Strictly the Best, Vol. 37

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Artist(s):

Various Artists

Label: Vp Records
Publisher(s):

Vp Records

Studio: Vp Records
Manufacturer: Vp Records
Binding: Audio CD
MPN: 1810
List Price: $15.98
Our Price: $12.97
Availability: Usually ships in 24 hours

Track Listing

Whine Up - Deluna, Kat

Pick It Up & Drop It - Henriques, S.

Back It Up - Davis, M.

Mamacita - Harper, C.

Take My Place - Rhoden, D.

Empire Army - Palmer, A.

Touch the Road - Brooks, D.

Dem a Sissy - Campbell, J.

Earthquake - Rhoden, D.

10.

These Are the Days - Gordon, R.

11.

Protect Your Neck - Riley, O.

12.

We Love the Girls - Campbell, J.

13.

China Wine - Jean, W.

14.

Me and My Crew (The Rae) - Hall, M.

15.

Brown Bottle - Brooks, D.

Customer Reviews

BEHIND THE CURVE

STRICTLY THE BEST 37 & 38: VP's long-running STRICTLY THE BEST series is back again, following the usual format, i.e. two volumes released simultaneously, one for the dancehall deejays and the other for the lovers singers, nos. 37 and 38 respectively.

STRICTLY 37 brings mixed blessings. On the one hand, you've got the murderous EMPIRE ARMY from Vybz Kartel, Munga's huge TAKE MY PLACE and a brace from badman-of-the-moment Mavado with TOUCH THE ROAD and the slow burning BROWN BOTTLE. If it were worth paying out on these four alone, STRICTLY 37 would be in good shape. On the other hand however, most of the remaining selections fall into one of three categories: 1) cold-blooded killers from Busy Signal, Beenie and Munga, all of which were already licensed and released on Greensleeves' superior BIGGEST RAGGA DANCEHALL ANTHEMS annual last month; 2) a handful of selections from VP artist albums, namely Lady Saw's WALK OUT and Assassin's GULLY SIT'N, which you've probably heard already; and 3) nonsense like Collie Buddz' lame MAMACITA, or the even lamer CHINA WINE from Geisha and friends. Throw in marginal contributions from Sean Paul (with his just-okay PICK IT UP) and Kat Deluna with Elephant Man (on the fairly forgettable WHINE UP), and STRICTLY 37 doesn't add up to a whole lot. The equation isn't improved by Tarrus Riley's beautiful PROTECT YUH NECK, which is completely misplaced and should surely have appeared on STRICTLY 38, the roots and lovers edition of the series. It gets drowned out here, sandwiched between Busy's deep, dark THESE ARE THE DAYS and Assassin's WE LOVE THE GIRLS - some of the poorest sequencing I've ever come across - and besides, yes, you guessed it, Greensleeves already licensed it for last month's excellent BIGGEST ONE DROP ANTHEMS!

STRICTLY 38 fares somewhat better, though it's still borrowing from Greensleeves (from the ONE DROP ANTHEMS collection) with Tami Chynn's sugar-sweet OVER & OVER and Etana's solid ROOTS, and still features a few too many VP album tracks like Da'Ville's very romantic THIS TIME I PROMISE, Ras Shiloh's NEED YOUR LOVE, and Tarrus Riley's big number one, SHE'S ROYAL -- all quality selections, but all available elsewhere. On the plus side, there are two takes on Vendetta's LOVE POTION rhythm, first from Beres Hammond - still one of the greatest singers recording in Jamaica, or anywhere! - with his excellent NOT FOR SALE, and then the beautiful, beautiful voice of Alaine with SINCERELY. Another Vendetta rhythm, FAR AWAY, gets the right treatment from the dependable Morgan Heritage with their nice MAKE IT OFFICIAL. Other highlights include Queen Ifrika's brilliant BELOW THE WAIST on the recent Penthouse relick of the STOP THE FIGHTING rhythm, and Jah Cure's TO YOUR ARMS OF LOVE on Arif Cooper's tear-jerker GUARDIAN ANGEL (though I would actually have swapped out OVER & OVER for Alaine's RISE or even Kartel's MISSING YOU on the same rhythm, if I had my way). Finally, there's Bitty McLean's Taxi-produced LET THEM TALK, which pretty much steals the show - as is often the case when the jaw-droppingly gifted Mr. McLean burns the old-time lovers vibes.

From my point of view, I can't give more than three combined stars for this year's entries in the STRICTLY series, but if for some reason you can't get hold of the Greensleeves collections, and if you haven't picked up any of the big artist albums that VP has issued in 2007, then you'll probably find STRICTLY THE BEST 37 and especially 38 to be reasonably worthwhile. For me though, the long-running STRICTLY series is in serious danger of falling behind the curve.

Okayyyyyyyy. . .

Sitting and thinking about the famous duos that we have had in reggae/dancehall music over the years and a few come to mind. The older heads will think of names like Bob & Marcia, Althea & Donna, Michigan & Smiley, Clint Eastwood and Barrington Levy and Jah Thomas (and the undoubtedly countless others which I'm forgetting). Up to more modern times, of course, forever linked will be Beenie Man & Bounty Killer seemingly involved in a never ending battle (I can see them both at eighty years old still managing to take shots at each other from the rocking chair), similarly are Ninjaman and Mad Cobra, and then Buju Banton & Wayne Wonder, Beres Hammond & Buju and even for the more obscure heads, names like Michie One & Louchie Lou and Captain Barkey and Wickermann, will still ring a bell. Taking the term `duo' out of the more traditional sense and applying it to the not so literal and indirect, one of the other very large and more mainstream duos of reggae music is the Strictly the Best series from VP Records. The series, which is, in my opinion, one of the most unique in all of music regardless of genre, is one of the staple series for VP Records, the undisputed largest reggae label in the world (although if Greensleeves strings together a couple more of the type of years which they've had in the past two, they might also have something to say about that title). The series usually appears on the shelves in `duo' fashion, coming two albums at one time, two separate albums but in the same series. Traditionally what happens is that the first and odd number release will usually be pure hardcore dancehall, it's the album where you'll find the Beenie's, Bounty's, Spragga's and Lady Saw's and their peers over the years. The even numbered installment will be the lover's and cultural, slower vibed piece where you'll find the likes of Beres Hammond, Sanchez, Wayne Wonder and Freddie McGregor. I have pretty much ALWAYS favored the latter as you generally don't see much in the way of modern lover's compilations these days so much of the available material can still remain very fresh to the ears, whereas between listening to the radio and watching television (which I find myself doing more and more these days) and STILL listening to albums, the dancehall portion is pretty well wron by the time it gets to my ears every year. Combine this with the fact that VP's main rival in the business, Greensleeves, recently pushed its own The Biggest Dancehall Ragga Anthems album which was very strong and featured several of the better tracks from the Strictly the Best series as well.

If you have never picked up any previous installments of the StB series, without a doubt the very first thing that you will notice will be the cover. They have without a doubt the best drawn and constructed covers CONTINUOUSLY and this year's motif is as strong as it has ever been (although I think in recent years #33 and #34 from two years ago have to be the best I've seen) with a very unique design which you have to see (and CAN see on this very same page) and similarly for its `partner' album, StB #38. If there were ever an album one would buy on looks alone, it is always the Strictly the Best album. This year's dancehall edition is one I have quite mixed feelings about and ultimately will have to leave to the newer fans of the genre who aren't exactly paying attention to the music at every turn and twist. The big deal with compilations of all variety is (and has always been) the actual compiling of the compilations. In reggae music, where the truly BIG tunes are few and far between, exclusivity is at a premium, particularly when it comes to dancehall. In lover's rock and cultural terms a song can actually become bigger internationally than locally before ultimately BOOMING here. However, in `strictly' dancehall terms, Jamaica is pretty much the sole proving ground for dancehall, very rare is a dancehall tune which will become a hit outside of Jamaica before carrying the vibe back a yard (pretty much you're thinking of Gimme Di Light and not much of anything else!). The dancehall artist is held to a much higher standard than ALL other genres within reggae music. The dancehall artist (particularly the DJ, although recent singers such as Wayne Marshall and Mavado have redefined exactly what it is to be a dancehall singer in modern terms) is given such a vigorous `examination' because ultimately, those who make it reach a platform to bust outside of Jamaica as well will rather easily become some of the most popular and powerful individuals in all of not only Jamaica but the entire Caribbean as well. For instance, you can go to a dance on just about ANY island, regardless of the population and regardless of the language of the nation and you will almost certainly hear the cast of `usual suspects' in Beenie, Bounty, Kartel and Sean. The music which does reach outside of Jamaica and actually score is of such great value to the artist, not only monetarily but in recognition as well. Part of the recognition are albums such as Strictly the Best and Reggae Gold (VP's other staple series and undoubtedly the single most popular series of any brand of Caribbean music) which simply by virtue of putting an artist on the disc (particularly a younger and not established artist) can potentially do so much for their careers. Had this album been full of a great deal of the younger artists, perhaps it might have been a great idea for the album, much like VP's Dancehall Draft Picks which appeared in March. As it stands, Strictly the Best 37 is an album which features material which MAY can be found on albums which may or may not already be in your collection (or if they're not, they probably should be).

Not very long ago, Greensleeves released their The Biggest Ragga Dancehall Anthems 2007 compilation, which I pretty much enjoyed, despite the fact that they cut out the second disc (which they replaced with a DVD). That album somewhat stole the thunder of what turned out to be Strictly the Best 37 on a few fronts and the balance of that album is considerably stronger than StB directly. However, without a doubt, StB will outsell the Anthems album at least two to one based `strictly' on name alone. StB#37 opens with Kat Deluna's Whine Up which is a combination with dancehall ace Elephant Man. The song which was a fairly large international hit for Ms. Deluna and actually it's a song much more commercial and one more comfortably befitting of the Reggae Gold series which typically includes such big combinations with reggae artists (and Elephant Man is STILL somewhat of a VP artist I guess one could say, despite his Bad Boy deal). Following the Kat and Ele's Whine UP is another artist who would probably seem more at home on the `Gold' album, reggae superstar Sean Paul with his current bubbler Pick it Up and Drop it over Birch's high powered Madness riddim. The song (as does the opener) does give the album a bit of `star power' and while not being exactly the best material Sean Paul has to offer at the time, it isn't at all the worst either by any stretch, just a solid track from an artist whose mere presence will undoubtedly help to sell this album as well as keep his name around as 2008 seems almost certain to be the year for the next Sean Paul album. The tune which immediately follows Pick It Up and Drop It, Beenie Man's MAMMOTH Back It Up is probably the best tune on this album (although its not the one that I'm picking because. . . ) but it is the first of three tracks which also appear on Greensleeves' Anthems album. Still, if you have not heard the tune and do not plan on picking up the Anthems album, then I HAVE TO recommend the track to you as it is truly Beenie Man at top form and should it be released to the masses I suspect that `the Doctor' may have his next international hit on his hands with the tune (YES, it's that good!) from his very own new base camp 357. Of course following that tune is Collie Buddz' well worn Mamacita which I don't listen to very much from the album, but still find myself being a bit tired of (perhaps due to the ULTRA familiar riddim), but again, if you are a newer fan, you may full on well enjoy it immensely as I probably did the first time I heard the song (about two years ago now).

Things get VERY fun right after Collie Buddz. First is Munga Honourable, one of my current favourite artists and one who will definitely benefit from being on this album (as he did with being on the Reggae Gold album with his BOOMSHOT Bad From Mi Born, and being ALL OVER the Anthems album as well). His first of two selections here, (I've Come to) Take My Place is one of my favourite tunes from the artist despite having an almost hip-hop vibes to it, its such a big sounding dancehall track however which just scores on so many levels. One of the levels it currently scores with tangibly also is that you won't find it on any other official disc to date, and it is a nice find for VP and Strictly the Best. An even ever grander find for the album is Vybz Kartel, who just happens to chime in on his typically over-powering, over-bearing and just downright over done style with the insanely wicked Empire Army (more popularly known as Send Fi Mi Army). I'm actually calling the track the best on StB#37 due to the fact that I think it's the best tune here which is currently exclusive to the album (and it goes between Army and Take My Place definitely). And it goes to show exactly what Kartel can do when motivated o do so, in all perfect honesty, the rise of such artists such as Busy Signal (more on him in a minute), Bramma and certainly Kartel protégé Aidonia has taken some of the luster away from dancehall's reigning lyrics machine, but without a doubt Vybz Kartel STILL helms one of the wealthiest bags of lyrics the dance has ever seen and the very fact that he can turn tracks like Army at any instant and virtually NOWHERE near his peak, just goes to show such a thing. Built over the Genius' Rainstick riddim, Army is truly a very nice and welcome addition to StB#37 (even though its edited! I guess sticking a parental advisory sticker over that beautiful cover was out of the question?). The other tune of not here which is exclusive to the album is Mavado's current piece Brown Bottle which flows over another Genius riddim, the Darker Shadow. Brown Bottle took a minute or two to really grow on me, but now it is definitely one of the tracks which you can say is actually unfortunate that it wasn't released in time for his recent album (Gangsta for Life, also for VP). The real score here would have been had they procured Kartel's absolutely insane My Scheme from the same riddim as well, as it stands, Mavado's Brown Bottle is a solid track which is a very welcome addition here and again, it is now exclusive to this album (although I wouldn't be shocked to see a Riddim Driven compilation for the riddim in early 2008 at all.

The balance of Strictly the Best #37 is completely tracks which appear on other (and probably better) albums, (save for China Wine, on which I have no comment). VP basically fills in the blanks with selections from their own artists, and I'm thankful at least that they managed to throw in at least one release from Dancehall Empress Lady Saw's current Walk Out album, Me and My Crew over Ward 21's blazing Rae riddim.

Overall, I have to say that this one is almost exclusively potent for newer fans and even if you fall into that category I might have better suggestions for you. For instance, two of the other very large tunes here which I didn't mention, Busy Signal's These Days and Tarrus Riley's Protect Your Neck (which his quite oddly out of place here) both appear on Greensleeves' stronger Anthems compilations, both of which are very solid this year. I also don't particularly know exactly what VP could have done instead of doing what they did. Certainly there are songs out there which could have help bolster this album undoubtedly, such as Baby Cham's Conscience or Pressure's very very nice Ghetto Life. However, all that being said, Strictly the Best is by no means a complete lost. Should you happen to decide to pick it up instead of the other choices, you are still getting a solid piece carrying one of the stronger heritages in all of reggae compilations.

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