Sister Carol Albums (10)
'1Derful Words'
Release Date 10/31/2006
Tracks 21
Label Black Cinderella
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'Direct Hit!: Sister Carol - Live'
Release Date 10/23/2001
Tracks 17
Label Catapult
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What The Critics Say
Sister Carol has been around long enough to become a reggae icon, and is one of the few strong females to consistently release records. But this is her first live disc, and that's always the test. She acquits herself very well, covering roots with plenty of conscious lyrics and handling dancehall rhythms and speed very well on songs like "Call Mi Sister Carol" and "Can't Stop Reggae," which veers close to R&B territory with its backing vocals sweetening the sound. While there's a definite rawness to it in parts, that's merely an indication no one's been messing with tapes later on in the studio -- and makes it all the more real. Of course, "Black Cinderella" is here, and the whole affair rounds off with her biggest hit, "Wild Thing," but this is a full show, with "Womb-Man" and "Rasta Girl" paying tribute to women and "70 Sump'm Pieces of Bob" paying homage to Bob Marley, giving guitarist/singer Junior Jazz a workout (and a fine voice he has, too). With a small but strong band behind her, her set is as much about spreading the gospel of reggae and strong women as it is about entertainment. "Natty Live Up" is a statement of strength about being a Rasta, and "Herbal Is Natural" and "Herbal Affair" speak for themselves as the Rasta sacrament. But after all that seriousness, her "Wild Thing" is playful joy -- with a political edge at times, but made for release rather than education -- and a perfect end to her show, including the truly wild lead guitar break. While she's never achieved the prominence she deserves, Sister Carol remains an important reggae performer and a female symbol who can deliver the goods on-stage. ~ Chris Nickson, All Music Guide
'Isis: The Original Womb-Man'
Release Date 7/6/1999
Tracks 16
Label Lightyear
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What The Critics Say
Another typically skilled effort from Sister Carol, Isis: The Original Womb-Man showcases her tough and tender sides, with clever lyrics all around. ~ Steve Huey, All Music Guide
What The Critics Say
As one of the few female reggae DJs who have been able to build a solid career without resorting to pop pandering or sexpot posturing, Sister Carol has always been an inspiration. And amazingly, she just keeps moving from strength to strength; each of her releases has been better than the last, and it's hard to imagine how she'll top this one. She's always been more of a sing-jay than a straight toaster, and she's always put as much emphasis on the groove as on her strict but joyous religious messages. Thus the plainly didactic cooking lesson of "Strong and Fit" is still sure to nice up any dance at which it's played, and even ho-hum pronouncements like "No matter how hard they try, they cannot stop reggae" are made compelling by the sheer exuberance of her delivery. Stylistically, she's an innovator (note the dancehall/rocksteady hybrid riddim in effect on "Dread Natty Congo"), but she's also comfortable working in a classic dancehall DJ tradition on cuts like "Red Eye" and "Strong and Fit." Sugar Minott stops in to pay his respects, and there's even a touch of version for dubhounds. Is it a perfect reggae album? Maybe so. ~ Rick Anderson, All Music Guide
'Call Mi Sister Carol'
Release Date 10/11/1994
Tracks 11
Label Heartbeat
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What The Critics Say
This may be the best album yet from deejay Carol East. Not only does she get to show off her facility with standard bouncy dancehall grooves, as on "Jamaican People" and the title track, but she also chats in a more rootswise context -- "Ital Jacuzzi," which appears to be a charming ode to the pleasures of skinny-dipping, floats along on a booty-stirring one-drop groove. "I Am What I Am" is built on a solid rhythmic foundation of hip-hop/one-drop fusion, and "Mr. Moneyman" seems to share a melody with the Kenny Rogers hit "The Gambler," which is a nicely subtle touch, given the song's lyrical content. Elsewhere, Carol turns the Wailers' classic rock steady number "Lick Samba" into a Spanish lesson titled "Reggae Samba," and "Solomon and Sheba" mixes dancehall with a typically Rastafarian romantic theme. (Strangely, the remixed "long version" of the title track is shorter than the regular version.) ~ Rick Anderson, All Music Guide
What The Critics Say
Sister Carol mixed love tunes, defiant message tracks and hip-hop-influenced toasts/raps on this collection. "Shackles" and "Mother Culture," as well as "Mandela's Release," were aggressive, striking political tunes, while "Tight Spot" was in the rap/reggae groove just emerging in the early '90s. "Lovers Rock Style" and "The Music Nice" were romantic numbers, though not as sensual or soothing as they would be in the hands of a Sandra Cross. Sister Carol's tone and delivery belied her tough, independent style. There were no weak or compliant qualities in her music, even when the lyrics might suggest otherwise. ~ Ron Wynn, All Music Guide
What The Critics Say
Sister Carol emphasized truth and rights over sex and love on this session issued by Ras in 1989. She had harsh words for outer space exploration, internal African problems and rude boys who disrupt social affairs, while recalling an earlier, more enjoyable time on "Remember When" and calling for respect and dignity from an ignorant male on "A No Me Name Peggy." Her toasts were slower and paced differently than the rapid-fire dancehall mode; the arrangements and backing combined electronic and acoustic instrumentation, and there was more than a trace of vintage reggae in her style and sound. ~ Ron Wynn, All Music Guide
