What a label name: "Spiritual Food"! That is exactly what my soul is thirsting for. And yes, it certainly shows some self-confidence to fill an entire LP of a good 40 minutes playing time with just two riddims. But isn't that exactly Dub in its purest form? In my opinion, absolutely. And when the two riddims and the versions are so good and convincing and are both a joy to listen to at home and are also convincing on the big sound system, what more could friends of deeply saturated Rasta culture want?
I don't even know where to start, I'm so excited about this piece of black vinyl, which unfortunately comes without a cover, just in a white paper envelope (in true old school Jamaica style). Lourenzo Bougard aka Macca Dread is no stranger to the scene behind the production. He is also known for the well-known Youthie productions "Gecko Tones" and "Nomad Skank" and now some other smaller notable publications (e.g. "Wise Up EP" or "Almandub#2"). The production is tight and rich, but for my ears it has a good mystical note with lots of percussion and a number of added sound gimmicks, which brings exactly the depth that I like so much. Spiritual food, the name says it all. Musically, both riddims are of a high standard, both melodic and monotonously driving, in just the right dose (Paracelsus would jump for joy). The Hooligan or Gringo riddim has something almost euphoric to offer me with its slightly Cuban-sounding Latin elements and I never get bored at all listening to an instrumental or Dubversion one after the other. On the contrary, every new mix brings a breath of fresh air, other instrumental parts are put in the spotlight, Dub in top form. Especially the "Benyah Horn's Version" with the trombone (which sounds like a trumpet here) and the “Macca Dread Melodica Version” with the typical Cuban piano riffs are real pearls. Benyah on trombone, Crucial Rob on drums and the Cuica, Irie Mates on choral singing, blues harmonica player Danos and Macca Dread on production, melodica and all Dubmixes a very good job. The Dubmixes are solid and fit smoothly into the whole.
Ha, I just forgot to mention the vocal versions. Here I also give the two singers Zion Irie on the Hooligan Riddim and Ras Tweed on the Point Finger Pon Riddim top marks. Brilliant conscious lyrics, listen for yourself. And how Ras Tweed in particular with all his experience in "Point Finger Pon" gets into the flow, then slows down again, has something deeply moving about it. Finally, I would like to mention the two lovingly designed portraits of the singers, which virtually replace the cover and pay tribute to the artist Aude Saloni This release is by no means a classic album, but it is just the thing to bring the sun into the dark, cold season. Dub-Heart and energy flow into the dance floor. Jahman!
One response to “Spiritual Food: Hooligan / Point Finger Pon”
Yes, if someone can confidently present their riddims, then Macca Dread is definitely one of them for me.
These two riddims here also sound right to me and create that good reggae feeling that always intoxicates and inspires me. The instruments, especially the brass and the piano, enrich the rich riddims and ensure that you never get bored. The singers don't force themselves on you either and give the instrumentals an additional portion of spirituality in a very pleasant way.
The Cuban piano riffs put me in a good mood and make me feel a little bit of warmth, which I really miss “on days like these”. They let a little sunshine into my heart, so to speak.
I also find the educational contribution that is included in this review interesting. Until now I always thought that this sound with the wet leather rag was an invention of the Jamaicans, because from day one I wondered what kind of strange sound it was that I had heard as a striking characteristic feature in many reggae tunes early on in my early days as a reggae greenhorn. In a documentary about Horace Andy and the Taxi Gang I saw for the first time how this sound is created and just thought to myself, "Look, these Jamaicans have more imagination than Albert Einstein". OK, that assumption was probably a bit too much through my reggae glasses and I am thrilled that after more than 40 years I have now been able to find out where this sound really comes from. (Well, I still have my reggae glasses firmly on my nose, so I'm going to say that the Cubans copied it from the Jamaicans and then "sold" it as an instrument in a more professional and less improvised way). And then another little attempt by me to show off my know-it-all attitude. In the "Benjah Horns Version" I hear both trumpet and trombone, and that's a good thing because I don't have to hear the saxophone. The harmonica also contributes a few beautiful, sonorous melodies, adding a little extra magic. The melodica probably had to be included somewhere for traditional reasons, but hey, whatever, I can live with it with these great riddims.
Nice record! Good tip! “Tell it to the children” ……………… lemmi