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An instant classic released out of order, Rasta Got Soul could have been Buju Banton's 2004 album if an arrest for ganja possession hadn't sent the singer into exile. While the great Magic City single previewed the album during this time, two years later the more contemporary effort, Too Bad, arrived and what was rumored to be an awesome album seemed lost forever. One listen to 2009's final product and it's obvious the rumors were true, but it also suggests that Banton was hedging his bets after some time off and launched Too Bad instead to make sure the fast-living Jamaican youths came back to the Gargamel fold. Rasta Got Soul is mature, almost a throwback effort with plenty of horns, plenty of references to the Rastafarian lifestyle, and songwriting on the level of 'Til Shiloh, his 1995 masterpiece. Bedtime Story is a heart-wrenching story of abandoned children that delivers its message perfectly, while A Little Bit of Sorry reclaims ska for the Island of Jamaica as the lyrics deceptively persuade the big-headed masses to tone down their egos. Anyone spiritually lost at sea will be done right by the comforting Optimistic Soul, one of the many numbers here that finds an especially positive Buju being sweet but not sugary. That blunder is saved for the cheeseball instrumentation on Mary, which starts off with a doo wop intro and then goes downhill with a fake, synthetic string section. If it's Buju being whimsical, he should really give a wink, but it's a small complaint on an album that makes one wonder what other treasures are locked in the Gargamel vault. Beyond recommended, this one is vital. ~ David Jeffries, Rovi
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In the sound systems and clubs both in Jamaica and abroad, the arrival of the 12 disco mix in the mid-'70s was met with delight, as songs now seamlessly spun from vocal numbers into instrumental dubs and/or DJ versions. Modern compilations have made many of these extended mixes available again today, but rarities still abound, with Silver Kamel bringing together eight excellent, exceedingly hard to find classics. The set is all pure culture, but bounces around between time, producer, and artists, with the party kicking off with earliest of the batch. Cornel Campbell's I Heart Is Clean was released in 1976, with the backing Aggrovators strutting their stuff across the instrumental Zinc Fence. There's a forceful rockers revelation from producer Niney Holness. The Soul Syndicate band back Phillip Fraser across two powerful numbers from the turn of the next decade, with the production shared by Fraser, Earl Chinna Smith, and T. Hailey. The singer may remain the same, but the DJs showcase the shifts in toasting with Prince Alla's pleas to the Boss Man far removed from the Clint Eastwood & General Saint styling of Peter Ranking & General Lucky. A pair of Jah Thomas productions also date from this era, although so dread is the roots supporting Barry Brown and Ranking Toyan's Peace & Love/Judgement Time that it feels like it was cut several years earlier. In contrast, there's no doubting Linval Thompson and King Rolex's Guntalk/Everyday a Shot Dem Bus date, backed by the Roots Radics, it's a prime slab of the early dancehall stylee. Incidentally, the little known Rolex delivers one of the most ferocious toasts on this disc. The Mighty Threes also offer up two excellent two numbers, both produced by member Carlton Gregory, with the potent toasts coming courtesy of Ranking Trevor. As with a number of the tracks within, the singles are so extended -- Sit Down & Reason/Tribute to the King clocking in at nearly 10 minutes, that it expands from the usual paired vocal and DJ version to encompass a dub instrumental as well. Careful sequencing helps the disc drift from rockers to roots reggae, into early-'80s dancehall, onto dread, and back again, finishing with a flourish with the Augustus Pablo dubby production of Earth Wind & Fire/Ras Menlik Congo. A stunning set. ~ Jo-Ann Greene, Rovi
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