From outside Jamaica, it may appear that the dancehall scene is forever cannibalizing its past. In fact, it's the opposite, the past actually arises anew, phoenix-like, into the present scene. And nowhere is that clearer than with Gussie Clarke's productions, as he pulled deep roots back into the dancehalls in a totally contemporary electronic guise, while sifting in elements of even earlier styles. Clarke's cuts were built exclusively around the rhythms, some so phat as to be pure dread, with the atmospheres created by a ...
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From outside Jamaica, it may appear that the dancehall scene is forever cannibalizing its past. In fact, it's the opposite, the past actually arises anew, phoenix-like, into the present scene. And nowhere is that clearer than with Gussie Clarke's productions, as he pulled deep roots back into the dancehalls in a totally contemporary electronic guise, while sifting in elements of even earlier styles. Clarke's cuts were built exclusively around the rhythms, some so phat as to be pure dread, with the atmospheres created by a mere smattering of keyboards. This seemingly simple backdrop worked brilliantly with vocalists across the musical spectrum, and Hardcore Ragga showcases the breadth of Clarke's work, as well as functioning as a best-of collection of his late-'80s hits (this is a reissue of a 1990 compilation). The suppleness of his style is evident by the careful sequencing, which lines the same or similar rhythms up one after another. Thus, Gregory Isaacs' "Rumours" is followed by J.C. Lodge's U.S. smash "Telephone Love" and Lady G.'s "Nuff Respect" -- the first two utilize the same rhythm, the third a variation. In one fell swoop, the songs sweep from deep roots to club pop and into straight dancehall. Elsewhere, lovers rock star Deborah Glasgow glows from Clarke's attention, while the hardcore crew is given equal respect. Shabba Ranks, already a star in Jamaica, had the producer to thank for his international success, which was down to Clarke's decision to pair the gruff toaster with a variety of dulcet females and sweet-singing males. Ranks is splashed across the album's grooves, both on his own and with a variety of partners (notably Lodge, Krystal, and Cocoa Tea), while Lodge herself is also heavily featured. There are 16 crucial cuts in all, including the fabulous "Pirates' Anthem" (a tribute to Britain's pirate radio stations), the clubby "Champion Lover," the hardcore "Dancehall Good to We," and the aforementioned "Nuff Respect" (Lady G.'s toughly toasted lesson on how to "live independent" cum demand for respect). And while "Rumours" may have been Clarke's groundbreaker and "Telephone Love" his best remembered hit from the day, every one of these tracks had a significant impact at the time. ~ Jo-Ann Greene, Rovi
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