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The Ultimate
Collection brings together the very best of
Mutabaruka, album tracks, rare singles, and unreleased cuts in a powerful portrait of the
man through his words and his music. It's companion, a full-length performance video
Live At Reggae Sumfest '93, released on Shanachie simultaneously, highlights Mutabaruka's
charismatic live performance. The names who have worked with him show the tremendous
regard in which he's held: Sly Dunbar (Sly and Robbie), Dennis Brown, Sugar Minott, Marcia
Griffiths, Earl 'Chinna' Smith, Ini Kamoze ('The Hotstepper'), Luciano, the bass'n'drums
team of Steelie and Clevie --- a litany of reggae greats.
| Musicians: |
Drums
Sly Dunbar
Desi Jones
Clevie Brownie
Wilburn "Squiddly" Cole
Basil Creary
Bass
Christopher Meredith
Steelie
Michael Fletcher
Leebert "Gibby" Morrison
Guitars
Dalton Brownie
Fazel Prendergast
Earl "Chinna" Smith
Leebert "Gibby" Morrison
Anthony "Asher" Brissett
Keyboards
Franklin "Bubbler" Waul
Handel Tucker
Danny Bassie
Phillip Roane
Saxaphone
Dean Frazier
Dan Frazier
Trombone
Nambo
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Additional Vocals
Dennis Brown
Ini Kamoze
Marcia Griffiths
Luciano
Sugar Minott
Background Vocals
Dean Frazier
Gary Saddler
Ishama Hope
Princess Tsobbe
Princess Addisa
Wisdom
Michelle Anderson
Leaba Hibbert
Leggo
Muniar Zacca
Tynsi
Percussions
Mutabaruka - repetah, fundi, percussions
Leebert Gibby Morrison - percussions
Harry T. - bass, repetah, percussions
Karl Messado - congos
Lee Jeremiah - congos
Trumpet
David Madden
Chico
Piano
Danny Brownie
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Reviews:
Dub poet Mutabaruka first published his poetry in 1973 in a
book titled “Outcry,” which was followed by two more. In 1981 he released his
debut single “Everytime I ‘ear De Soun’,” almost immediately following
Bob Marley’s death.
Here, on “The Ultimate Collection” are collected
16 of Mutabaruka’s greatest hits. The album begins with his acapella “Dis
Poem,” which consists of some deep wordplay and strong imagery. This track is
followed by “Great Kings of Africa,” a 1990 poem inna fine stylee of pride. It
also features Dennis Brown and Ini Kamoze on vocals.
An interesting duo of tracks on this release is the pair of
“People’s Court” tracks, which have echoes of the Prince Buster “Judge
Dread” series of days old. Judge One-Thousand Years takes control against political
and religious defendants who try to interrupt him in the court with a firm “Hush
Up” -- several times -- threatening them with “one-thousand years a contempt of
court.”
Other highlights of “The Ultimate Collection” are
“Psalms 24" (a duet with lovers crooner Luciano), Johnny Drughead (a story of
reggae singer “Johnny” who forgets his Jamaican roots by slipping into hard
drugs after moving to New York), and the previously unreleased live version of
“Witeman Country” (an almost overtly happy-sounding song at from his debut album
“Check It”).
Mutabaruka uses his very unique sense of humor as well as a
powerful delivery to get across his positive messages of black pride. His poignant, and
sometimes harsh, words speak thousands of more words than can be heard by the ear alone.
This powerful collection of songs is a good addition to any collection.
This originally appeared in Reggae Report with a rating of 4/5. |
Additional Reviews:
| Q Magazine (8/96, p.145) - 4 Stars -
Excellent - "Astringent compilation from the ferociously political dub poet, an
established Jamaican hero. Liberal culcha tourist tugs chin respectfully..." The
Beat (V.14 #4 1996, p.14) - "If for some reason unknown to me you have
only one Mutabaruka album in your collection, this by far is the one to have."
Public News (#744 9/96) For those Jamaican music fans
who feel that the best days of the music are exemplified by Rasta socially-conscious
artists, this collection is essential. Mutabaruka's biting comments on sell-out
politicians, junk food, the destructive effects of drugs, rascism and migrant workers will
ring true long after ragga and other styles disappear.- Aaron Howard
Alternative Press (8/96, p.81) - 4 (out of 5) -
"...Muta doesn't so much intone his words over the reggae as he does accuse and
incite. He points the finger unsparingly....With a couple of singles and a live track,
this becomes a satisfying mix, and certainly a profound introduction to his particular
brand of bass culture..." |
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