Frankie Paul Albums (28)
'Who Issued the Guns'
Release Date 1/1/2002
Tracks 16
Label Music Avenue
See Album Tracklist and Review
'Remember the Time'
Release Date 4/17/2001
Tracks 14
Label Artists Only
See Album Tracklist and Review
'Don't Wanna Get Funky'
Release Date 1/1/2001
Tracks 12
Label Prestige
See Album Tracklist and Review
'Give Me That Feeling Freedom Blues'
Release Date 6/15/1999
Tracks 17
Label Foxtail
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What The Critics Say
Give Me that Feeling Freedom Blues finds veteran Frankie Paul in an uplifting mood, whether he's crooning romantically, toasting salaciously, or looking to improve the state of the world. Unfortunately, the record's cheap-sounding, unimaginative production tends to obscure the vocalist's talents, and too much of the material ends up blending together in a similar-sounding mass. There are some moments which rise above the rest, but they can be a little difficult to pick out. ~ Steve Huey, All Music Guide
'Live at Maritime Hall'
Release Date 1/26/1999
Tracks 9
Label Artists Only
See Album Tracklist and Review
'Pass the Ku-Sheng-Peng'
Release Date 3/3/1998
Tracks 10
Label Nyam Up
See Album Tracklist and Review
What The Critics Say
Wisdom has it that the DJs were a plague upon the reggae scene, laying waste to singers by the score. However, that wasn't the whole story. Henry "Junjo" Lawes, the producer as responsible as anyone for the inexorable rise of the toasters, was also instrumental in reinventing old talent (e.g. Johnny Osbourne) or bringing out new to stardom, like Frankie Paul. Paul linked up with the producer in 1984 for a clutch of stunning hits, culminating in that year's Pass the Ku-Sheng- Peng album, titled after one of his biggest. Although still in his teens, Paul exhibited an amazing vocal maturity, reminiscent, as was his style in places, of Dennis Brown. Lawes handed over a basket of his best riddims for the set, all laid down to perfection by the Roots Radics, many, of course, based on classic Studio One numbers. That includes the fabulous ganja pumping title track, a version of "Darker Shade of Black." That single's flipside, the equally classic "War Is in the Dance," was an original riddim, although it sounds like it came straight out of the rocksteady age. That song is themed around the violence and police raids proliferating through Kingston's sound systems, as is the "Jump No Fence" (aka "Curfew the Dance"). No wonder then that Paul was begging for unity on the heartfelt "Hooligan," for where else but at the sound systems was the youthman to meet a "Hot Number," the kind "Them a Talk About," two more crucial numbers within. But then virtually every track on this set is of almost equal high caliber, from the comforting "Yourself" to the soulfully romantic "If You," and on to the cultural "The Prophet." Obviously Paul would go on to record more masterpieces over the years, but so powerful was this set, that although he'd often equal it, he seldom surpassed it. ~ Jo-Ann Greene, All Music Guide
What The Critics Say
A We Rule offers up the minimum of information, imparting little more than that the 13 tracks within, all dating from the '80s. The songs all paired Frankie Paul with DJ/producer Prince Jazzbo, who had made the jump from self-productions to producer proper. Jazzbo had come of age during the roots era, and even as fashions changed in the sound systems, the Prince never lost his affection for the genre, which tinges even the most ragga-fied numbers here. Be it a '60s-styled soul ballad like "Missing You," a showcase for the singer's warm, emotive vocals, or a rock & roller-goes-digital like "Touch Me All Over," Jazzbo hits the reverb button and turns on the echo chamber, making even the pure dancehall of "Agony" a dub-flavored delight. As one would expect, this is an extremely diverse set, swinging from cultural cuts to toasting boasts, lovelorn numbers to celebrations of the dance. The album is bookended by two of the best numbers on the set, the title track and "We a Don," a hefty reworking of Paul's "Ragamuffin." In both, Paul stakes his claim to the dancehall crown accompanied by the most melodious of backings, the coursing beats crossed by the easygoing grooves and incandescent melodies flowing from the keyboards. In the cultural stakes, there's the impassioned and deeply dubbed "Free Jah Children"; the smoldering roots of "Rastafari Winner," in which Jazzbo himself grabs the mic and steals the show; and the breezy "Stick a Sensi," obviously inspired by Sugar Minott's "Mr. D.C."; it boasts an even more militarized roots take on the Tennors' "Pressure and Slide." "Call the Brigade"'s antecedents are just as evident, a quick reply to Tenor Saw's "Ring the Alarm." "Rub a Dub Market," in contrast, may celebrate the new style, but does it with a calypso flair. And those faux-steel drums make an equal splash on "Touch Me," where they are counterpointed by the rock & roll bass riff and ragga-fied production. So, songs for every mood and occasion. Jazzbo has worked with numerous artists, but he has always seemed to have a special affinity for Paul, and across this set, no matter how the producer and backing musicians mix it up, the singer always comes out on top. ~ Jo-Ann Greene, All Music Guide
