Yellowman Albums (45)
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'
Release Date 7/30/2002
Tracks 11
Label 2b1 II
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'Nobody Move Nobody Get Hurt'
Release Date 7/17/2000
Tracks 10
Label Greensleeves
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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
'Galong Galong Galong'
Release Date 7/17/2000
Tracks 10
Label Greensleeves
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What The Critics Say
Producer George Phang rocketed to fame on the back of riddims supplied to him by the Taxi Gang, all driven, of course, by Sly & Robbie's ballistic rhythms. With these, he was able to entice superstar Yellowman into the studio and record a clutch of hit singles and this 1985 full-length set. After several years of riding high first with the Hookim brothers and then Henry "Junjo" Lawes, the DJ was ready for a change, as were the Jamaican dancehalls, which were now embracing the new ragga sound. The all-conquering Casio-crazed "Under Mi Sleng Teng" reigned supreme, but the Gang's sly version is indeed a "Fat Thing," given heft by Robbie Shakespeare's thrumming bassline and plenty of bouncing rhythm guitar. Yellowman has a grand time riding the riddim straight into the ground, which is precisely where such an organic version originated. But the Gang's riddims gleefully plundered from the spectrum of Jamaican music, from Larry Marshall's reggae smash "Throw Mi Corn" to the Wailers' rocksteady classic "Rudeboy" and on to the eternally popular "Full Up." If the versions were breathtaking, Yellowman was absolutely scintillating. The plastic surgery-seeking Michael Jackson is told where to get off on "Beat It," Babylon gets a beating on the title track, and his fussy girl is told off on "Cuss Cuss," while the true value of the dollar is dissected on "Money Make Friend." King Yellow also shows off his skills with the opposite sex, and even though that didn't win him a Grammy, he still celebrates the introduction of a reggae category to the award. The DJ is at the top of his game, Phang is sailing high, and the Taxi riddims are unbeatable. A classic album. ~ Jo-Ann Greene, All Music Guide
'The Negril Chill Challenge'
Release Date 1/25/2000
Tracks 11
Label Roir
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What The Critics Say
It's pretty amazing how well Yellowman has weathered the years. His first hits came in the early '80s, and you can count on one hand the number of reggae artists who were superstars that long ago and who continue to maintain that status. Throw in Yellowman's triumphant struggle over a disfiguring cancer (not to mention the albino coloring that made him a social outcast until he became a reggae hero), and you've got a genuinely inspiring story. And, in this case, a genuinely great modern reggae album. Despite its slightly sterile computer rhythms, Yellow Fever is a potent mix of roots reggae and conscious dancehall (Yellowman having largely left behind the bawdy lyrics of his past). After the program opens with the obligatory chest-thumper ("One Yellow Man"), "Gwaan a School" sets the tone for the rest of the album as Yellowman chants the praises of education; "Life Is a Heavy Load" and an unlikely cover of "Lean on Me" maintain the serious mood that predominates. Of course, he hasn't completely forgotten how to party, as the salacious "Ring Ding" (based, improbably, on the melody to "Sleigh Ride") and the more chaste "Rock With Me" illustrate. Yellowman is in great voice and still toasts with the best of them. ~ Rick Anderson, All Music Guide
'Live at Maritime Hall'
Release Date 9/1/1998
Tracks 11
Label Artists Only
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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'
Release Date 1/1/1998
Tracks 12
Label MCD
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