Praise Ye Jah (Xterminator, 1997)

Sizzla, AKA Miguel Collins, is one of the most exciting talents to emerge in reggae during the '90s.  His style is somewhat akin to Buju Banton's (Til Shiloh and after) in 3 ways: 1) vocally -- a gruff, sing-songy DJ style, 2) lyrically -- conscious, shying away from slackness or gun lyrics (although Sizzla is somewhat more militant than Banton), and 3) musically -- rootsy dancehall.  Where Sizzla is able to excel -- often beyond the reach of the respected Banton -- is in the quality of the melodies he crafts.  His half-chatting, half-singing style floats melodies that are at times forceful and at times sorrowful -- see "Praise Ye Jah," "Dem a Wonder," and "No Other Like Jah" -- but that always seem to stick with you.   And on Praise Ye Jah, he has the strong backing of producer Phillip "Fattis" Burrell, who provides some unique dancehall rhythms to compliment Sizzla's adept vocals.  This album start off like gangbusters, with 9 of the first 10 tracks being strong -- the lone exception being "Give Thanks" -- but it tails off at the end, with 3 mediocre cuts.  Still, Praise Ye Jah is a stellar effort that foretold the future greatness that Sizzla would soon achieve.

Reggae Max (Jet Star, 1998)

Since Sizzla had only been releasing material for a couple of years when this compilation came out, it seemed a bit unnecessary to put together such a collection. But Jet Star does a remarkable job of acquiring 20 tracks that mostly aren't available on his studio albums -- with the exception of "No Other Like Jah," "Freedom Cry," "Love Amongst My Brethren," and "Babylon Cowboy" (AKA "Cowboy") -- and yet are largely strong (although this means the omission of some of his more well-known hits).  This is a tribute to Sizzla's productivity, but the existence of such a compilation at such an early point in his career is also a tribute to his popularity.  The best cuts here are the emotional "Holding Firm," the catchy "Do Some Good," the bouncy yet insightful "True God," "None Other Like Jah," the straight funk/R&B of "Who Is Laughing," and the atmospheric "Show Us the Way."  A number of others are sound also: "Be Strong," the minimal "Clean Up Your Heart," "Pressure," "I'm Not Sure," and the hit "Babylon a Listen," the latter being particularly Buju Banton-esque.  As with any 20-track album, it's hard to keep up such a high level of quality, and this one has some generic tunes -- "Explain to the Almighty" in particular sounds bland, and even Sizzla's voice is dull and not gruff or Sizzla-like (or Buju-like, if you prefer) -- but overall, Reggae Max is a very good, original showcase for this DJ's boundless talent.

Freedom Cry (VP, 1998)

If you're waiting for the quality of Sizzla's material to be diluted by his rash of mid to late '90s releases (13 albums between 1995 and 1999!), keep waiting.  Freedom Cry features Sizzla's characteristically catchy yet righteous hooks and his regal yet primal wailings, headed by the airy "Saturated" and "Lovely Morning."   The peaceful choral sound of "Love Amongst My Brethren" and the hip-hop-infused beats of "Till Some More" and "Rain Shower" are also resounding successes.  In fact, the album is solid throughout, with only "Dem Ah Try Ah Ting" being sub-par, its old rock steady rhythm clashing with Sizzla's modern militant style.  Adding Freedom Cry to his string of strong albums in the late '90s, Sizzla makes a commanding statement that he is one of the most talented, most consistent reggae artists around.

Royal Son of Ethiopia (Greensleeves, 1999)

I sense a trend with Sizzla's albums: He tends to pack most of the good material at the beginning fo the album, which is not such a bad idea, since people tend to listen more intently early on.  However, a better idea would be to put together a good whole album.  Royal Son of Ethiopia is not the good album I'd hoped for, decidedly inferior to Sizzla's great (albeit still a tad uneven) Black Woman & Child.  Still, it's certainly not a waste, especially with the presence of one of Sizzla's best songs to date, the thoughtful, mellow "What Does It Worth?"  In fact, 6 of the first 7 songs here are good, the other standouts being "In This Time," featuring the poignant singing of Luciano, "Eastern Mountain," "As in the Beginning," and the blistering dancehall of "Burn Dem Turf."  Of the last 7 tracks, though, only "A Wah Dat?" is eventful.  Still, Phillip Burrell does his usual excellent job of production, and thus a so-so Sizzla album is still better than a good one from many other artists.

Be I Strong (VP, 1999)

A bit below Sizzla's standards, Be I Strong is 16 tracks deep, its length allowing some weaker material to seep in.  Sizzla's vocals and the ubiquitous "Fattis" Burrell's beats simply aren't as consistently stellar as on their other collaborations, although there is some decent material here.  "Bless Bless," which rides the funky, bass and horn-heavy riddim from Prince Malachi's "Prophet, Priest & King," the rootsy "Diamond & Pearl," and the simple, wailing "Live & Learn" -- as solid as they are -- just don't stand up alongside Sizzla's best.  As is often the case with Sizzla, the lion's share of good songs are found on the first part of Be I Strong, with "Love Is All," "Get Lively," the bare-bones dancehall of "Men & People," the funk/hip-hop beat of "The Vibes" and the title track carrying the album (along with the aforementioned tunes).  Of the last 6 cuts, none even approaches Sizzla's usual level of quality.

Liberate Yourself (Kariang, 2000)

As if Sizzla wasn't already the most prolific artist in reggae, he comes out with this 2-CD set to start off the millennium.  Granted, he only performs on one of the discs (plus one song on the other), but his fingerprints are all over this double album.  Sizzla's cultural, rootsy dancehall sound runs throughout not only his tunes, but also those of his "bredren."  When was the last time you heard Jack Radics perform rootsy, cultural dancehall?  Or even Fargo Vice, Don T, or Terry Ganzie, for that matter.  Well, each does it here, and they do it well.  In fact, the "bredren" half of Liberate Yourself easily surpasses Sizzla's half, which is relatively inadequate by his standards.  Two tracks in particular sink Sizzla's effort: the opening "Inna Africa," a tedious, near-a capella, acoustic piano and guitar wail-fest that could be bearable if it were a 10-second intro instead of a full song, and the title cut, another slow, whiny ballad that is like fingernails against 2 or 3 blackboards.  Nonetheless, much to my relief, Sizzla pulls himself together for much of this album, providing hot numbers like "Wizer Than Them" and "Takes Only Time" -- which each beautifully blend hard dancehall beats with mellow strings and horns -- and "Fire fi Burn," whose full-blooded live instruments (African drums, soaring horns, and is that a xylophone?)  electrify.  Also nice are "Healing of the Nation," "Forever Be Strong," and "From Long Time," which borrows the rhythm from Mystic Revealers' "When You Feel It."  While Sizzla's side is merely OK, the "bredren" shine, as all but the happy-go-lucky "I've Been There" by newcomer Doniki are solid.   Fellow newcomer Uton Green contributes Marley-esque power on "Jah Jah Question," while more well-known stars like Garnett Silk (still kickin'), Luciano, Bushman, and Prezident Brown add gems that fluidly meld roots and dancehall.  If this half of Liberate Yourself were released as an album on its own, it would be a contender for album of the year.

Words of Truth (VP, 2000)

Although this is his fourth straight slightly disappointing album (including his half of Liberate Yourself), the level of quality of Sizzla's material is so high, you can't call any of the um-teen albums he's released thus in his career far actually bad.  Words of Truth is no exception; not great, but certainly not bad at all.  In fact, a couple of tunes here -- the bass-driven roots of "Think Positive" and the hard-hitting old school dancehall of "Love ah di Way" -- immediately rank among my favorite Sizzla songs.  Sizzla's two disparate sounds -- the energized, gruff-voiced, hardcore digital dancehall of tracks like "Love, Love," "Attack," and "Them No Good" and the softer, semi-melodic, wailing roots of tracks like "Every Move That I Make" and "Words of Truth" -- are well-represented, although I think that the latter style is certainly more effective.  His harder dancehall sound is alright, but very generic in comparison to the sing-songy roots that has become his trademark.  You could even say that Sizzla has a third style, as he (or should I say producer "Fattis" Burrell) throws in a couple of hip-hop beats on "Them No Good" and "Uplift Your Standard."  A bafflingly bad choice of sounds, however, finishes off the first of this 2-CD set.  "Gimmie Love" is a Ricky Martin-like Latin pop/dance horror show that puts a black mark on an otherwise decent album.  The second CD in this set is a live collection of tunes recorded at a concert in Birmingham, England.  I readily admit that I'm not a big fan of live albums, but this one in particular seems underwhelming.  The song selection is merely OK, and the quality of the performances are pretty weak, especially on the flat, feedback-ridden "Ancient Memories" and the sluggish "Black Woman and Child."  At least VP doesn't charge you for it.

Bobo Ashanti (Greensleeves, 2000)

Sizzla returns (after only a couple of months since Words of Truth) with a vengeance on Bobo Ashanti, probably his most consistent album since Praise Ye Jah.  Fans may not appreciate the hip-hop/R&B overtones of several tunes -- "This Day," "Do Good," and "Courage," for example -- and although I don't always care for such a mixing of styles, Sizzla and Fattis make it work.  The key is that the musical styles -- from hip-hop to roots, dub, dancehall, and even folk -- are blended so seamlessly and deliciously,  you can't help but be drawn in.  The music in particular stands out in the vibrant, non-digital roots of "The World," the dub-like barrage of digital effects on "Children Beware," and the appealing fusion of pounding drums and acoustic guitars on "Courage."  Complementing Fattis' music perfectly are Sizzla's impassioned vocals and inviting melodies, making tunes like "Glorify," "Stretch & Hope," and "Whether Or Not" -- as well as the album itself -- among his best.

Black History (Jet Star, 2001)

One of the main reasons why Sizzla has become one of my favorite artists is the freshness of his sound.  He has almost created his own sub-genre, helping to redefine and personify the sing-jay style with his cracked-voice, melodic warbling, righteous lyrics, genre-bending music, and super-prolific output.  Black History is one of 3 Sizzla albums released within a month of each other in 2001, and while he's managed thus far to disprove any criticism that his frequent releases disperse and dilute the quality of his material, this album may give more fuel for the critics.  The freshness and ingenuity that I spoke of is present on Black History, but its occurrences are too few and far between.  Specifically, there are far too many generic dancehall tracks -- from "Instance" to "Galong" to "Rastafari Children" to "Problem inna the System" -- that make him sound like a lesser DJ.  Fans of Sizzla's laid-back rootsy stylings may be disappointed by the lack of a legitimate roots sound, with only "Upfullness" and maybe "Bandulu" and the title track even coming close.  The fierce dancehall vibe is certainly dominant here, and although cuts like "Bun Dem Up" are nice, they don't set Sizzla apart from a host of other DJs.  The best tunes on Black History -- "No Pain" and "Don't Be Disappointed" -- show his flexibility.  Not quite roots, not quite dancehall, not quite hip-hop, these two placid, poignant tracks are astounding testaments to the beauty of Sizzla's music.  However, with every good track on this album, there seems to be an unsatisfying one, and Sizzla's exploration into the acoustic guitar sound falls flat on "Things Will Be Better" and "Happy to Love," both uncharacteristically sloppy and unfocused.  For most artists, Black History wouldn't be a bad effort, but for Sizzla, it's one of his weakest releases to date.

Taking Over (VP, 2001)

I didn't truly allow myself to think that Sizzla's super-prolific output might be watering down the quality of his albums until listening to Black History and Taking Over back-to-back.  Taking Over might be his most uneven album to date, with classic high highs and low, borderline unlistenable lows that create a whiplash-inducing roller coaster experience.  Whereas Black History has heavy dancehall overtones, this album has overt hip-hop/R&B leanings -- some tracks, like the fresh, funky "Hold Her in My Arms" and the dancehall/hip-hop hybrid "Thought For Today" (Perhaps only Sizzla and Lee "Scratch" Perry can pull off such discordant, off-key vocals as on that track.), working better than others, like the flaccid "Reach" and the dated 1991-era hip-hop beats of "Brand New" and "Profile."  Still, there are refreshing roots excursions that stand out in contrast to the harder hip-hop edge: "Whirlwind," "King Taco," and particularly the African drum-driven "Somewhere Oh Oh," a celebratory jam sure to arouse your senses and draw you into singing along.  As exciting and engrossing -- but in a more digital and less organic format -- is "To the Point," a brutally aggressive (in typical Sizzla fashion) dancehall cut that proves to be as catchy as "Heads High," "Everyone Falls in Love," "Who Am I," or any other dancehall smash of the past few years.  The title track, with its smooth acoustic guitar playing off the contrasting edgy beat and vocals, is likewise excellent, but due to a few lousy tracks and uncharacteristically uninspired material like "Naw Shield Corruption" and "Kebra Negas," Taking Over doesn't feel like it's taking over much.  Still, it is a notch better than Black History and Be I Strong and two notches above Rastafari Teach I Everything.

Rastafari Teach I Everything (Greensleeves, 2001)

This is probably the hardest album Sizzla has ever released: hard sound, hard message, hard edge, hard to listen to, hard to enjoy.  Even one of the only smooth,  relaxed tunes that can be found, "Give Her the Loving," features Sizzla's edgy, barely melodic, quivering vocal stylings, which immediately dismiss any notions of normalcy.  Being dynamic and wired, however, does not ensure quality, and to prove my case, may I present Exhibit A, Rastafari Teach I Everything.  Upon my initial listen, I felt assaulted by the onslaught of aggressive, at times gaudy, hip-hop and dancehall beats that lacked the humanity of Sizzla's usually soothing melodies to balance them out.  Giving it another shot, a few tracks grew on me, the sing-songy title cut by far the best (and really the only rootsy  number), while "Beautiful"'s chorus is delightfully discordant, and the hip-hop tunes "Better Make Sure" and "Revenge" have a funky appeal.  But what the hell happened to the rest of this album?  The music, the melodies, nothing works at anywhere near the level we've come to expect from Sizzla, and while some songs can be merely ignored, others, like the atrocious attempt at blues/R&B "Make Love," elicit out-and-out disdain.  Beyond the title track, the best songs on Rastafari Teach I Everything would be in the middle of the pack of most of his other albums.  The best way I can look at the situation is to remind myself that Sizzla is far too talented to put out anything much worse than this effort in the future.

Blaze Up the Chalwa (Jet Star, 2001)

Without much fanfare, Sizzla slipped this (yet another) album into the market in late 2001.  Given the generic packaging job by Jet Star and the glut of other Sizzla efforts out there, it's easy to see how Blaze Up the Chalwa could've been overshadowed by Rastafari Teach I Everything, Black History, and Taking Over.  However, I would urge fans not to sleep on this one.  It features Sizzla at his hardest, his most brash, his most aggressive.  The hardcore propulsive digital dancehall sound is dominant here, and although I'm a fan of his softer, more rootsy style, I must admit that Sizzla did a remarkable job of maintaining my interest through 17 blistering tracks -- more so than he did with any of his past 3 albums.  The rhythms, courtesy of a host of producers, are basic yet irresistible in an old school throwback sort of way, reminding you why dancehall can be so invigorating.  There are a few rootsy numbers (about 4), including perhaps the best song on the album, "It's All Yours," but be prepared for an energetic onslaught of dancehall sandwiching those tracks.  Apart from "It's All Yours," standouts include the hits "Karate" and "Juvenile," as well as "Do What Jah Say," "Standing Ovation," "Trample," "Trod On," and "Scream and Shout."  Consistency -- which Sizzla lacked on his last few albums -- is the key to the greatness of Blaze Up the Chalwa.

Ghetto Revolution (Greensleeves, 2002)

I must admit to a guilty pleasure of mine.  For some reason, whenever Sizzla croons in his creaky, semi-melodic "singing" (if that's what you want to call it) voice, it gives me a giddy enjoyment.  His singing is so bad it's good, and his awareness of that fact makes it campy and crap-tastic . . . at least, to me.  Thus, I found several tunes on Ghetto Revolution -- namely, "That's Why," "Don't Say," "Have You," and "So Serious" -- to be irresistible.  The fun falsetto lends to a kinder, gentler Sizzla than listeners are generally used to, despite the fiery album title.  Although I haven't noticed it quite so much (at least not enough for it to be problematic), some fans have complained that lately he has been shying away from the cultural topics in favor of sometimes lewd love songs.  If you're one of these such complainers, then you should probably avoid Ghetto Revolution.  Otherwise, it's another strong effort from the DJ.  Sure, there are numerous love songs -- like "Have You," "That's Why," "Just Fine," and "So Serious" -- but they're all rather good, except for "I Want You," whose line "I want to push on you with this thing protruding" is perhaps the most ridiculous lyric I've ever heard Sizzla utter.  Fans of his more cultural brimstone and fire lyrics, however, shouldn't be too worried; there's plenty to be found in tracks like "The Truth Is Revealing," "Don't Waste Time," "Don't Say," "Live It Up," and "Won't Stop."

Da Real Thing (VP,  2002)

Just a year after releasing two of his hardest, most edgy albums in Rastafari Teach I Everything and Blaze Up the Chalwa, Sizzla releases perhaps his most laid-back effort ever, Da Real Thing.  This isn't your daddy's Kalonji; largely absent are the pounding digital dancehall riddims and spirited, rapid-fire chatting that tends to account for half of his albums.  Instead, all but a scant few of the tracks here feature relaxed, live-instrument roots rhythms (ironic since the album is produced by Bobby "Digital" Dixon), and Sizzla's vocals follow suit, with a more casual, sing-songy flow throughout.  And though you'd never expect it, you just might get a warm and fuzzy feeling on tracks like "Thank U Mamma," Woman I Need You" (the two or three of you who have heard Gentleman's Journey to Jah may recognize the music on this track from "Dem Gone"), "She's Loving," and "Just One of Those Days."  Still, Sizzla wouldn't be Sizzla without some edge, and cuts like "Solid As a Rock," "Trod Mt. Zion," and the ganja anthem "Got It Right Here" provide a harder, driving roots sound for those who crave it.  Although I still think it's one of his better efforts, I would've rated Da Real Thing among his top 3 or 4 albums if he'd just left off the last 3 songs: "She's Loving," a too-folksy, guitar-led love song, "Boom & Go Through," an utterly generic hip-hop track, and "Touch Me," an attempt at funk with an irritating pop hook.  I would say "less is more," but based on the Herculean level of output that Sizzla generates, my advice would likely fall on deaf ears.

Light of My World (Jet Star, 2003)

This album caught some undeserved flack for being something of a speed bump in the ever-winding road of Sizzla's career.  Fans of his cultural and religious statements and fiery delivery might have been taken aback by the distinctly romantic lyrics here (granted, even I had reservations when looking at the cover, as he resembles some sort of Arab prince on his wedding day), but as a whole, Light of My World is as solid an album as you'd come to expect from Kalonji.  Of course, when I say "solid," I mean not great, but pretty good -- something I've come to expect from one of the most appealing artists in reggae today, who nonetheless often fails to put together the completely classic album that we know he's capable of (so basically, he's consistent in his inconsistency).  One album that many fans claim to indeed be such a classic is Da Real Thing, which immediately preceded Light of My World and thus cast a shadow over what inevitably proved to be a letdown in their eyes.  Well, I'm here to stand up for this little album that could.  Just as the uneven Da Real Thing is somewhat overrated, Light of My World is underrated.  I think that a few people listened to it, then told others about the "softer, gentler" Sizzla, thus scaring them away from even giving it a try (I know I for one was apprehensive, aided in part by the liner notes, which begin "Be warned, because this album will surprise a lot of people.").  Well, "this album," to be honest, is not all that different for this prolific star.  I mean, it's not like he picked up a banjo and switched to bluegrass or something.  So have no fear, this is still the Sizzla you know and love.  Granted, the first 12 tracks do lyrically depart from his norm, sticking to topics of love and lust (oddly, he switches back to his normal subject matter for only the last three tunes), and he does throw in some relaxed lovers rock/hip-hop/R&B overtones, but he's done this before on other albums.  Frankly, once you get past the first six tracks, this is primarily a straightforward digital dancehall album, as Sizzla proves he can spit "girls lyrics" as potently as if he was burning down Babylon (although lines like "She fresh like the morning dew that fall upon the grass" sound just a tad strange when screamed so militantly).  Those who want to hear the rootsy Sizzla, however, might want to search elsewhere, as only "Babylon Is Burning" is likely to quench your thirst.  Overall, if you don't go in with expectations that are either too low or too high, Light of My World should satisfy.  In particular, the lovers rock track "Mine and Only" and the hip-hop-infused "Need" are love songs that score big points for being fresh, fun, funky, and immensely likeable, although the R&B ballad "Thinking About You" proves to be intolerable mush, and there are a few too many generic dancehall cuts like "Buss the Crowd," "Learn How to Love," and "Whole Heap a Woman" to make this a great album.  Note: At least four of these tracks ("No Blemish," "Mine & Only," "Thinking About You," and "Whole Heap a Woman") would later be recycled on Sizzla's 2004 release Stay Focus.

Rise to the Occasion (Greensleeves, 2003)

If anyone tripped out over the variety of sounds on Light of My World, they might require therapy for Rise to the Occasion.  Probably Sizzla's most eclectic mix to date, the genres covered on this album range from hip-hop to R&B to funk to folk to jazz (yes, jazz) to Indian, and, oh by the way, reggae (including dancehall, roots, and lovers rock).  This is the most "un-reggae" release so far from Sizzla, but, while it initially caught me off-guard, ultimately it proved very fulfilling.  This is an exciting, risky album that takes chances and, more often than not, succeeds.  While it ventures into other musical realms, Rise to the Occasion overall still remains true to the reggae spirit (if not the sound), similar to the way Outkast tests the boundaries of hip-hop.  Like Outkast, Sizzla is a true individual, who, though his sound might not always appeal to everyone, still commands the respect of fans and colleagues.  Some might decry the hip-hop and R&B tracks as pandering to the mainstream, but his hoarse, less-than-perfect singing vocals (again, like Outkast) and offbeat melodies automatically infuse an edginess that is anything but crossover. (Let's face it, he's not exactly American Idol material.)  I mean, what can be said about Sizzla warbling over straight jazz music, as on "Nice & Lovely," "Know Yourself," and "In the Mood"?  This isn't Billboard Top 10 material, to be sure, but it should appeal to non-reggae fans who lean toward the avant-garde, and if more traditional reggae fans give it a chance, they should be able to appreciate the adventuresome nature of this work, as well as the frankly fun tone and Sizzla's catchy vocal gymnastics.  As with Light of My World, there isn't a whole lot for diehard roots reggae fans, but speaking as roots fan myself, roots isn't necessary 24/7.  There are a couple of dancehall tracks, and yes, Sizzla does go on a few of his trademark fevered tirades, but those are the exceptions on this album.  Highlights on Rise to the Occasion -- on of his more consistent efforts -- include the surprisingly tender R&B ballad "Give Me a Try," the throbbing hip-hop title track, the fun Indian-edged "All Is Well," the acoustic guitar ballad "I Was Born" -- whose soft sound contrasts wonderfully with the potent lyrics ("I was born in a corrupted system that doesn't give a f*ck about you nor me nor the lives of our lovely kids. I keep my gun loaded; you never know...") -- and "All I Need," whose static-ridden sound may or may not be intentional (or maybe I just have a bad copy). 

Jah Knows Best (RAS, 2004)

I’ve long since given up on trying to keep up with Sizzla’s blistering release schedule, but when he releases an album on a major (reggae-wise) label like RAS (made even more major by their acquisition by Sanctuary, parent company of Trojan Records, in late 2003), I pay attention.  Particularly intriguing is the fact that he hasn’t released an album on RAS since his debut, Burning Up, way back in 1995 (some 30+ albums ago).  So, Sizzla comes full circle on Jah Knows Best, and appropriately enough, he returns to producer Phillip “Fattis” Burrell – producer of Burning Up – for musical support.  Content-wise, Jah Knows Best is a fairly safe album for Sizzla – and frankly for his fans.  This isn’t necessarily a bad thing, though, for a couple of reasons:

1) Some fans may have been put off – or at least worn out – by the experimental nature of recent albums like Rise to the Occasion and Light of My World.

2) Since Sizzla puts out albums at such a frantic pace, he can afford to have one here and there that provides a bit of a respite, one that allows him (and us) to breathe, re-center, and re-focus, and one that allows his fans to re-discover what made them fall for him in the first place.

Jah Knows Best is such an album.  While nothing here will knock your socks off, there’s also little that will furrow your eyebrows in that quizzical “What the…?” look that Sizzla’s material sometimes draws from listeners.  The song that comes closest to inspiring this sentiment is “I Myself Know,” which features a heartfelt, melancholy melody seemingly mis-matched with the bouncy old school R&B beat used in Keni Burke’s “Risin’ to the Top” (or is it The Mary Jane Girls’ “All Night Long”?  They’re practically the same…).  At first, I didn’t think the juxtaposition worked, but each time I listened to it, I liked it more and more, and now I think it’s wonderfully twisted.  Beyond that, the rest of this album is comprised of Sizzla’s typical mix of rootsy cultural tunes (“Jah Knows Best,” “Real People,” “Jah Is Love”), fiery digital dancehall tirades (“Move Up,” “You World Leaders,” “Rise Them Nature”), and a few hip-hop and R&B-leaning jams (“My Time Your Time,” “You’re Gonna Needy My Love,” “You’re Better Off,” “I Myself Know”).  “Rise Them Nature” is really the only questionable track on Jah Knows Best, because I’m sure a significant percentage of Sizzla fans don’t want to hear him chat about how women make his “nature” rise (ick).  Much more insightful is “Real People,” which puts a refreshing spin on what “keeping it real” can mean: “Real people do real things. We don’t go around killing others and steal things.”  Apart from this and “I Myself Know,” the Santana-like Latin guitar of “You’re Better Off Now” (which sounds like a single) and the serene guitar and African drumming of “Jah Is Love” stand out on an album that, while not spectacular, steadfastly furthers the ever-expanding legend of Sizzla Kalonji.

Speak of Jah (Bogalusa, 2004)

I had shied away from this album for a while because I thought that it might be a low-budget throwaway.  Although I'd heard of the German Bogalusa label from Turbulence's Join Us, the low-tech album cover didn't instill me with any confidence.  However, after finally listening to it, I was pleasantly surprised (read: shocked) to find that it's one of Sizzla's best albums to date.  Fans clamoring for a more rootsy, less dancehall-focused sound from Sizzla should find solace in Speak of Jah.  While some of his albums feel like they're padded with filler that was rejected from one of his other half dozen albums from the same year, this one has the sound of an album treated with much care and forethought.  Part of the credit has to go to up-and-coming producers DJ Flava (Kemar McGregor) and Ingo Kleinhammer, who were also behind Join Us and Anthony B's Smoke Free.  Between the Bogalusa label, Gentleman, and the folks behind Turbulence's Different Thing, German reggae is where it's at!  Maybe now we can forgive them for the whole David Hasselhoff thing.  Anyway, Flava and Co. put the dancehall on the back burner in favor of more laid-back (though no less impactful) gems like "Fight Against the Youth," "Give Thanks to Jah," "Somehow," Dem Ago Suffer," "Freedom," and one of my favorites, "Vision," a falsetto love song that showcases Sizzla's softer side.  The more aggressive tunes -- "Girls Dem" and "Couldn't Come Among Us" -- adopt a hip-hop stance rather than dancehall, and the latter in particular is an earth-splitting showcase for what this blend of styles can accomplish.  Meanwhile, Sizzla himself co-produces the title track, a stirring acoustic guitar ballad that maintains a reggae feel, rounding out an album that re-affirms him as the most prominent voice in reggae today.  

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Life (Greensleeves, 2004)

I had to take a break from Sizzla for a while. With around 50 albums (solo and joint efforts) in just over a decade, my Sizzla cup had runneth over and had gotten all over my Levi's. No sooner would I buy one album, then he'd come out with another, leaving little time for the first to sink in. If you only wanted to keep up with the major reggae label releases -- VP, Greensleeves, Jet Star, RAS -- you might find it feasible, but if you tried to pick up every little Sizzla set from every little label, you might have had to tap into your 401(k). In some ways, it's frustrating, but in other ways, Sizzla is a steadying force in reggae. Others come and go, but Sizzla remains. As a listener, it's nice to see an artist so dedicated to (or obsessed with?) his craft, and it's comforting to know you'll always have a fresh supply of material from him. That said, I got Life two years after it was released, so it's "freshness" is in doubt, but its quality is not. This might be Sizzla's best album to date, reaffirming why I've plopped down hundreds of dollars to buy his stuff over the years. Those of you who've bemoaned his shift into a harder dancehall sound over the years should find Life pleasantly relaxed, mostly rootsy with a couple of dancehall numbers, three or four hip-hop tracks (that are nonetheless still laid-back), and a -- gasp -- jazzy ballad ("One in My Life"). Regardless of the genre, though, all of the songs score with divine (and oft-brilliant) melodies, distinctive riddims, and Sizzla's magnetic performances. Of particular note are "Jah Love," "Ain't That Nice," "Haven't I Told You" (AKA "For You," which rides the ethereal music used on Richie Spice's hit "Marijuana"), the slinky dedication "Perfect Lover," and the surprisingly radio-ready "When Nature Calls." Some listeners might be miffed by a few of the lyrics, which are at times more bawdy (as with the chorus of "Marijuana": "We don't give a fuck. We just smoke enough.") than you're used to hearing from Kalonji, but the overall strength of the album should carry you past the occasional eyebrow-raising content. The bad boy lyrics spewed on "Life," for instance ("All you fucking enemies are my footstools."), even has an odd charm in light of its ironic chorus: "Oh, life is so lovely. Fools, why you want to make it ugly?" 

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Soul Deep (Greensleeves, 2005)

*GUEST REVIEW*
Sizzla hit a somewhat unexpected high water mark with this album, his 25th or possibly 26th (although it might as well be his hundredth, as difficult as it is to keep up with his output). The dominant sound here is a gentle one, but with little or no roots influence; instead, it's a bubbling blend of digital beats, synths, and acoustic guitars. The sound is unique, mixing digital dancehall with modern R&B and hip hop, and somehow pulling off the hybrid effortlessly -- unlike many of Sizzla's own previous efforts, and those of his contemporaries. The production is handled by Donovan "Vendetta" Bennett, and it's crisp, smooth, and soulful throughout. Sizzla responds with a batch of very strong melodies and lyrics that at least sometimes venture into unexplored territory, such as on the captivating opener, "Good Morning," which describes a relaxed day spent among friends and family, driving in the sunshine, and bathing. When's the last time Sizzla chatted about brushing his teeth and washing his face? Yet here it is. Bennett last worked with Sizzla on Rise to the Occasion, a strong, if highly eclectic and experimental, album for the artist. Soul Deep advances on some of the best ideas from that album and manages to be as forward-thinking while also being easier to listen to and not as eccentric. It's really quite an achievement for both the producer and the singer. Most of the tracks are at least solid, but my favorites include "Good Morning," "Where Are You Running To," "Nothing Bothers Me," "Why," and the energetic "Push & Shove." Highly recommended.

- Dale Cooper

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Ain't Gonna See Us Fall (VP, 2006)

Regardless of what you think of his lyrics -- whether it be the anti-gay content or the increasingly pervasive slackness -- you have to admire Sizzla's enthusiasm and sense of adventure, his willingness to experiment with musical styles and vocal deliveries, and his dedication (obsession?) to his craft.  That said, it's hard not to raise an eyebrow over lyrics like "Watch what you dip your finger in / Before your f*ckin' brains blow in di wind" ("Kill Yuh") or "Open up dem legs wide / And I push my d*ck up inside" ("Goodness").  The all-out rude boy-ism of tracks like "Run Out Pon Dem" and "Kill Yuh" is jarring in light of Sizzla's earlier work -- and frankly in light of his current, more socially conscious work, reflected on this very album in titles like "People Need Love," "Goodness," and "Stop Fighting."  The DJ's schizophrenic material has no doubt befuddled many a Sizzla fan, and, by all indications, it will continue to do so.  So f*ck you, let's hug!  The hit title track to Ain't Gonna See Us Fall presents the "kinder, gentler" Sizzla in fine style, delivering a proud statement of racial and cultural perseverance, while "Somewhere," "Knowing Each Other," and "Stop Fighting" feature mellow, throwback one-drop vibes (the Father Jungle Rock riddim, The Heptones' "I Hold the Handle" riddim, and I Wayne's Lava Ground riddim, respectively), and "Sad Mistake" features a groovy riddim not unlike Outkast's "Hey Ya."  However, there is something to be said about the harder tracks.  "Run Out Pon Dem" and "Kill Yuh" are fierce with a capital "F," the latter with one of the baddest riddims of the year, a dramatic series of crescendos that sounds like actual live instrumentation (!) rather than computerized beats.  Of course, it wouldn't be a Sizzla album without a few eccentricities, and "Going On" fits the bill nicely, prompting the obvious question, "What's 'Going On'?"  It's a bit like a dancehall square dance, complete with hand claps and what may or may not be a washboard...  Yee-naw.  Ain't Gonna See Us Fall is a decent but uneven effort from Kalonji, and if you don't like it, the good news is that there'll be plenty more opportunities for him to improve.

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Waterhouse Redemption (Greensleeves, 2006)

When I first heard about the concept for this album, all I could think was "Sizzla + King Jammy + old school riddims = All is right with the world". Sure, Waterhouse Redemption might not be a salve for all the world's ills, and frankly, it might not be quite the classic that you'd hope, but it's bright, positive, and dynamic -- a darn fine work that few Sizzla fans can afford to discount. Although Jammy is often associated with early digital dancehall riddims, he's done his fair share of roots production as well, and he dips into that experience for most of this album, revisiting Black Uhuru's "I Love King Selassie" on "One Love," Derrick Harriott's "Tonight" on "Thanks & Praise," Bob Marley's "Hypocrites" on "Commandment" (also known as Half Pint's "Mr. Landlord" riddim), and even The Jamaicans' rock steady classic "Baba Boom" on "Right Day." He expands the one-drop grooves into the lovers rock arena on tracks like "It's Possible" (riding the M-16 riddim originated on a Uniques tune but popularized by Lone Ranger's "M-16"), "Love Is the Way" (Frankie Paul's "Sara"), and "Let Me Love You" (Ken Boothe's "Without Love"). Of course, it wouldn't be a Jammy set without the original digital riddim, Wayne Smith's "Under Mi Sleng Teng," which is given a surprisingly tender treatment on "Someone Loves You." Lesser-known music like U-Brown's "Weather Balloon" ("Play Me Some Music"), Alton Ellis's "Bye Bye Love" ("A Better Way"), and Frankie Paul's "I Know the Score" ("Lately I've Been Thinking") round out the best of this welcome Redemption. Unfortunately, the "worst" comes when Jammy turns over the production reigns to his sons John John, Baby G, CJ, and Jam 2. While John John's "Commandment" and CJ's "Let Me Love You" mesh old and new sounds masterfully, the last four cuts on the album abandon the game plan altogether, almost ruining an otherwise great set by throwing in mediocre modern hip-hop and dancehall beats. Damn you, nepotism.

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The Overstanding (Damon Dash/Koch, 2006)

Perhaps Sizzla's most highly anticipated album, The Overstanding marks the controversial DJ's best shot at mainstream success to date. Kalonji's release on rap mogul Damon Dash's imprint on the Koch label marks his major-label debut, but had it been released on Def Jam like it was originally slated to do (from my understanding), it would've likely made a bigger splash. Def Jam's hesitance to release The Overstanding implies a lack of confidence in either: a) the artist's appeal or b) the album's quality. Or maybe it's a little of both. Before listening to The Overstanding, I figured that Def Jam might want to distance itself from a performer who's sure to draw protests from gay rights groups. After listening to it, I'm convinced the quality of the album came into question as well. One indicator is the inclusion of not one, not two, not three, but FOUR remakes of his own proven songs: "Thank You Mama," "Solid as a Rock" (both from Da Real Thing), "Give Me a Try" (from Rise to the Occasion), and "Black Woman & Child," (from, well, you know). Fourteen tracks is already not a lengthy set by reggae (especially dancehall) standards, but when that includes four covers plus a remix, the content becomes downright anemic. Of course, if you're new to Sizzla, these songs will be new to you, which is exactly what the label's strategy appears to be. The Overstanding feels like it's aimed at newcomers to not only Sizzla, but perhaps reggae in general, since five of the 14 tracks feature R&B/hip-hop beats, one ("Break Free") has an accessible ska vibe, while another ("Cost of Living") has a rock edge (not to mention Sizzla delivering an un-hip, Dylan-esque rap). All of this doesn't necessarily equate to a bad album, of course, but I can't see Sizzla fans being bowled over by it. On the other hand, it is fairly representative of Sizzla's sound, which often delves into the eclectic, and original tracks like "Smoke Marijuana," "Beautiful Day," "Break Free," and "Take Myself Away" soar with his unique appeal. Further, those fans who've decried his dancehall slackness of late will find none of it here (not a dancehall riddim to be found, actually). Still, Sizzla's big "coming out" album deserves more than this. The Overstanding feels like a half-assed effort on the label's part. I mean, with acts like Talib Kweli, Xzibit, Bone Thugs N Harmony, and Jim Jones releasing albums on Koch, how do we end up with a no-name guest rapper named Curtains? Who's next, Shag Carpet? Rather than sitting around haggling over whether the album would be released on Def Jam or Damon Dash Music Group, the powers that be should've demanded more songs from Sizzla; Lord knows he has 'em. It's ironic that while Def Jam was hemming and hawing about releasing this album, Sizzla was off recording better sets like Waterhouse Redemption and Ain't Gonna See Us Fall. Meanwhile, we're left with an Overstanding that's underwhelming.

Dalecooper Presents...The Good, The Bad & The Remixed (dalecooper, 2007)

Here's something a little different. Musical alchemist and Reggae Reviews contributor (see guest review of Soul Deep above) Dale Cooper (or dalecooper, if you like) has mashed up a dozen Sizzla tunes with the soundtracks from 10 old spaghetti Westerns, a wacky venture that's actually not as wacky as it initially seems, since A) reggae artists have co-opted Western movie mythology for years, from acts like Lone Ranger, Clint Eastwood, and Reggae Cowboys to songs like The Upsetters' "Return of Django" and Josey Wales' "Bush Wacked," and B) Sizzla is no stranger to musical experimentation. Thus, it all comes together quite naturally, the airy, melancholy movie music from composers Ennio Morricone, Luis Bacalov, and Bruno Nicolai lending an epic feel to Sizzla's towering vocals. You'd expect the DJ's more laid-back tunes to be paired with the mellow music -- and indeed, the album kicks off with "I Was Born" over the iconic theme to The Good, The Bad and The Ugly in an awesomely cohesive juxtaposition -- but Cooper doesn't shy away from blazing dancehall tracks like "Come On," "Karate," and one of the best hybrids, "To the Point," its ethereal soundtrack tempering the digital riddim's fire while layers of gunshots and whistles add a playful touch. Other standouts include "Only Takes Love" -- an instinctive fit for this collection, seeing as the original music (the Red Alert riddim) already had a Western-infused strummy guitar -- as well as the Nyabinghi take on "Somehow" and the dramatic "That's OK," plus a cool dancehall instrumental, "Mexican Standoff." Although it's a free, not-for-profit venture (available for download at www.specialagentdalecooper.wordpress.com or here), The Good, The Bad & The Remixed sports a remarkably clean, professional sound, the nifty cover art and liner notes indicative of the level of effort involved. This sort of album might not suit everyone's tastes and may have more of a camp appeal to some, but it's a sharp product that showcases genuine craftsmanship and much-appreciated innovation. Cooper joked (or not...?) that he might follow this up with Bounty Killer tunes over John Carpenter soundtracks, a heavenly bad boy teaming that's sure to "mash up" the place.