Busy Signal

Busy Signal is a talented dancehall DJ whose varied repertoire consists of all types of lyrics and styles that are heard in reggae / dancehall music today i.e. slackness, tunes for the ladies, love songs, gangster / badman and reality.

His lyrics are usually DJ'd or sung over a variety of rhythm tracks. This his 2nd LP loaded includes some of the above but not more in fact but disappointingly rather less.

The UK track listing supplied and the interview I'd heard with `Busy' on a UK reggae show featured the killer JA lovers tune 'Automatic' produced by Donavan Germain. The song is an old school style combination with the queen of reggae Marcia Griffiths voiced over a nice rub-a-dub / one drop rhythm. The Amazon UK track list also included 'Let You Go' which is a melodic love song already doing the rounds on 45. But on buying the CD I see that neither of these two stand out tunes appear and so you have apart from Jail, Unknown Numbers, People So Evil, Real Jamaican (feat Mykal Rose) & Murderer (featuring Alborosie) nothing more than straight hardcore dancehall, slackness and badman tunes.

No one drop or lovers tunes here at all and unlike his previous and 1st album, although that was very much hardcore, nothing that is particularly innovative either.

I rate 'Busy' as a DJ as he has style and versatility but this album / LP is not a compilation (& lets be honest most reggae albums are basically just compilations of JA released 45s) that truly does him justice, in my opinion. It doesn't really see him stand out from the crowd but is just another dancehall album for the dancehall crowd nothing more, nothing less.

(3.5stars)With the announcement in early 2008 that the world's leading Caribbean music label, the US based VP Records would be acquiring its closest rival, the UK based Greensleeves Records and with it the deepest VAULT of reggae music in the world, it figured to shake up the industry, to say the least. On one hand, the notoriously INCONSISTENT (although they had gotten much better) Greensleeves would definitely take a far more aggressive stance in improving on their shortcomings (namely releases, which happens to be VP's strong point) and, as VP planned to (and has) keep the label running, their artists figured to gain a far greater level of exposure in the mainstream, particular on this side of the pond. Also, what you would eventually have is somewhat of a super group of reggae music, one which becomes WAY more powerful and mobile than the already high riding VP was alone. And with both labels now being under the same distributional umbrella (which is major label Universal), you now, unlike ever before, have a BRAND of reggae music which is entirely more marketable than EVER before in VP/Greensleeves. On the other hand, the action has, at least seemingly, limited options and opportunities at the highest levels of the game for artists and producers alike as VP can take a stance of `our way or the highway' in signing a particular artist or a producer to an exclusive deal, knowing that the option of going to the next best thing has been eliminated (incidentally, the `third' option, the also UK based Jet-Star Records has taken a SHARP decline in the last couple of years and I don't even think they are releasing new albums at all at this time and their catalogue too may be up for sale at some point, if it isn't already) and an inevitable competitor has yet to arrive at the big time (keep an eye out for ANOTHER UK based label, Cousin's Records). From a strictly listener's point of view and a longtime listener and consumer of both labels, it definitely presented a VERY interesting set of circumstances for me. Greensleeves was always known to have a harder edge of vibes than VP. Where VP was the show and dazzle of the Beenie Man's, Sean Paul's and Lady Saw's of the world; Greensleeves had NO problem signing such different talents as Ward 21, Predator (WHO!), Macka Diamond and ultimately culminating with dancehall lyrics demon Vybz Kartel as far more rough around the edges type of characters. The question almost immediately became how would these two styles of approach mesh together and apart from VP naming one its lead executives, Olivier Chastan, President of the `new' Greensleeves, you had to wonder when we would see evidence of a bit of `exchange' in the two labels.

Meet Mr. Exchange. Near the end of Greensleeves' time before it was sold to VP (it was previously ownded by Zest Music Group) it had switched its focus to releasing more cultural artists in place of its dancehall HEAVY focus it had from before. The label did albums for the likes of Lutan Fyah, Ras Shiloh, Jah Mason, Chuck Fender, Anthony B (soon to be twice), Nasio Fontaine (who was retained by Zest actually and Natural Black (twice) amongst others. Yet, in that time (between 2005 and 2007), the one blast from Greensleeves' dancehall past was an artist by the name of Busy Signal who had attracted so much attention here in Jamaica by in such a SHORT time proving himself one of the most talented hardcore dancehall talents to emerge since Vybz Kartel himself. Busy would have DEFINITELY been a fine addition to VP's stable (and it would subsequently go on to acquire the exclusive services of Busy's close friend and constant sparring partner, CRAZY singer Mavado), however, just as in the case with Kartel a few years prior, it was Greensleeves who landed the DJ and released his more than solid debut, Step Out. Also, as part of Bounty Killer's (who VP would also acquire in 2006) notorious Alliance crew, he would have fit nicely in the fact that besides the Killer, also under contract to VP are fellow members Wayne Marshall, the aforementioned Mavado and Elephant Man (via `co-deal' with US major Bad Boy who is also with Universal to my knowledge). Now, VP has essentially TRANSFERRED the contract of Busy Signal (although he may have only actually signed a one album deal), marking the somewhat historical first DIRECT evidence of an artist going from one side to the other under the new label umbrella, with his sophomore release Loaded. Why Busy Signal? If you don't really follow dancehall music too closely then you should just take my word for it: In terms of talents in the dancehall, in my opinion the number of artists with SERIOUS claim to being AS talented than the ST. ANN born DJ is a group ever shrinking and only consisting of the proven champions of the game (and probably Assassin as well and MAYBE Aidonia). At his absolute finest Busy Signal is a whirling dervish of tongue-twisting dancehall brilliance who, besides the flash alone has developed into an artist who can add a great bit of substance apart from the standard dancehall fare of `girls and guns and ganja'. His rise to prominence can definitely be compared to that of Kartel himself and looking at it from as impartial point of view as possible: At a comparable point of the game in their respective careers, talent-wise, Busy Signal is PROBABLY ahead of where Kartel would have been at a similar point of his career (Kartel STILL gets criticized occasionally for having his focus TOO much on the `three G's of dancehall, but not by me). Loaded is an album which, in my opinion, kind of identifies the constant and ever-present differences between what was Greensleeves and what is VP Records. In stark contrast to the GRIMY style of vibes which was the Step Out album (just go and compare the covers!), an album on which the clean cut style of vibes (particularly on the tune I Love You with Alaine) were lauded as SOMETHING DIFFERENT; Loaded is a SHARP and well oiled machine marking Busy Signal's REAL arrival at the top of the game.

Apart from simply being under a new label, Busy Signal himself has, since the release of Step Out, taken his vibes into a different direction adding more and more conscious and socially aware lyrics. He also somewhat `distanced' himself from the Alliance (unlike Kartel and Aidonia, he managed to remain in the group), placing his own personal management into the hands of producer veteran Shane Brown of Juke Boxx (who also signed n with VP/Greensleeves and currently has his Warning Riddim album out on Greensleeves), who co-helms Loaded alongside Busy himself. Beginning the much anticipated Loaded album is the HEAVY People So Evil from Daseca. The tune is just a WICKED piece aimed at the hearts of all envious, greedy and bad minded people waiting for your fall. The tune is one which definitely marks some kind of growth and maturation in the artist, to the point where, were you to lift it and place it just two years ago back on the Step Out album, I may have actually criticized Busy for being a little attempting to be a bit too big for his own shoes. A very nice way to start the album with the BIG and DARK People So Evil. Up next is the INESCAPABLE (Nah Go a) Jail over Jam 2's ridiculously knocking Cry Holy riddim. The tune LOCKED DOWN Jamaica for quite awhile near the end of 2007 and early 2008. I actually have gotten my fill of it, even before getting to Loaded at all, but you still have to give the tune it's respect as, at the end of his career, if we're not calling Jail one of the biggest tunes of Busy's career altogether, then he will have undoubtedly become one of the, if not THE, greatest of all time. Jail is MASSIVE! Completing the opening for Busy Signal's Loaded is the album's first official promotional vehicle, the downright unusual Tic-Toc. Tic Toc is currently receiving the type of interest and spins that VP/Greensleeves can now afford to place on its releases (complete with a BEAUTIFUL video) as the song is literally playing all over the Caribbean and apparently internationally as well. The tune is the biggest and most obvious example of more `glossed' version of the artist as you could NEVER expect to hear such a tune from Busy, before or after his maturation, it almost seems as if it was especially aimed at the crossover market as it (with is WEIRD Asian hip-hop style of riddim) comes on a rapper's cadence (something Busy just doesn't normally do) and hopefully will do some damage amongst that crowd. Its not my favourite tune here (not even close), but still amongst the most interesting without question.

Busy's type of song like that would be more on the insanely popular Wine Pon di Edge which, with a few other tunes here represent the real hierarchy of tunes for the Loaded album. Pon Di Edge is BY FAR a more stereotypical style of dancehall dance tune unlike Tic Toc. The tune spent MONTHS at the top of the local charts (and may STILL be in the general vicinity), and, again, although not my favourite tune, you definitely have to respect it and what it has done. The same has to be said for Real Jamaican, one of but two official combinations alongside reggae legend Mykal Rose. This tune happens to actually be one of my favourites from Loaded and one of Busy's finest over the past couple of years. It actually says a great deal about Busy's progression as an artist that he is now capable of holding a vibes alongside one of the real legends of the game as he and Rose create something MASSIVE strictly for Jamaica, but the international heads are certain to appreciate it as well. You also have to be keen on the current bubbler Unknown Number (if you pick up the single of Tic-Toc, you'll also receive this tune) a VERY clever hit from Busy which is about. . . The Unknown Number. Its better than I'm describing it, definitely check it out. All that being said, Loaded really pinnacles with a tune which is one of the oldest on the album, but the one which is almost CERTAIN to go down as one of the biggest pieces of the era, These Are The Days, for Daseca. The tune was an underground SMASH for quite awhile locally before it even made its way to Jamaican airwaves and ultimately, off the island altogether. The tune actually took quite awhile to grow on me, but you REALLY have to listen to the lyrics here. It was probably the tune which marked Busy's re-arrival on the scene (he had taken a bit of a break for awhile) and his newfound direction in the game and an overhaul of his already LETHAL arsenal. MASSIVE! Also, from the first half of the album, I'll mention Fast, Fast, Fast, Fast, which really snuck up on me. The high-tech new school dance tune is probably the best of its kind on the album for my opinion (yes, better than both Tic Toc and Pon Di Edge), listen to it and relive the type of dance tune the earlier RAW version of Busy Signal would have done. He's still capable of that type of material and the evidence is on Fast, definitely. Check the ridiculous My World (aka Gangsta`s Paradise), Busy's cut of Lefside's HYPNOTICALLY KNOCKING Wild Out riddim. My World is SERIOUS! One of Loaded's real hidden highlights and, for the dancehall heads, having heard a lot of the best material here, it's the tune (if they haven't spun it into oblivion already) which will probably stick out as that riddim just creeps into the brain and hooks itself in, big time! HUGE tune! Speaking of huge. . . Check Cool Baby. Every once in awhile Busy Signal will throw out something of a `gimmick' tune which makes very little actual sense, but almost ALWAYS seems to work for him (check Pon Di Pole, a PURE soca tune from the Step Out album and a next tune name Rasclart, OR just keep listening to Loaded and check the next tune). Cool Baby is no different. The tune is BY FAR one of the COOLEST songs I've heard in a long time. Built over the almost completely absent Freestyle riddim, Cool Baby is pure GENIUS Busy Signal at his absolute best veering all over the place, but not really deviating too far on one of the real highlights of Loaded. There's also Knocking At Your Door which begins (and remains for quite awhile) basically a (VERY) intense discussion over John John's (aka Mr. Lady Saw) epic Shootout riddim. The tune eventually ascends to the heights becoming one of the album's better tunes, but I've again, well had my full of the tune. Loaded ends with the spanking new Murderer alongside the very popular Alborosie. I had LONG marked Murderer as a tune I probably wouldn't like as, for one reason or another, while I respect his undeniable skill, I just don't vibe too well with Alborosie. However, credit is definitely due as I wouldn't call the high profile combination one of my favourites of Loaded, but it still is very good at the end (Alborosie actually does FAR better on the addictive hook than on his verse) and a pretty nice note on which to send out one of the most IMPORTANT albums of the year (and check Busy`s final full verse as he shows just GLIMPSES of that fast chat which made him so popular originally).

Overall, I'll say it flatly, Loaded is NOT as good as Step Out. That album was one which was `loaded' with trips and changes along the way, but all of them seemed to play to Busy Signal's strengths and really made him look better. Loaded is an album, however, which has such a GRAND potential to catch on with the mainstream and, I THINK by design, in the process, not alienate hardcore dancehall heads COMPLETELY by including some of Busy's more recent powerful material which has already proven itself amongst that crowd. Loaded is an album which will have every chance to succeed and will be under the microscope to see if typical reggae promotion at its highest level, notched up several degrees can really generate greater sales. If international heads pay attention, what they'll be getting is one of the most clever, most original and downright most talented names to hit hardcore dancehall in a VERY long time.

(3.5stars)
With the announcement in early 2008 that the world's leading Caribbean music label, the US based VP Records would be acquiring its closest rival, the UK based Greensleeves Records and with it the deepest VAULT of reggae music in the world, it figured to shake up the industry, to say the least. On one hand, the notoriously INCONSISTENT (although they had gotten much better) Greensleeves would definitely take a far more aggressive stance in improving on their shortcomings (namely releases, which happens to be VP's strong point) and, as VP planned to (and has) keep the label running, their artists figured to gain a far greater level of exposure in the mainstream, particular on this side of the pond. Also, what you would eventually have is somewhat of a super group of reggae music, one which becomes WAY more powerful and mobile than the already high riding VP was alone. And with both labels now being under the same distributional umbrella (which is major label Universal), you now, unlike ever before, have a BRAND of reggae music which is entirely more marketable than EVER before in VP/Greensleeves. On the other hand, the action has, at least seemingly, limited options and opportunities at the highest levels of the game for artists and producers alike as VP can take a stance of `our way or the highway' in signing a particular artist or a producer to an exclusive deal, knowing that the option of going to the next best thing has been eliminated (incidentally, the `third' option, the also UK based Jet-Star Records has taken a SHARP decline in the last couple of years and I don't even think they are releasing new albums at all at this time and their catalogue too may be up for sale at some point, if it isn't already) and an inevitable competitor has yet to arrive at the big time (keep an eye out for ANOTHER UK based label, Cousin's Records). From a strictly listener's point of view and a longtime listener and consumer of both labels, it definitely presented a VERY interesting set of circumstances for me. Greensleeves was always known to have a harder edge of vibes than VP. Where VP was the show and dazzle of the Beenie Man's, Sean Paul's and Lady Saw's of the world; Greensleeves had NO problem signing such different talents as Ward 21, Predator (WHO!), Macka Diamond and ultimately culminating with dancehall lyrics demon Vybz Kartel as far more rough around the edges type of characters. The question almost immediately became how would these two styles of approach mesh together and apart from VP naming one its lead executives, Olivier Chastan, President of the `new' Greensleeves, you had to wonder when we would see evidence of a bit of `exchange' in the two labels.

Meet Mr. Exchange. Near the end of Greensleeves' time before it was sold to VP (it was previously ownded by Zest Music Group) it had switched its focus to releasing more cultural artists in place of its dancehall HEAVY focus it had from before. The label did albums for the likes of Lutan Fyah, Ras Shiloh, Jah Mason, Chuck Fender, Anthony B (soon to be twice), Nasio Fontaine (who was retained by Zest actually and Natural Black (twice) amongst others. Yet, in that time (between 2005 and 2007), the one blast from Greensleeves' dancehall past was an artist by the name of Busy Signal who had attracted so much attention here in Jamaica by in such a SHORT time proving himself one of the most talented hardcore dancehall talents to emerge since Vybz Kartel himself. Busy would have DEFINITELY been a fine addition to VP's stable (and it would subsequently go on to acquire the exclusive services of Busy's close friend and constant sparring partner, CRAZY singer Mavado), however, just as in the case with Kartel a few years prior, it was Greensleeves who landed the DJ and released his more than solid debut, Step Out. Also, as part of Bounty Killer's (who VP would also acquire in 2006) notorious Alliance crew, he would have fit nicely in the fact that besides the Killer, also under contract to VP are fellow members Wayne Marshall, the aforementioned Mavado and Elephant Man (via `co-deal' with US major Bad Boy who is also with Universal to my knowledge). Now, VP has essentially TRANSFERRED the contract of Busy Signal (although he may have only actually signed a one album deal), marking the somewhat historical first DIRECT evidence of an artist going from one side to the other under the new label umbrella, with his sophomore release Loaded. Why Busy Signal? If you don't really follow dancehall music too closely then you should just take my word for it: In terms of talents in the dancehall, in my opinion the number of artists with SERIOUS claim to being AS talented than the ST. ANN born DJ is a group ever shrinking and only consisting of the proven champions of the game (and probably Assassin as well and MAYBE Aidonia). At his absolute finest Busy Signal is a whirling dervish of tongue-twisting dancehall brilliance who, besides the flash alone has developed into an artist who can add a great bit of substance apart from the standard dancehall fare of `girls and guns and ganja'. His rise to prominence can definitely be compared to that of Kartel himself and looking at it from as impartial point of view as possible: At a comparable point of the game in their respective careers, talent-wise, Busy Signal is PROBABLY ahead of where Kartel would have been at a similar point of his career (Kartel STILL gets criticized occasionally for having his focus TOO much on the `three G's of dancehall, but not by me). Loaded is an album which, in my opinion, kind of identifies the constant and ever-present differences between what was Greensleeves and what is VP Records. In stark contrast to the GRIMY style of vibes which was the Step Out album (just go and compare the covers!), an album on which the clean cut style of vibes (particularly on the tune I Love You with Alaine) were lauded as SOMETHING DIFFERENT; Loaded is a SHARP and well oiled machine marking Busy Signal's REAL arrival at the top of the game.

Apart from simply being under a new label, Busy Signal himself has, since the release of Step Out, taken his vibes into a different direction adding more and more conscious and socially aware lyrics. He also somewhat `distanced' himself from the Alliance (unlike Kartel and Aidonia, he managed to remain in the group), placing his own personal management into the hands of producer veteran Shane Brown of Juke Boxx (who also signed n with VP/Greensleeves and currently has his Warning Riddim album out on Greensleeves), who co-helms Loaded alongside Busy himself. Beginning the much anticipated Loaded album is the HEAVY People So Evil from Daseca. The tune is just a WICKED piece aimed at the hearts of all envious, greedy and bad minded people waiting for your fall. The tune is one which definitely marks some kind of growth and maturation in the artist, to the point where, were you to lift it and place it just two years ago back on the Step Out album, I may have actually criticized Busy for being a little attempting to be a bit too big for his own shoes. A very nice way to start the album with the BIG and DARK People So Evil. Up next is the INESCAPABLE (Nah Go a) Jail over Jam 2's ridiculously knocking Cry Holy riddim. The tune LOCKED DOWN Jamaica for quite awhile near the end of 2007 and early 2008. I actually have gotten my fill of it, even before getting to Loaded at all, but you still have to give the tune it's respect as, at the end of his career, if we're not calling Jail one of the biggest tunes of Busy's career altogether, then he will have undoubtedly become one of the, if not THE, greatest of all time. Jail is MASSIVE! Completing the opening for Busy Signal's Loaded is the album's first official promotional vehicle, the downright unusual Tic-Toc. Tic Toc is currently receiving the type of interest and spins that VP/Greensleeves can now afford to place on its releases (complete with a BEAUTIFUL video) as the song is literally playing all over the Caribbean and apparently internationally as well. The tune is the biggest and most obvious example of more `glossed' version of the artist as you could NEVER expect to hear such a tune from Busy, before or after his maturation, it almost seems as if it was especially aimed at the crossover market as it (with is WEIRD Asian hip-hop style of riddim) comes on a rapper's cadence (something Busy just doesn't normally do) and hopefully will do some damage amongst that crowd. Its not my favourite tune here (not even close), but still amongst the most interesting without question.

Busy's type of song like that would be more on the insanely popular Wine Pon di Edge which, with a few other tunes here represent the real hierarchy of tunes for the Loaded album. Pon Di Edge is BY FAR a more stereotypical style of dancehall dance tune unlike Tic Toc. The tune spent MONTHS at the top of the local charts (and may STILL be in the general vicinity), and, again, although not my favourite tune, you definitely have to respect it and what it has done. The same has to be said for Real Jamaican, one of but two official combinations alongside reggae legend Mykal Rose. This tune happens to actually be one of my favourites from Loaded and one of Busy's finest over the past couple of years. It actually says a great deal about Busy's progression as an artist that he is now capable of holding a vibes alongside one of the real legends of the game as he and Rose create something MASSIVE strictly for Jamaica, but the international heads are certain to appreciate it as well. You also have to be keen on the current bubbler Unknown Number (if you pick up the single of Tic-Toc, you'll also receive this tune) a VERY clever hit from Busy which is about. . . The Unknown Number. Its better than I'm describing it, definitely check it out. All that being said, Loaded really pinnacles with a tune which is one of the oldest on the album, but the one which is almost CERTAIN to go down as one of the biggest pieces of the era, These Are The Days, for Daseca. The tune was an underground SMASH for quite awhile locally before it even made its way to Jamaican airwaves and ultimately, off the island altogether. The tune actually took quite awhile to grow on me, but you REALLY have to listen to the lyrics here. It was probably the tune which marked Busy's re-arrival on the scene (he had taken a bit of a break for awhile) and his newfound direction in the game and an overhaul of his already LETHAL arsenal. MASSIVE! Also, from the first half of the album, I'll mention Fast, Fast, Fast, Fast, which really snuck up on me. The high-tech new school dance tune is probably the best of its kind on the album for my opinion (yes, better than both Tic Toc and Pon Di Edge), listen to it and relive the type of dance tune the earlier RAW version of Busy Signal would have done. He's still capable of that type of material and the evidence is on Fast, definitely. Check the ridiculous My World (aka Gangsta`s Paradise), Busy's cut of Lefside's HYPNOTICALLY KNOCKING Wild Out riddim. My World is SERIOUS! One of Loaded's real hidden highlights and, for the dancehall heads, having heard a lot of the best material here, it's the tune (if they haven't spun it into oblivion already) which will probably stick out as that riddim just creeps into the brain and hooks itself in, big time! HUGE tune! Speaking of huge. . . Check Cool Baby. Every once in awhile Busy Signal will throw out something of a `gimmick' tune which makes very little actual sense, but almost ALWAYS seems to work for him (check Pon Di Pole, a PURE soca tune from the Step Out album and a next tune name Rasclart, OR just keep listening to Loaded and check the next tune). Cool Baby is no different. The tune is BY FAR one of the COOLEST songs I've heard in a long time. Built over the almost completely absent Freestyle riddim, Cool Baby is pure GENIUS Busy Signal at his absolute best veering all over the place, but not really deviating too far on one of the real highlights of Loaded. There's also Knocking At Your Door which begins (and remains for quite awhile) basically a (VERY) intense discussion over John John's (aka Mr. Lady Saw) epic Shootout riddim. The tune eventually ascends to the heights becoming one of the album's better tunes, but I've again, well had my full of the tune. Loaded ends with the spanking new Murderer alongside the very popular Alborosie. I had LONG marked Murderer as a tune I probably wouldn't like as, for one reason or another, while I respect his undeniable skill, I just don't vibe too well with Alborosie. However, credit is definitely due as I wouldn't call the high profile combination one of my favourites of Loaded, but it still is very good at the end (Alborosie actually does FAR better on the addictive hook than on his verse) and a pretty nice note on which to send out one of the most IMPORTANT albums of the year (and check Busy`s final full verse as he shows just GLIMPSES of that fast chat which made him so popular originally).

Overall, I'll say it flatly, Loaded is NOT as good as Step Out. That album was one which was `loaded' with trips and changes along the way, but all of them seemed to play to Busy Signal's strengths and really made him look better. Loaded is an album, however, which has such a GRAND potential to catch on with the mainstream and, I THINK by design, in the process, not alienate hardcore dancehall heads COMPLETELY by including some of Busy's more recent powerful material which has already proven itself amongst that crowd. Loaded is an album which will have every chance to succeed and will be under the microscope to see if typical reggae promotion at its highest level, notched up several degrees can really generate greater sales. If international heads pay attention, what they'll be getting is one of the most clever, most original and downright most talented names to hit hardcore dancehall in a VERY long time.

Has anyone mentioned The Pretenders when reviewing this? Think of Chrissie Hynde singing for the Buzzcocks circa 1979. Or, at least, that's a starting point. There is a heavy pre-1981 Pretenders vibe to this, even down to the phone call sound effects at the end of the song "Ring, Ring, Ring," which brings to mind the early Pretenders song "The Phone Call."

Busy Signals' sound is burlier than The Pretenders, however, (even counting the Pretenders' earliest phase) which is good. And although this is a punk LP, it is not thrashy, or aggro, or hairy-chested tough guy stuff. It's just well-written, well-executed, hooky-as-heck late 70s, early 80s style punk rock and roll. It owes as much to the Buzzcocks and the Undertones as it does to bands like the female-fronted Penetration and maybe even a hint of super early Blondie. But, like I said, Busy Signals play punk -- not new wave. The sound on this s/t LP is beefier than 70s punk stuff by a tad -- definitely guitar-driven -- but the vocals come through crystal clear, as in power pop. "Uh Oh," the second to last track, is a complete power pop gem. Come to think of it, every track on here is a winner to some degree.

For a band that does not take their music too seriously, they have done an incredible job of creating serious music. Great pop harmonies, and awesome guitar work, along with great production in the old style, makes this the album to listen to.

Agree with above reviewer. Pretty much perfect stuff. If you like the Buzzcocks, the Undertones, and other 77 in that vein, you'll LOVE this. Plus, it doesn't sound like a corny, poppy, diluted retread of old punk. Very much their own band.

This is perfectly orchestrated late 70s style punk rock / power pop from Chicago. I would say they are the best current punk band from that city.

If you need a list of influences, look no further than the second song on this album. It sounds like an outtake from the first Undertones album!!! It should also be known that this band features members of the Tyrades, the Krunchies and the Carbonas.

If you are into melodic punk rock in 2007 than this is the album for you.

To be perfectly honest, I only like one song from this album so far. It might take some time before It starts to grow on me. But so far, I just like "I Love Yuh" with Alaine. That is my favorite song on the album. The problem with the song; however, is that it is too short. It needs to be at least 30 seconds longer.

Roughly every 4 years or so the fraternity of dancehall elite will open its doors and welcome a 'new' member or 2. These artists aren't typically NEW at all, however, they have now reached a level of popularity and (usually) ability which warrants their promotion in the dance. A few years ago it did so and in walked Vybz Kartel and Assassin. A few years before that there was Ward 21, TOK and Ce'cile.

This year its the turns of Busy Signal and Idonia. And it just so happens that Busy is up to bat first. Busy, hailing from St Ann's (home!) has somewhat followed in the steps of Kartel: An indepth idolizing of Bounty Killa, followed by a meeting with the Warlord, a few years on the underground and finally hitting the big time with his mega boomshot, Step Out. He also signed a deal for his debut (and i believe 2 followups) with UK reggae giant Greensleeves. His style could even be perhaps best described as a combination of the Killa and Kartel (as you could probably best describe Kartel as a combo of Killa and Madd Anju), and he has had much much fanfare over his seriously top notch skill.

While not as lyrically dexterous as Kartel (and who is) Busy has an almost blind aggressive command over a track which makes all of his tune, if not at least worth the price of admission, then definitely worth listening. However, what he shows on his debut, which you couldn't have imagined Kartel showing. . . even until recently, is a soft spot.

Taking in account that Step Out is Busy's debut full length album (and he produces it) it is well impressive. The best tune is definitely That Bad. That Bad is an ultra-clever ode to the rest of the dancehall (and even some out of the dancehall) taking lines from nearly everyone from Kartel to Killa; and from Kalonji to the Fugees! The song is somewhat along the lines of Kartel's Robbery and Kiprich's Baby Song, just well done, and arguably better than either tune.

Also check the combinations: The Bounty Killa combination, Do The Maths (interesting Kartel and Killa had a combination called Maths Automatic) is exactly what you would expect, the knock you over the head militaristic style showdown. Check the second single Not Going Down which is a tune with a message described as a straight jump up dancehall record. Busy even comes armed with 'his own' Wayne Marshall who Kartel came up with, in Movado with whom has 2 combinations with on Step Out, (same as Kartel's debut Up 2 di Time) the best of which being Full Clip.

The similarities may end there between the two artists however, as Busy has a complete other more 'experimental' side. He has a tune here named Love Me Not which is about as vulnerable as you would ever want to see anyone on a tune (but the tune quickly grows on you I assure you!) which features Reanno Gordon (aka Busy Signal) as he goes Wayne Wonder and Red Rat by creating the alternative identity on the nice tune. My second favorite tune here is actually I Love Yuh which features the Angelic Alaine, on just a wonderful tune which could spin on US radio right now, I'm sure! The second half of the album actually goes in many different softer directions, he has another nice combination with Kris Kelly, since you been away, and an interlude which features him just calling his daughter. The album even ends with Pon di Pole, a PURE SOCA song!

While I made a point of drawing a few curious similarities between Kartel and Busy Signal (the seemingly wild headed Idonia has very little in common with the 'Sassin) rest assured this is no carbon act. Busy Signal's debut Step Out marks the arrival of a significant new talent in the dancehall. And while it will take you over mountains and pretty much everywhere else (including 3 videos) at the end, you just might be on the groundfloor of something really special if you pick this one up.

This is an absolutely splendid album that must be dragged out from the under the rug. People need to hear this music! Honestly, if a gem like Baby's First Beats was ever to get the marketing or publicity of a crap pop act like Britney Spears or The Backstreet Boys, it would be huge. Sadly though, good music isn't propagated the way it used to be, and the majority of kids are so drugged up from the insidious music industry that they wouldn't take a second look at a cool album cover of an unknown band, let alone sample some of their songs. That's why I'm writing this review and exhorting you to get a copy of this if you enjoy pop music with good beats, interesting lyrics, floating melodies and an overall Hawaiian feeling of joy and relaxation. If you'd like a derivation from the played out pop spectrum, get into The Busy Signals.

I think the amazing part about this cd is it's ability to be fun without being syrupy sweet. The instrumentation is very sparse, relying very heavily on samples, perfectly layered like a big yummy cake. The first thing to stand out are the beats; lo-fi and groovy but don't sound like Paul's Boutique. And the vocals are killer: "You looks so cute with your headphones on". I love this stuff! My most important criteria for music is fun and this cd is a blast.

get ready to melt into the world of the busy signals. a beautiful arrangement of music that promises nothing but gives you everything, the way the beats are transitioned will blow your mind. the lyrics are genius, yet practical. and the melodies and vocals are earthy yet unlike anything you've experienced on earth. i dare anyone to listen to ladies and germs and not become completely relaxed. pick it up now.

Here in Toyland I was drowning in the dirty ball crawl of plastic POP bubbles until I discovered sugar-free records. Nothing this good has come along since Matador. "Baby's First Beats" is like landing on the game board of Candyland, walking along the coloured tiles through sugar plum forest, the peppermint woods, the ice cream sea, etc. First stop is "Headphoneworld, "everyone on their own with their headphones on" a surreal little spot of waitresses instead of actresses. But just when you're digging the loop, you pop into the next track, "I'm So Slippery" a liltingly soapy little number that washes you up (Your brain's a "bubblebath"), before you soar with the next track, "Birds on High." (Perhaps one my my favourite stops.) The colors and sensations don't stop til you get to the dirty end, "Ladies and Germs." Kids don't care whether they get dirty or not. By this point you don't really care whether or not you've won the game or made it to the candy castle. The fun part of Candyland (Hey! No reading is required; just the ability to read colors) isn't getting to the end, eating it up and putting it away, but drawing the rainbow-coloured cards, taking in the scenery, unexpectedly being sent back to those places you already passed through. In some ways rock and roll and pop have been about rebellious adolescence, but "The Busy Signals" take you further back to a sort of naive chidhood, no less fulfilling than anything else in the toy department, but 100% more colorful and enchanting--somehow more real. There's no molasses swamp to get stuck in here. Take a card, friend!

This cd is the perfect rainy day companion: beats drip and tap and pound, like rain on a tin roof... the songs are like clouds with just a hint of sun creeping around the edges...and the vocals are like that catch in your throat when you mean to say how you really feel but then can't. This is pure pop and the best kind of indie, never a dull moment, and the artwork is really cool, too. Try it, you'll fall in love!

Cool dub from the north. Hailing from St. Paul, The Busy Signals bring a mellow, stoner-friendly C.D. ripe with smooth beats & clever lyrics. There are cameos by Har Mar Superstar & MC Phonte' who adds some hip-hop stylings. Some times they remind me of a less pretentious Beta Band, other times they sound like the B-Side of a new-wave single. "Pretend Hits" is always easy to listen to without ever completely dissolving into shopping music. I highly recomend this release.