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Turbulence (Xterminator, 2000)

Perhaps you heard his resonant "Where Are Your Wings?" on Phillip "Fattis" Burrell's Armageddon Time Chapter II.  If not, and if you haven't heard of Turbulence, then you are missing out on a potential star who has quietly stepped onto the scene.  If you were to clone a "sing-jay," you might choose Turbulence, for he sings almost as much as he chats, and he is equally adept at both.  Not as overtly righteous as, say, Sizzla, Turbulence is nonetheless positive, and with the expert backing of Burrell, Turbulence puts together a nice debut effort.   Turbulence has a similar feel musically to Prince Malachi's Watch Over We; indeed, rhythms are shared between the two, such as that used on Prince Malachi's "Meditation Time" and Turbulence's "Hold the Faith."  This plodding, un-reggae-like R&B beat made me a bit wary, but it is a credit to Turbulence (and, to a lesser degree, Prince Malachi) that he can craft an irresistible melody that still draws you in.  As evidenced by this example, Turbulence, like Watch Over We, has several tunes that seem to strive for crossover success.  But Turbulence manages to overcome Burrell's questionable beats with stellar songwriting.   Upon hearing the first 5 or 10 seconds of the unabashedly pop/dance music of "Freedom Call," for instance, I was ready to hit the ol' Fast Forward button, but to my delight, Turb (as I like to call him) belted out a wonderfully emotional, captivating melody that far overshadows the beat (ditto for "Love Can Make a Difference").  More than any other sing-jay I can recall, his singing voice displays an appealing tenderness and sensitivity, as displayed on the aforementioned "Where Are Your Wings?," a funky yet heartfelt love song.  More hardcore dancehall fans, meanwhile, should be appeased by tracks like "Living in Sufferation," "Hotness a Gwaan," and "Naw Beg No Friend."   However, like fellow sing-jay newcomer Norris Man, Turbulence fails to prove that he can come up with good material consistently.  The last part of the album sags noticeably, and the tune "One Gun," which features an inconsistent rap, is just bad.  While there is a bit of "turbulence," though, this debut gets you to where you want to be and portends great things for Turbulence's future.

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Rising (VP, 2001)

Turbulence's promising debut album featured some great songs, but the overall inconsistency relegated it to also-ran status.  On his sophomore effort, however, it is exactly the consistency that makes it so great.  While the conscious, rootsy dancehall sound isn't as fresh as it once was, there's nothing her that's mundane.  Rock-solid writing, understated production by Philip "Fattis" Burrell, and Turbulence's dexterous ability to switch between DJ and singer help to ensure a high-quality product.  Perhaps the most versatile reggae vocalist around, Turbulence can sing and chat with the best of them.  His songwriting, however, is what truly shines on Rising.  Not only are the melodies engaging, but the lyrics are truly insightful and refreshing (although, inexplicably, "Love Can Make a Difference" is repeated from his first album).  Take "Mamma Was There," for example, a purposeful rant against deadbeat dads in which he proclaims, "Mama is here and Papa disappear; she alone left fi face the problems out there...Mama face the struggles, and Papa bail out.  Mama build the ship, and Papa sail out...Mama bring surety, and Papa bring doubt.  Mama bring the food, and Papa bring drought."  Other standout cuts include "Facts of Life" ("You take the good, you take the bad, you take them both and there you have the facts of life"...Sorry, Tootie flashbacks.), "Friends Like These," the old school "Player Haters," "Life Goes On," and the title track, featuring LMS.  Needless to say, on this his sophomore album, Turbulence fulfills the promise shown on this first album, and I for one can't wait to see if he keeps it going on his third.

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Different Thing (EFA/Minor7Flat 5, 2003)

Turbulence might be one of the most slept-on DJs around, and with some fans becoming increasingly fed up with Sizzla's dancehall/hip-hop inclinations and inconsistent quality, he may be someone to check out. His latest album, the stunning Different Thing, can only help to further his popularity. Seeing the title Different Thing and the album cover -- a stark black and white picture against a vibrant yellow background -- as well as the label (Minor7Flat5?), I wondered to myself if this would be too "different," some sort of overly experimental Euro-trance/industrial/gothic-folk-pop-gospel/Eskimo seal clubbing music, but luckily, my fears proved unfounded. Rest assured, Different Thing is not that different. It is, first and foremost, rootsy, cultural reggae. Admittedly, a couple of tracks do incorporate other genres: "Holiday" is a straightforward neo-soul ballad (and actually quite good; I could picture hearing it on the radio if it weren’t sung by a reggae artist), while "Pride" mixes in snippets of a jungle/drum 'n bass beat (again, done quite well; I am the first to admit that I cannot get into jungle/drum 'n bass, but "Pride" gives you just a taste and smartly doesn't saturate you with it). "Marihuana" meanwhile is an electrifying old-school dancehall/hip-hop hybrid that will have you jumping out of your seat if you have any sort of pulse. Beyond these three tunes, however, this album is straightforward roots and rootsy dancehall performed in Turbulence's inimitable DJ/singer style. What I really see as "different" here is the overall feel. Whereas Buju Banton's recent "different thing" (Friends for Life) seemed calculated and fake, Different Thing feels heartfelt and genuine. You really get a sense that he’s enjoying himself and that he's performing material that he's truly comfortable with -- which just happens to include some non-reggae flourishes. On love songs like "Girlfriend" and "Lets Try" and even on message tunes like "Unite," "Burn Dem Down," and "Dread Time," there is an infectious sense of fun; everything (besides "Holiday") is up-tempo and freewheeling, urging you to get up and feel the vibe. This album injects life into the once-fresh, now increasingly stale sound of the cultural DJ of today (Buju Banton, Junior Kelly, Lion, and Capleton not excluded). Perhaps one thing that helped here is Turblence's separating himself from the (again) once-fresh sound of producer Bobby "Digital" Dixon and incorporating lively production from Spain-based Andreas "Brotherman" Christophersen and the German Silly Walks Movement (If you are dubious about the ability of Germans to produce quality reggae, check out Gentleman's Journey to Jah.). Whatever the reason, it's clear that Different Thing is a high point thus far in Turbulence's ever-brightening career.

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The Future (Jet Star, 2003)

The third of a whopping, Sizzla-like five albums issued by Turbulence in 2003, The Future continues his string of strong releases.  It also continues his impassioned, eclectic sound -- mixing roots, dancehall, lovers rock, and hip-hop -- which, while some might find not quite as fresh as it once was, still works.  I'm convinced that Turbulence, like Sizzla, can write songs in his sleep (and frankly they'd both have to in order to keep up their pace); it seems like he can come up with catchy hooks off the top of his head, whether he's in righteous mode or romantic, whether he's in singer mode or DJ.  No matter what your taste, you can find great stuff here: roots fans can groove to "Go and Tell the World," "Nah Bluff," "We Need Liberation," and "Revolution Pon di Wicked," while dancehall fans will cherish "Life Over Death" and "Selassie's the Way," lovers of lovers will love "Music Is Life," "All I Require," and "If You Were Mine," and hip-hop reggae listeners should enjoy "Join Us," "Rainbow in the Sky," and "We Are."  There's no doubt that with Turbulence around, "the future" is bright.

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Hail to the King (VP, 2003)

To say that this is Turbulence's worst album since his debut is as much a testament to the excellence of his output as it is an indictment of the mediocrity of Hail to the King. As with the equally prolific Sizzla, any dip in quality brings about the question of whether his hectic release schedule is diluting his work, and Hail to the King is the first indication that this might be the case. There are no real boom shots to be found, and many of the tunes are merely ho-hum, from dancehall tracks like "Good Draw" and "They Must Go Down" (which revisits the "Real Rock" riddim for the 10,000th time) to more rootsy numbers like "I Shall Not Be Moved," "Confession," and "Live and Let Live." Turbulence's vocals can be a little overwrought at times, so treacly tunes like "Changes" and the title track feel especially cheesy, but that said, it's his exuberant singing/chatting style that makes him one of the most likeable dancehall performers around. He comes correct on "We Deserve," a rousing affirmation buoyed by an old-fashioned rolling piano riff, while "Rasta Fiesta" overcomes a silly title to become a bumping party (or fiesta?) jam. Likewise, "Let's Get It on Tonight" and the Latin hip-hop of "Your Papito" make a strong case that the best tracks on Hail to the King are the fun-loving, non-cultural ones. I'm not sure what to make of "R.E.S.P.E.C.T.", however, in which Turbulence uncharacteristically professes his bedroom prowess ("What's my name? What's my name? Me give it to her hard and make she tell her friends about me.") and his distaste for oral sex ("Any type of position you want, no doubt. But if a di oral thing you want, cut that out."). Looking at the title (not sure what it's supposed to be an acronym for), I'm guessing this distinctly disrespectful tune is meant to be tongue-in-cheek...at least, I hope. 

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Triumphantly (Kingston, 2004)

I wondered why I saw several copies of this album in the bargain bin at my local used CD store, and one listen explained why. Whoever determined the order of the songs on Triumphantly must've been smoking something harder than ganja, because they grouped the album's five non-reggae ballads into the first five spots. I can envision anyone checking this album out at a listening station in a store -- or worse yet, at home after buying it -- and crying out in disgust as track after track of treacly, whiny ballads pierces their ears. I'm sure some people probably didn't even listen past the first five tracks before deciding to toss this album in the recycle bin. Frankly, I barely made it past the opening myself (of these tunes, only the acoustic "Four Thousand Years" carries any weight), but I'm glad I did. The rest is what we're more accustomed to hearing from Turbulence (granted, we're accustomed to hearing sappy ballads, but not in a bunch like this): buoyant roots and cultural dancehall with catchy hooks and captivating vocals. Little here should be considered among his absolute best (maybe the fun "Jah Jah"), but once you scrape off the sugar topping, it's all solidly entertaining and lighthearted, even if he recycles a few classic riddims, like Sugar Minott's "Good Thing Going" ("All Natural"), Barrington Levy's "Murderer" ("Music Is Life"), and The Cables' "Baby Why" (on his remake of the same; also well known from The Mighty Diamonds' "Have Mercy"). 

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I Believe (M Records, 2005)

Although I Believe was released on Ryan Moore's M Records label, Moore is nowhere to be found in the liner notes, so those looking for a Twilight Dub Circus-Turbulence collaboration might be disappointed. Turbulence fans, however, should it a solid addition to his body of work, buoyed by a couple of the sing-jay's all-time great tracks. The first is "Mama Don't Cry," a plea for faith and patience that showcases Turbulence's passionate singing voice. For the other, he saves the best for (almost) last: "Taking Over" is a hypnotic mix of traditional Nyabinghi drumming with modern digital effects to form a spectacular jam that should find its way onto any of the artist's future "best of" collections. Overall, I Believe is a laid-back affair, dominated by roots and several lovers-tempo tracks -- inlcuding "Sweet and Pretty," "You're an Angel," and the saccharine title track -- and only the fun, frenzied ganja tune "High Grade" (and to a lesser extent, "What the Hell") ratcheting things up to a dancehall pace.

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Upright (Black Scorpio, 2005)

Although Jack Scorpio (AKA Maurice Johnson) is best-known for his dancehall productions, only about a third of Upright goes that route. Three of the first four tracks, in fact, are straightforward roots, showcasing Turbulence's amazing versatility to switch between DJ and singer roles from line to line, not to mention his talent at crafting the catchiest of hooks. When Scorpio does venture into the dancehall sound here, he opts for a refreshingly old-school flavor, as on the fun romp "Let's Take a Ride," which time warps us back to Barrington Levy's "She Is Mine" riddim, or "Help the Needy," which pumps up the classic Duke Reid riddim from the Melodians' "Come on Little Girl." Only "Push It Up" actually features a modern dancehall sound, and perhaps not coincidentally, it's the most generic track on Upright. The rest is a strong showing for Turbulence, whose increasingly Sizzla-like pace of releases since 2003 has diluted the quality of his albums. This is one of the better ones, though. Despite the cheap-looking package, it features excellent tunes like the title track and "Why Oh Why" -- both featuring irresistible falsetto choruses dripping with emotion -- and the stellar '80s dancehall/hip-hop hybrid "What a Unity."

Nah Sell Out (Charm, 2006)

*GUEST REVIEW*
This is a nice album; I would recommend it to any fan of Turbulence. I admit, I bought it on impulse, dismissing it as a random collection of singles (yes, that is how cheap it was). But I was faced with a pleasant surprise. Nah Sell Out showcases some charming tracks. It is the first half of the album that truly shines (with the exception of the limp "Motherless Fatherless"). Tracks like "Nah Sell Out," "Firm," "Born For This" and "We Shall Never Fail" reveal Turbulence's excellent singing voice and are all good songs. "Child of Melchizedek" is pure Turbulence: heavy, unexpected and somewhat homophobic, yet captivating and just good. The second half of the album is somewhat unmemorable. Turbulence just doesn't really score here. "Come On" is an OK song, but the rest are not so hot. Also, the decision to include an acapella version of the title track confuses me. I tried to listen to it, but I could seriously not get through the first minute. Anyway, let's not end on a negative note. Nah Sell Out is a good album and for me, it was well worth the low price.

- Enrique Wedgwood Young

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Notorious (VP, 2006)

*GUEST REVIEW*
Notorious certainly ranks as one of Turbulence's greates efforts to date. One can not help but be drawn into the experimental and genre-defying sound of the record. Mr. Campbell seems now to have perfected his vocal delivery: powerful singing interjected with firey DJing. The album opens with the heavy and anthemic "Fire Pon Dem," a favourite of many a non-reggae fan. This is followed by a slight remix of his roof-raising hit; "Notorious." The title track is a legend in itself. Turbulence glides over the monolithic rhythm with a grace that is achieved by few in today's crowded sing-jay scene. The album has few low points, the only track not worth listening is "Love You," a cheesy lyric over a flat, one-drop rythm. The rest of the album is excellent, highlights being the duet with his (now ex-) girlfriend Sasha: "Front Line," the haunting "Woyeeeee," and the moving "Liberation." After listening to an album like this one can not help but be left wondering; "Whats next? Surely nothing better..."

- Enrique Wedgwood Young

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Do Good (Minor7Flat5, 2007)

I was excited to see Turbulence once again teaming up with producer Andreas "Brotherman" Christophersen some four years after releasing the wonderful, quirky Different Thing. I've sampled other Brotherman-produced Minor7Flat5 releases since then -- including Anthony B.'s My Hope, Josie Mel's Rasta Still De 'Bout, and the The Good, The Bad, and the Blazing collaboration from Capleton, Bounty Killer, and Junior Kelly, and while I enjoyed them all, I was looking forward to see him explore different riddims rather than recycling the same ones from the past four years. I was apparently optimistic in my assumption. No, Brotherman continues to insist upon resting on his own laurels, pumping out yet another album full of regurgitated -- albeit excellent -- music. Even worse, the stagnation seems contagious, as Turbulence merely goes through the motions here. In fact, if I'm not mistaken, the song "Facts" was actually recorded way back in 2003 or so. If you're familiar at all with the Minor7Flat5 releases, chances are you've heard these riddims support better tunes. The Friedenland riddim on "Do Good" sounded infinitely better on both Anthony B.'s "Global Awareness" and Josie Mel's "Consecrate Yourself," for instance, while the Summerfield-riddimed "I Believe" pales in comparison to Anthony B.'s "My Hope," and though "Next Flight" is decent, it's not in the same class as Bounty Killer's "West Indies." That said, I don't think that all of the music on Do Good is recycled; maybe as many as five of the 14 beats are original to this album...maybe. The dubby dance pop of "Good Time" doesn't sound familiar (indeed, since the Good Time riddim is named after the song, I'd guess this is where it originates), likewise with the 2 Drop Riddim of "Mothers" and the lusciously minimal electro-funk of the "Marihuana" remix. Brotherman gives just enough of these tasty original nuggets to whet your appetite...and frustrate you all the more. In a genre constantly seeking for the next hot beat, it seems short-sighted to continue pumping out the same music; at some point, it's going to sound stale and dated (arguably, the Luciano duet "Freedom Train," which appeared on his 2003 Minor7flat5 album Tell It From the Heart, has reached that point). If you're not already familiar with the music, you might find this set OK (and just OK), but I can't see it blowing away even the biggest Turbulence fan. I don't mean to make Do Good sound like a horrible album -- although it's not great either -- but it's disheartening to see such a lazy effort from such talented people.

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United (Kingston, 2007)

*GUEST REVIEW*
A mixed bad from now-veteran DJ Turbulence; a very mixed bag, in fact. Included are some truly good songs. "Whatever It Takes" ranks amongst one of Turbulence's best. Also good are "There Is The Door," "All Praises Be," and "Everything But Love." I got a bit caught up with the title track, though. The instrumentation feels somewhat bare, yet Turbulence gives decent vocal performance. The opposite is true of other tracks that are downright bad. Whilst supporting decent rhythms, Turbulence just sounds bored or uninspired on tracks like "This is It," "Promises" (a truly terrible song), and "This Is It." I would not suggest buying this album if you have not already done so. The best thing about it is track six. The packaging is also somewhat cheap, though the actual CD was made to look like a vinyl record. So, if you are a romantic who longs for the old days of vinyl, then maybe this record is for you.

- Enrique Wedgwood Young