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Diary of the Silent Years 1977-2000 (Makasound, 2002)

Unfortunately, Winston McAnuff material isn't easy to find here in the US, but if you're a fan of the classic '70s roots reggae sound, you owe it to yourself to track down his work from that era. Diary of the Silent Years is a great place to start. It gathers tracks recorded during his "silent years," or basically his whole career, since people are just now starting to learn who he is. His work values the sort of melodic soulfulness that acts like Prince Lincoln, Delroy Washington, and Third World were delivering at that time, but he balances it with a raw (some might call it a lack of natural singing ability), expressive delivery that at times resembles a manic Junior Delgado. The dubs on Diary aren't spectacular, but the core 10 tracks (9 if you exclude the acoustic rendition of "Sun Setting in the Sea") are as good as anything you'll hear from the biggest names in the Golden Age of Reggae. Frankly, it should only take a track and a half for you to appreciate McAnuff's power. "Fear" is an anthemic pick-me-up flush with lurid horns and roots energy, while "Head Corner Stone," also featured on his debut Pick Hits to Click, is an outright classic that begs you to sing along. McAnuff's biggest claim to fame perhaps is the fact that he wrote the song "Malcolm X," which Earl 16 (a childhood friend who recorded it because McAnuff's voice was deemed not strong enough) and, more famously, Dennis Brown later recorded (on his Visions album). McAnuff's rendition is surprisingly upbeat, with a rock steady bounce that undermines its seriousness, but at its heart you can discern his keen songwriting prowess. The exuberant "Peace," the dark ballad "Get Thee Hence Satan," and the dreamy "Sun Setting in the Sea" -- all chock-full of good old-fashioned roots harmony -- solidify the fact that Winston McAnuff is a true hidden talent. His recent work has veered outside of the reggae realm (though maintaining a high level of quality), but don't let that fool you into believing he can't drop some wicked roots on you. Exhibit A: Diary of the Silent Years.

What a Man a Deal With? (Makasound, 2003 [orig. released 1978])

With the ever-growing number of re-releases of vintage reggae, it's hard to believe that there is still any quality material left to be re-packaged.  The new Makasound label (makasound.com) out of France, however, has managed to unearth not only quality songs but downright classics.  Alongside the Black Roots compilation On the Frontline and The Mighty Threes' Africa Shall Stretch for Her Hand, Winston McAnuff's What a Man a Deal With? forms a formidable triumvirate of releases.  Winston McAnuff, AKA Electric Dread (after his 1986 album of the same name), is likely one of the most talented reggae artists you've never heard.  Before recording his first album, 1978's Picks Hits to Click, he even wrote the eternal "Malcolm X," recorded by Earl 16 and later by Dennis Brown.  Although he released only a few albums, luckily you can get two from Makasound, this one and the compilation Diary of the Silent Years.  Listening to What a Man a Deal With?, one thing that strikes you immediately about McAnuff is his emotion-packed delivery, somewhat similar to Prince Lincoln.  You can literally feel the dedication in his voice, magnified by his bold, righteous lyrics.  His message is often quite biting, as exemplified by the prophetic "What Man Sow" and "Praying for That Day," the scathing "Hypocrites and Parasites," and the title track, on which he calls out false Rastas.  He also adds fire to a funky rendition of Bob Andy's fiercely independent classic "Unchained."  The vocal tracks -- all stellar roots numbers -- have previously been issued on a bootleg CD titled One Love, but this is an official set including 6 powerful dubs to boot.  Island passed on releasing this album in 1980 -- their loss -- but that's no indication of the quality here; it certainly stands up to Island's renowned catalogue.  Awesome stuff .

Pick Hits to Click (Makasound, 2006 [orig. released 1978])

Although he was a friend and contemporary of young talents like Hugh Mundell, Earl Sixteen, and Wayne Wade, Winston McAnuff never achieved their level of notoriety in the '70s and '80s. Even today, his work is hard to find in the US, but thanks to France's Makasound label, it's getting the exposure it deserves. Renowned as a songwriter, McAnuff displayed through his limited slate of releases that he's also an accomplished performer and producer -- beginning with his debut album, the amazing Pick Hits to Click. Recorded when McAnuff was only 21 years old, this album shows a remarkable maturity and, along with his follow-up What a Man a Deal With?, deserves to be considered amongst the best that the fertile late '70s had to offer to the reggae world. What's striking is McAnuff's versatility. He has the ability to record scorching social commentary like "Time Is Running Out" and a righteous testament like "Whosoever Believeth" (with its proclamation that "It's not the long dreadlocks you wear / That will make you be chosen on the final day."), but tempers it with a carefree anthem like "Punky Rock," an accessible love song like "Lover Man" (which could've been a hit had it been recorded by an act like Third World), and "My Pick to Click," a swinging rock steady medley of old hits: Toots and the Maytals' "It's You" and "My New Name," Justin Hinds and the Dominoes' "Boderation Oh," and Count Prince Miller's "Mule Train." Then, you throw in "Ugly Days," a gorgeous, melancholy rememberance of slavery days, and you get a true sense of McAnuff's talent. Only "Head Corner Stone," his stunning interpretation of Psalms 118:22 ("The stone that the builder refuse / Shall be the head corner stone one day."), is repeated from Makasound's Diary of the Silent Years compilation, so don't fret over buying both. As a wise man -- I think it was Tony the Tiger -- once said, "Theeeeeeeey're GREAT!" And there's precious little of his material around, so fans of the classic reggae sound need to search it out...Now!

Paris Rockin' (Makasound, 2006)

I tend to avoid reviewing albums that aren't reggae, but since Winston McAnuff is an established reggae artist and Makasound is an established reggae label, I wouldn't want those seeking reggae to buy Paris Rockin' and feel like they've been ripped off, hoodwinked, and bamboozled. You'd have to strain to hear even the slightest one-drop beat on this album, but if reggae fans -- and McAnuff fans in particular, who may be used to the eclectic sound -- buy it and gave it a shot, I doubt they'd feel cheated. It's just that good. Paris Rockin' extends the blues, jazz, funk, and R&B elements from A Drop, crafting a big, dramatic sound that may change the way you feel about accordions (unless you already feel that accordions are funky fresh). His vocals are grainy yet commanding, like a seasoned blues man with a touch of Lee "Scratch" Perry. The songwriting is eccentric yet accessible and moving, with a style that is reggae-compatible: laid-back, groovy, soulful, melodic. The producers could've easily slipped reggae grooves behind McAnuff's vocals, but they're not necessary; the album is a musical treat regardless. Paris Rockin' is a great option for those reggae fans looking for a break from the genre...for one album at least.