 10 tracks -- finds perhaps the only one of Brown's tunes to ever register on the American charts, the "easy listening" lovers title cut.  Others seem designed to hit the charts as well, most notably the overly happy "Get High On Your Love" and the catchy-despite-itself "Halfway Up, Halfway Down," but hardcore roots fans will be pleased to find them balanced out by strict numbers like "Weep & Moan," "Blood, Sweat and Tears," and the awesome "Handwriting On the Wall."  As with Foul Play, a healthy dose of lovers rock solidifies this strong album, in this case in the form of the Burt Bacharach standard "Any Day Now" (covered in 2003 by Don Campbell for his album of the same name), the classy "Why Baby Why," and "I Couldn't Stand Losing You."  Unfortunately, after the first two A&M albums failed to crown Brown as the heir apparent to Bob Marley in the eyes of the American public, the label seemed to take that as a sign to go on an all-out pandering assault on the pop sensibilities of the nation with the haphazard The Prophet Rides Again.  If you can make it past the first five tracks of this album -- which go beyond mere pop and R&B overtones to fully adopting everything from '80s electro-funk ("Out of the Funk") to '70s Parliament-esque funk ("Jammin' My Way to Fame") to "Sexual Healing"-like R&B ("Save a Little Love For Me") to stiff jazzy lounge music ("Wonders of the World") -- then you deserve some sort of award.  The award you get is thankfully on the second half of the album.  Beginning with the searing classic "The Prophet Rides Again," this set returns to the Dennis Brown we know and love, with the dreamy "Sitting and Watching"-like "Historical Places," the rocking lovers of "This Love of Mine," the escapist "Shashamane Living," and the regal "Storms Are Raging."  A few crossover selections aside, Dennis Brown's A&M years were a landmark achievement artistically, if not commercially.

Foul Play:

Love Has Found Its Way:

The Prophet Rides Again:

The Complete A&M Years: