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Reggae Power (Reggae Power, 1994)

Dominica-born Nasio Fontaine is sort of the poster child for underground, grassroots reggae.  Without much fanfare, he released this debut album in 1994, only to witness a groundswell of critical acclaim as he drew favorable comparisons to Bob Marley.   It's easy to see why he would be compared to Marley; his singing voice, his delivery, his upbeat yet poignant tone, his female background singers, and his straightforward roots style are all eerily similar.  Still, I can't help but think that when someone like Fontaine emerges who carries a sound so close to Marley's, and he doesn't stink (and Fontaine certainly does not), people seem to praise him a bit more than they should, more than they would if he didn't pacify their overwhelming craving for more Marley music.  Fontaine certainly has a formidable task ahead of him proving that he's not riding Marley's decades-long coattails.  Reggae Power is a solid start in the right direction.  The quality here is consistently good, though not dazzling, throughout.  Tracks 3 and 4 , "Africa We Love" and "Jah Won't Forsake I," are the standouts; they hold their own even when compared to Marley.  The rest is decent, but certainly not up to Marley's standards, which unfortunately is whom Fontaine will likely be compared to in many listeners' eyes.

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Universal Cry (Greensleeves, 2006)

Without much fanfare, Nasio Fontaine quietly continues to carry the torch that Bob Marley set aflame so many years ago. He may not be comfortable with the comparison (and the pressure that it entails), but the stylistic similarities are unavoidable, and with Marley's own children venturing into other musical realms, the resilience with which Fontaine sticks to the vintage '70s roots reggae sound serves only to entrench him deeper within the Marley tradition. Those of you looking for a bold growth in style from Fontaine's earlier work will come up empty-handed, as he maintains the same roots sound and energy that fueled his breakout tune "Armed and Dangerous." Indeed, that early hit is revisited on Universal Cry, although the bland straightforwardness of the remake is one of the only head scratchers on the album. Universal Cry finds him on Greensleeves, an indication that the bigger labels are taking notice, but sadly, mainstream appeal remains as elusive as Lindsay Lohan's underwear. That doesn't deter him from producing a great set, though. "She Lost Track" paints a tragic portrait of drug addiction and desperation, while "Hypocrites" rails against the type of folk that The O'Jays decried on their "Back Stabbers" back in the day. "When" and "Rough Road" are pop ballads that could be cheesy in almost anyone else's hands, but Fontaine is so earnest and likeable that it's hard to deny his emotional appeal. "Crucial" is a plucky sing-along tempered by urgent lyrics; "Jah Calling" is a Nyabinghi drum- and horn-fueled hymn; and "Show Me" is a full-blooded plea for love that shows off a more fun, funky side to the singer. "Prophet" may be the star of the album, though; it's a stunningly dark and moody jam that bemoans the fact that "The Prophet is never, well ever be honored / Inna him own yard." Sure, some of the lyrics on Universal Cry are a bit "been there, done that" -- with titles like "Babylon," Jah Calling," and "Reggae Music," you know what to expect -- but only the latter can be deemed truly generic. The rest of the album is a sparkling roots jewel that, had it actually been recorded by Marley, could've easily been considered among his best.