U-Roy Albums (15)
What The Critics Say
U Roy's reputation as the grandfather of Jamaican DJs won't be hurt by this, his second outing for the Tabou label. The material might hark back to the '60s and '70s (as do some of the vocalists working with him here), but there's still a very conscious and very joyous vibe about the whole album. U Roy is in splendid toasting form throughout, never better than when covering Peter Tosh's anthemic "Equal Rights" with dancehall star Anthony B. Rarely has revivalism sounded better, with live instruments behind the vocalists and a strong, varied mood to the songs, be it "OK Fred," where Errol Dunkley and Flabba Holt get a chance to shine again, or the epic "Nyabinghi Chant," where U Roy shares the studio with Sly & Robbie and others. Among the other blasts from the past are the Mighty Diamonds, Alton Ellis, and Max Romeo. But for all the possible nostalgia, be it of artists or tunes, none of this ever sounds old or dated. It all seems as relevant as the newest Jamaican riddim. And that's a compliment to someone who's been doing it since long before many of the later hitmakers were born. ~ Chris Nickson, All Music Guide
What The Critics Say
In a way, U-Roy has come full circle. The DJ started off interjecting his own comments between the vocal lines of classic songs in virtual duets, but quickly the original vocals all but disappeared. Now, however, they're back with a vengeance; in fact, every song within is credited as a duet, even one that's actually an instrumental! And so Serious Matter finds U-Roy returning to the sound system days of yore, singing along with the original vocals, playing off the lyrics, and sharing his utter delight about the tracks with the listener. And it's easy to be swept up with him, as he swings along to 17 classic recordings from such stars as Dennis Brown, Gregory Isaacs, Horace Andy, and Jimmy London. An equally impressive roster of musicians accompanies the DJ, the elite of Jamaica's session men. This large host creates an ever-shifting rootsy backdrop that shimmers from haunting to celebratory, reinvigorating all of the songs. Although U-Roy's work in the 1990s had its moments, nothing remotely equaled his previous work with Tony Robinson or his earliest efforts with Duke Reid. But to move forward, the DJ has had to take two steps backwards, retrieving the evocative rootsy sound from Robinson and rediscovering his initial love of connecting to the listener through the original songs. This reaches an apex on "Same Vibe," a deliriously joyous version of Israel Vibration's "Same Song." You can almost hear U-Roy grinning throughout. Equally notable is a powerful "Money" with Horace Andy, an exuberant "Miss Till I Kiss" with Jimmy London, and a rousing "Night Nurse" over a version featuring Isaacs and Dennis Brown. But, in truth, every single track is a sheer delight. It's been decades since U-Roy has sounded so relaxed and cheerful, and it's obvious that he enjoyed himself thoroughly during the recording session. That feeling is absolutely contagious. ~ Jo-Ann Greene, All Music Guide
'Babylon Kingdom Must Fall'
Release Date 1/14/1997
Tracks 12
Label Ariwa
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What The Critics Say
There are few figures in the Jamaican DJ tradition as important as Ewart Beckford (aka U-Roy). Generally credited with elevating the chanting, sound system style to a respectable (and highly popular) musical form, U-Roy had no equal from the time of his debut until Big Youth hit number one with "S 90 Skank" three years later. Surviving the transition to dancehall in the '80s, U-Roy ran his own Stur-Gav Hi-Fi sound system, recording sporadically on his own. It wasn't until the following decade, however, that a steady output began to flow once again. In 1991, Mad Professor produced the True Born African set, followed closely by Smile a While (1993). Backing U-Roy are a number of players from the Professor's Ariwa stable, among them multi-instrumentalist Black Steel (who also co-produces and shares mixing duties) and bass and drum man Preacher. There are also contributions from a staggering 13 vocalists, including singer Sandra Cross and the great roots man Yabby You. Unfortunately, the productions provide U-Roy with rhythms to ride but little else. They are hardly the equal of Mad Professor's Lee "Scratch" Perry collaborations, let alone the early dub plates provided the DJ by Duke Reid and Bunny Lee. Thankfully, U-Roy quickly recovers from the "you really make my day" sentiments of the title track to join Yabby You for a reality check on "I'm a Rastaman," setting the stage for the subjects that follow. Loosely thematic lyrics offer affronts to Babylon, praises to Jah, and words of wisdom to both the converted and non-believers. U-Roy's efforts are best heard unaccompanied. In the gaps between harmony vocalists chiming choruses on songs like "Freedom" and "A Chapter a Day," the spark of the DJ's work flares once again. ~ Nathan Bush, All Music Guide
'The Teacher Meets the Student'
Release Date 3/23/1992
Tracks 20
Label Sonic Sounds
See Album Tracklist and Review
What The Critics Say
"I originate, so you must appreciate, while the others got to imitate," brags U-Roy on this set's opener, "The Originator," and there's no denying the accuracy of his boast. This exhilarating album bundles up a dozen songs the DJ cut for producer Bunny Lee in the latter half of the '70s, all fabulously backed by the Aggrovators and mixed down by King Tubby. Rock With I has a decidedly party atmosphere, not surprising as a number of the songs celebrate the Jamaican Independence Festival, the annual gala dedicated to the island's arts and music. Among them are "Jump for Joy" and "Heavy Duty Festival," the latter a version of Cornel Campbell's smash hit "Gorgon," which also supplies the rhythm for the equally strong "Gorgon Wise." Lee handed over several more of the singer's singles to U-Roy, including his heartfelt "I Shall Remove," which the DJ adamantly turns into "I Shall Not Be Moved." That number provides U-Roy with the inspiration for a devotionally themed toast, but he reaches an epiphany on "Feel Jah Spirit," one of the strongest songs on the set. "Too Much War" continues down cultural paths, while "Joyful Locks" urges Rastas not to cut their dreadlocks. Back in party mode, Lee dug back into his archives for the exhilarating "Musical Vision," with Ansel Collins' organ chirping cheerfully across Max Romeo's "Wet Dream" while the DJ enthusiastically winds up the crowds. Elsewhere, band, DJ, and producer pay the dubmaster a well-earned tribute on "King Tubby's Skank." An exuberant cover of Bunny Wailer's "Rock With Me" (aka the Wailers' "Rock Sweet Rock") brings the set to a vivacious close, as the DJ sets the whole studio rocking with him. A stellar album: The rhythms are superb, Lee's production militant, and Tubby glosses it all with a dubby edge that further fires up the sound. ~ Jo-Ann Greene, All Music Guide
What The Critics Say
Long hailed as the originator of the "dee jay" or "toasting" style of reggae sprechgesang that took Jamaica's dancehalls by storm in the early 1970s and led directly to the development of American hip-hop, "Daddy" U-Roy is revered in the reggae world and has enjoyed a resurgence of popularity in recent years. This new album, which marks approximately 20 years of recording for U-Roy, shows him incorporating a greater than usual musical variety into his work; he even sings rather than toasts on several cuts. On tunes like "False Prophecy" and "Birds of a Feather," he alternates between singing and chatting without sacrificing any of the songs' straightforward, didactic power; on others he toasts in the straight-ahead style that has made him famous and influenced an entire generation of deejays. Credit is due to the Mad Professor, whose crystalline production shows off U-Roy's voice to best advantage, even if the instrumental tracks get a bit sterile from time to time. ~ Rick Anderson, All Music Guide
What The Critics Say
DJ Prince Jazzbo had shaken up the sound systems during the roots era with a clutch of classic self-produced singles. These hits all had gloriously dread atmospheres, and even well into the '80s, that quality still occasionally fired his productions. The rhythm of "Jah Jah Call You" may have started life in a brightly upbeat fashion, but the producer transforms it into a moodier piece, a melancholy elephant stomping through the undergrowth. "Come Fe Warn Them" is even more blistering, a brooding drum'n'bass extravaganza, while "Haul and Pull" is the moodiest of the batch, almost darkwave in its shadowed atmosphere. All three version the same rhythm, but Jazzbo re-creates each one in a surprisingly unique way. These rhythms seem to have resonated with U-Roy, who responded with inspired toasts, striding forcefully through "Jah Jah Call You," toasting hypnotically on "Come Fe Warn Them," and storming his way across "Haul and Pull." In Jazzbo's hands, even a "Reggae Party" is less jubilant than smoldering, but the DJ works hard to add some exuberance to the evening, while he can make even a well-recycled rhythm like that utilized for "I Feel Good" sound fresh, especially with U-Roy sprucing it up. The title track, in contrast, is stripped down to bare rhythmic bones, and the DJ sends it straight into the sound systems, as he enthusiastically declares his need for music while sending shout-outs to much of the contemporary competition. Which means "I Originate" and "King Tubby's Skank" sound surprisingly out of place. And no wonder -- both are nearly decade-old songs the DJ cut for Bunny Lee. The latter is included in its original form; the former is either a particularly bizarre mix or else was taken from a damaged tape. Both were great numbers, but their inclusion here is unwelcome, as they neither fit nor enhance the rest of the set. Thankfully, the sequencing limits the damage to an otherwise exceedingly strong album. ~ Jo-Ann Greene, All Music Guide
