What The Critics Say
Shanachie's One in a Million is actually a reissue of the 1982 Greensleeves 10" Operation Eradication, which itself was a compilation of early Yellowman singles. Confusing history aside, it's a fantastic set and includes many songs that still play a part in Yellowman's shows. "Them a Mad Over Me" turned out to be his anthem and "Shorties" was such a famous slack song it caused Peter Tosh to denounce Yellowman and his dirty talking imitators. Using the Itals' "In a Dis Ya Time" rhythm, "Operation Eradication" has an infectious hook, some fantastic vocal sparring with the late Fat Head, and remains Yellowman's greatest political observation. "Morning Ride" and "Couchie" have been fan favorites for years, and the remaining tracks would be considered highlights on Yellowman's lesser albums. The only disappointments are the 30-minute running time and Shanachie's softening of the album's title for mass appeal. Yellowman's career would suffer the same softening, but One in a Million (or whatever you want to call it) is stupendous. ~ David Jeffries, All Music Guide
What The Critics Say
Yellowman has triumphed over so much adversity in his life and long career that you really hate to do anything other than praise him, even when his work isn't actually as good as it could be. As a child, he suffered both from poverty and the social stigma attached to his albino coloring (hence his stage name); after overcoming both and becoming one of Jamaica's most popular entertainers, he was stricken with cancer of the jaw, which required radical facial surgery. But not even a close brush with death and facial disfigurement have kept Yellowman off the stage or out of the studio, and the only proper response is respect. That said, though, New York is something of a disappointment. It's not a terrible album by any means -- it includes such fine numbers as "Family Man" (in which he demonstrates a certain amount of ambivalence over his much-heralded return to mischievous slackness) and the politically ambiguous "Leave Iraq Alone," as well as the catchy "Freedom Walk" and a top-notch combination track with Ce'Cile. But the artificially Latin flavor of "Spanish Girl" can't hide the fact that it's a song consisting of two chords and a single idea, and "Work Out" and "That Girl" are among the most plodding and pedestrian songs of Yellowman's career. Better rhythms would have made a world of difference, of course, but Yellowman used to be able to spin gold out of straw when it came to instrumental accompaniment. He doesn't need to retire, but he does need to shake himself and get back down to business. ~ Rick Anderson, All Music Guide
'Live in San Francisco'
'Nobody Move Nobody Get Hurt'
What The Critics Say
And the hits just kept coming: Yellowman was unstoppable, the irrepressible DJ now not just the top-ranking DJ in Jamaica, but in the world. Arriving in 1984, Nobody Move Nobody Get Hurt was one of a flood of albums the toaster released in the first half of the '80s, most overseen, like this one, by Henry "Junjo" Lawes. There wasn't a weak number on this ten-song set, which again bundled up a batch of hits and recent cuts, all backed by blistering riddims from the Roots Radics. Surprisingly, though, the themes revolve exclusively around sound system rave-ups and boasts about his prowess with the opposite sex. "Bedroom Mazurka" is startlingly slack, its explicit lyrics suggesting that the DJ is in no position to tell others to "Watch Your Words," as is the highly entertaining "Wreck a Pum Pum." More family-friendly is the wonderful "Good Loving" and the succulently sweet "Yellowman a the Lover Boy." The album's title track was a huge Jamaican hit, and with considerable stylistic updating along the way, still remains in Yellowman's live set. "Body Move" was an equal sound system sensation, the Radics' swinging riddim answered by the DJ's swaggering toasts. The militant roots of "Hill and Gully Rider" echoed with the dreads, although the only message here is a shout-out to the DJ's posse. In contrast, the bouncier "Why You Bad So" paid tribute to the well-deserving Lawes. A phenomenal set from a world-class DJ at the top of his game, a band at its best, and a producer who was absolutely unbeatable. ~ Jo-Ann Greene, All Music Guide
'The Negril Chill Challenge'
'Live at Maritime Hall'
What The Critics Say
You'd expect an aging reggae sex symbol recovering from cancer to perhaps have slowed down a bit, but not so. While it's true that Yellowman has mellowed somewhat in terms of subject matter -- he no longer spends all of his time boasting in explicit terms about his sexual prowess -- this live album finds him singing and toasting with all the inventiveness and energy he demonstrated at the peak of his career. Backed by the outstanding Sagittarius Band, he moves through a program of that consists primarily of predictable oldies: sweaty, uptempo versions of "Nobody Move Nobody Get Hurt" and "Two to Six, Supermix," a churning arrangement of "Oh Carolina" that segues nicely into "Holy Mount Zion" and "Poco Jump," etc. His interplay with the crowd and with the band is sharp and intuitive and keeps the energy level high throughout. This live album ranks with the best of his early studio work. ~ Rick Anderson, All Music Guide
'Very Very Yellow Christmas'
What The Critics Say
For a moment there, Yellowman seemed to be losing his touch, but after a couple of less-than-stellar sets, King Yellow polished up his crown and returned with 1997's stellar Freedom of Speech album. Almost half the set features combo tracks. Yellow and Beenie Man clean the clocks of their competition with the burning "Weed Dem" before they pair up again later in the set for the equally fiery "Warn Dem." Saddling up the "Stalag" riddim, Yellow and Silver Cat rustle themselves up some fatties on "Run Cum-Cum," and after all that slackness, it's a blessing that Anthony B arrives to lead a cultural "Chant," while Yellow joins forces with Junior Reid for the equally strong "Visa." Frankie Paul shows the DJ how to pay an homage to Dennis Brown with a powerful take on the legend's own "Here I Come." On his own, Yellow pays tribute to Black Uhuru, with strong versions of "Abortion" and "Bull in the Pen," the latter, retitled "Freedom of Speech," one of the album standouts. And there's a clutch more excellent cultural numbers, with "Fed Up" and "Nice to Be Important"'s powerful messages particularly potent. Gregory Isaacs arrives bearing "Sweetness," and inspired by the Beres Hammond hit, he and Yellow woo their "Sugar Darling." "Girls in the Ring," meanwhile, celebrates beautiful girls of all colors, and by extension, the Maytones, whose own version of this traditional children's game, "Brown Girl in the Ring," was a huge hit back in 1972. With Maurice "Jack Scorpio" Johnson in the production chair, the backings are top-notch, as he sets the musicians, including Steelie & Clevie and guitarist Dwight Pinkney, loose on classic riddims that span the generations, from rocksteady to roots, wickedly including a take of Yellow's own hit "Zungguzungguguzungguzeng" and even encompassing salsa. A superb set that sizzles with newfound energy and direction. ~ Jo-Ann Greene, All Music Guide
