Morgan Heritage Albums (10)
What The Critics Say
When Morgan Heritage declares their music "reggae music with an edge," they're not talking aggressive dancehall. Instead, they're speaking of reggae music that's as slick and smooth as the times allow but with lyrics that are uncompromising and filled with the bitterness and despair they've experienced while living in Jamaica. On this, their tenth album, it's the land of "Nothing to Smile About." The song of the same name features a scenario where a tourist is pulled out of his all-inclusive world and shown the more desolate side of the island. Not the kind of thing the Jamaican tourist board might endorse, and few of the tracks are, but Morgan Heritage have long used the Marley technique and coated their bitter pills in a sweet sound. It's an approach perfectly executed on "Politician" which offers the much more global sentiment "Why should we vote in their elections?/When then there is no place for we/You and me/In their secret society?" Hope is given on "Love You Right" which drops the politics in favor of pillow talk romance, plus the sunshine bright "Raid Rootz Dance," a soulful rebel number that could have fallen off Stevie Wonder's Talking Book. This band, made up of the sons and daughters of reggae singer Denroy Morgan, are often accused of a shameless crossover mentality, but all of the album's R&B moments feel genuine. Plus the bits of hip-hop work better than expected, especially when rapper Mr. Mojo spits a little comic relief with "I'm a Major Payne like Damon Wayans." While there's little here for the staunch reggae traditionalist -- this is, after all, Rootz with "z" -- Mission in Progress has plenty to offer Damien or Stephen Marley fans or anyone who believes climbing the charts and uplifting the people are not mutually exclusive endeavors. ~ David Jeffries, All Music Guide
'Live: Another Rockaz Moment'
Release Date 9/12/2006
Tracks 19
Label VP / Universal
See Album Tracklist and Review
What The Critics Say
Morgan Heritage have become standard bearers for roots reggae. Listening to the opening track here, it becomes apparent that they've taken ideas on board equally from Bob Marley and Third World. They're not afraid of making their sound commercial and accessible, although with a very pleasing thickness that's perfectly commendable. Indeed, for much of the first eight cuts here, they play within that template, with conscious lyrics about righteousness in both life and relationships, before they take an unexpected detour into hip-hop for a while -- and that's hip-hop, not dancehall. It's well done, but still the type of thing that will have you wondering if someone's been messing with your CD player. However, by "Propaganda" they're back where they should be, back with the roots and skanking along in a gentle groove, trading voices. With excellent production -- good bottom in the sound, stirring arrangements, and good performances where the voices, rather than the instruments, stand out -- they do what they do very well. It's impossible to criticize their forays into hip-hop; it's just not the reason people buy Morgan Heritage albums, really. A different EP for those experiments might have been a better idea. They close with a remix of "U've Got Me" (which isn't on the album) featuring Bounty Killer and Sizzla, which brings a strong dancehall edge to roots, a powerful, spare marriage of the past and the present. ~ Chris Nickson, All Music Guide
What The Critics Say
The American market has opened once again to reggae acts willing to play on the similarities between dancehall and hip-hop, but Morgan Heritage have found a different route to the heartland by sticking to their roots. Like the reggae artists who found a new audience among British punks in the late '70s, the children of the famed reggae singer Denroy Morgan have become the favorite reggae band of today's skater kids, eschewing trendiness for roots sounds and Rasta messages, and sealing the deal with achingly beautiful sibling harmonies second to none in Jamaican music. That formula dominates the group's sixth album, Three in One, with only a couple of exceptions (most notably, the discofied opener, "Jump Around," which features members of the alt-rock band Good Charlotte), and the vintage-sounding production and rich vocal blend makes it a consistently pleasurable listen. That's a good thing, because the Morgans' attempts at pointed topicality are embarrassing at best -- their acoustic "Anti-War Song (Someone Knows)" tries to summon the ghost of Bob Marley and comes up instead with gems like "War doesn't make friends," while Marvin Gaye's "What's Going On" is turned into a trivial gripe about the lack of reggae on U.S. radio -- and offensive at worst; the scurrilously anti-Christian "A Who Dem" reaches new lows in Rastafarian discourse. The group is far more effective when the discussion stays personal, rather than political. "A Man in Love," a heartfelt and candid prayer about looking for that elusive someone, is the best of several fine romantic tunes that forge the most durable link here to the Morgans' proud lineage. ~ Dan LeRoy, All Music Guide
What The Critics Say
Next to the Marley family, the Morgan family headed by reggae legend Denroy Morgan is perhaps the best-known clan of singing siblings in reggae. Listening to the soulful, spirit-filled vocals on Live! In Europe 2000, it's easy to understand why Morgan Heritage has gained such note. The group stays true to the classic roots reggae sound -- from the excellent rhythm section to the beautiful harmonizing -- without appearing dated or too predictable. This album showcases mellow, uplifting tunes with catchy rhythms, from the pure melodies on "Revolution" to the bubbling good vibes of "Reggae Bring Back Love." If there is a downside to this CD, it's that there is so much fire-and-brimstone proselytizing that it sometimes resembles a church revival more than a reggae concert. The drawn-out "Speech," in which Denroy Morgan goes on and on about Rasta, was unecessary and earns a low point on an otherwise enjoyable offering. ~ Rosalind Cummings-Yeates, All Music Guide
What The Critics Say
With a sound dubbed "urban roots rock reggae," Morgan Heritage, a group which consists of the five children of reggae singer Denroy Morgan, faithfully carry the roots reggae torch. Boasting smooth harmonizing and hopeful messages, these singers present a convincing case for the power of simple reggae "riddims." The quintet's rootsy sound shines on the opening track, "Reggae Road," and on the pure vocals of "Freedom," but their youth and energy are also positively displayed with the song's "toasting" sequence. This is the album for reggae fans looking to capture the original reggae sound epitomized by Bob Marley, but with a contemporary twist. ~ Rosalind Cummings-Yeates, All Music Guide
What The Critics Say
Morgan Heritage's third album, One Calling, includes the singles the group recorded with King Jammy while in Jamaica. As usual, the group's beautiful vocal harmonies are surrounded by expert arrangements and production, and their spirituality and social consciousness are as prominent as ever. "Trodding" and "Why Do We" feature especially lovely vocal arrangements, and the pro-marijuana legalization "Give We a License" features veteran reggae performer Denroy Morgan, the group's father. ~ Heather Phares, All Music Guide
What The Critics Say
Morgan Heritage's 1997 album, Protect Us Jah, features some of their first work with legendary reggae producer Bobby "Digital" Dixon, including their first song together, "Let Them Talk." The title track and "Set Yourself Free" were hits in reggae circles, while "Africa, Here We Come" and "Watch the Heathen" reflect the political and spiritual sides of the group. ~ Heather Phares, All Music Guide
