Lutan Fyah

I often find it quite interesting, just as I'm sure it has always been for fans from other eras, to think about just how well or poorly the reggae artists of today will stand the test of time. While, undoubtedly and perhaps forever more, the name Marley will dominate and be the face of the genre, years from now, definitely at least some of our artists will be regarded as legends and as highly as just about anyone to have ever blessed the game. Through all the various changes of reggae music (like how the music is made, the greater attention paid to the music and the absence of BANDS as opposed to solo artists) you have a bit of a historical question mark as to how exactly some of our finest artists will be remembered and how some of their most lauded material will be regarded years and decades down the line. In particular, I'm wondering how people years from now will examine to the prolific nature of the artists of this era. The answer of such condition could ABSOLUTELY determine a great deal of this current era is defined from a historical perspective, given the almost OVER-active recording schedules from many of our artists today. How will the future look back at Sizzla Kalonji? Undeniably one of the (if not THE) greatest lyricists reggae music has ever seen, Sizzla has also, unfortunately been one of this era's most controversial and polarizing figures as well, given his penchant for not putting his best material forth CONSISTENTLY while given fans occasional glimpses that indeed, the once and always downright LETHAL ability for making modern roots CLASSICS, still so obviously remains within. On the dancehall side, how will the fans and scholars of reggae music look back at the fire and brimstone battle waged by dancehall aces Beenie Man and Bounty Killer for more than a decade? What is so interesting is (amongst MANY other things of course) that despite trends within dancehall (both musically and culturally speaking) tend to `change just like the weather', the trend which never changed this entire time has been Beenie in one corner with Bounty in the other. Given that even people right now are a bit weathered by the constant on and off again and downright RIDICULOUS warfare between the two, I can't imagine in the future it will look better in retrospect, but who knows. There are figures like Sizzla protégé Turbulence, DEFINITELY Vybz Kartel as well as Lady Saw who I'm very interesting in seeing what the `kids' will think of them, when I'm an old man.

Far more comfortable are the respective places of artists of today such as Luciano, Everton Blender and Junior Kelly. All of whom, while they aren't necessarily amongst the most popular of this era (with the exception of Luciano, who definitely is) make a brand of music which, at their absolute respective bests, brings the type of vibes which simply seem to get better with time and that should continue. And, by comparison, you can look at their peers, such as the aforementioned Turbulence, Jah Mason and even the controversial (but SICKLY talented) Jah Cure and I'm not sure if history will be so kind to them. An artist, however, of whose historical relevance and respect I'm seeing more and more as COMPLETELY secure is Lutan Fyah. I just may be the most biased Sizzla fan that there is on the planet and I'll full on say it nice and clear: I have not been as impressed with ANY artist as Lutan Fyah than since the first time I really began to listen to Sizzla. Period. Lutan Fyah comes armed with some of the most on point and nearly perfect (in terms of their usage, of course) lyrics and it has seriously gotten to the point that despite the fact that I've probably heard well over fifty or so new tunes from him within the last year or so, I haven't heard a single flawed VERSE, much less an entire tune. And I'm not saying that I enjoyed all of the material (that would be impossible) but I think that even that speaks to an artists strength that he can convey his powerful message while not really catching the nerves of the listener. Indeed, what you have when you listen Lutan Fyah is simply one of the most skillful vocal artists that reggae has EVER seen. Lutan Fyah has, over the last few years, kept his name relevant locally, scoring a relatively steady stream of hits of varying degrees and gaining the opportunity to voice with some of the best in production talents as well as opening himself up to being able to perform on the biggest stage shows locally. ALSO, alongside good friend and mentor Jah Mason, Lutan Fyah headlined a European tour in 2008 which was reportedly quite successful (although I have heard different opinions on what happened there, to be completely honest). What definitely will help his case later on down the line (especially to international heads) is dropping top notch ALBUMS for the masses and to date, Fyah has done exceptionally well. By my count, to date Lutan Fyah has released five studio albums for various labels (with at least two in the can waiting to be released), including two Healthy Lifestyle and the EPIC Phantom War, have risen to the levels of highest in the game in terms of reggae coming for the industry's giants in VP Records and Greensleeves Records, respectively. Of them all, Phantom War was definitely his greatest creation. The album, which I called 2006's best reggae album, was a nineteen track MASTERCLASS which, at least to my ears left no doubt that in terms of skill, Fyah was amongst the greatest practitioners in the business, despite not yet (and still not) achieving that level of acclaim. That the Phantom War album didn't quite receive its just due (at least by standards) was just WRONG? However, were you one of the unfortunate souls who didn't (and still haven't) pick up the album, apparently something even better just walked through the door, something which they'll be talking about for a VERY long time.

Of all Lutan Fyah's releases, definitely the most interesting arrived in June of 2008, his first live album, Live In San Francisco from the very solid Californian based label, 2b1Records. Now, as if to finish what they began, the same label releases Lutan Fyah's EXCELLENT double disc release, Africa. This album, produced by Fyah himself arguably tops even the Phantom War album as it features, in its whopping thirty tracks, some of Fyah's biggest hits to date (as the album cover boasts, :4 #1 JA HITS) alongside some nice newer material and some truly interesting combinations. Brilliance runs throughout. Opening disc one is the fine social commentary piece Never Once (In My Life), over Chilla's bubbling Deep Love riddim. While definitely not the finest tune you'll find on this project, you probably couldn't have asked for a more fitting opening as the tune gives a pretty nice example of Lutan Fyah's style overall. Very very nice opening and one where (like most of his music) you REALLY need to pay attention to the lyrics. Up next is the first of several combinations on Africa, the OUTSTANDING Rasta Set Di Trend alongside the Morgan's (Heritage) over Fyah's very own Sledge riddim from his label, Tsahai Productions. I'm not too much a fan of Morgan Heritage, I say it all the time, but I do have to give credit, they make similar type of tunes as this, with other artists and they're generally quite well done, DEFINITELY no exception here! Completing the opening to Africa is a tune perhaps destined to go overlooked, the very nice What A Woe (which bothers me because I KNOW I know that riddim from somewhere but can't quite pinpoint it) is a tune seeking to expose the truth of the corrupt system and does exactly that in Fyah's own wonderful way, over a downright SPARKLING one-drop. The tune is might y powerful, again, one of those tracks likely to not get much attentions, but indeed its one of the better tracks you'll find anywhere on this project. Superb way to get things started.

Had someone packed up JUST disc one here and released it as a full on album, it alone could have been a candidate for reggae album of the year. It features he lion's share of the hits on the project and some VERY nice combinations as well. Check the lineup: (St. Jago) De La Vega, a previous number one tune for Fyah and a tune which has never been on any other of his albums to date. A HUGE tune reliving the cultural history of Fyah's native Spanish Town. Immediately following that is another big tune, Save The Juvenile for Real Lyfe's spotless Foundation riddim. As the title would suggest, the vibes are for the youth, our most important group of people, of course. The tune found struck on so many when it first reached and attracted a nice bit of attention and, again, good luck finding it any other Lutan Fyah album (not happening). The same is to be said for Mightier Than Them, Fyah's DIVINE cut of Danger Zone's big Jam Down riddim (same riddim features Ce'cile's big hit Waiting and Jah Cure's ridiculous Sticky). This one is probably my favourite tune on the entire project as it has been a personal anthem of mine of the past year or so and seems to get better to my ears almost every day. The tune is a HUGE Rastafari affirmation, its vibrant and its beautiful and, of course, landed in the hands of Fyah, its BRILLIANT! EPIC TRACK! Now you run through what is the rest of the tracks on disc one and see all the `featuring'! The second, after Morgan Heritage, is truly a shocker, No Matter What the Crisis, Fyah's second combination alongside Midnite front man, the incomparable Vaughn Benjamin. This one is MUCH better than their (solid) first effort, Stay With His Majesty and is really one of the best tunes you'll find here altogether and DEFINITELY just something which will attract so many eyes, your ears will thank later, trust me! Big tune praising His Majesty between two undeniable masters of the craft over a very nice piece from Al.Ta.Fa.An. HUGE tune. Speaking of Midnite, Move Out which features Fyah alongside literal peers Natural Black and Turbulence over a riddim I only know from Benjamin`s tune Dew on the Infinite Quality album from Lustre Kings. This is an ODD one. But it did grow on me (with that stringy riddim its almost an accapella, a very nice one at that) and it will do the same for you. I will mention that it's Fyah's album and his star does shine the brightest amongst the three although Turbulence does turn up the vocals later on. The title track! The title track is SUPREME, it features Fyah taking his shot over the Taxi Gang's timeless Baltimore riddim. SO many accomplished vocalists have tackled that track and Africa could stand quite well next to any of them! And I'll mention that the vibes step up a bit at the close of disc one as famed Inner Circle joins in on the anti-violence Gun Ting, a wonderful vibes from the Circle's own Miami based Soundbwoy Entertainment with a bit of old school vibes.

Did I mention that was just DISC ONE! Disc two, while lacking the big highlights, is just as consistent as the first. Check the opener, Season Of Love (BKA Four Seasons), a wonderful lover's piece, probably the best on either disc. Too Much Suffering Kids is on a vibes similar to Save The Juvenile (sounds NOTHING like that tune, however) and another tune which I'll say (especially due to the presence of Save The Juvenile) will most likely exist below the radar and do so at the peril of those who don't REALLY dig into it (especially the third verse I believe it is). Is This The Way is Fyah's solid cut of Rootical's LOVELY Cruising Altitude, one of the most beautiful tunes over that beautiful riddim definitely, this tune is just an anti-poverty and violence track which definitely is something the masses need to hear in this day and age. Check the somewhat unusual and dancehall/poppy Rising which is the only combination on the second disc. The two together (for the second time, I THINK) just sound very nice and even though it's a rather unusually paced tune, it still manages to work quite well at the end of things. Trodding Alone really caught my ears as well because I had been listening to it for a bit as it features over Itation Records' very nice Show Love riddim. It was one of the finest tunes on that fine riddim and it remains one of the finest tunes on this more than fine album as, to my opinion, it features what should be one of the signature lines of the album, "Trodding alone, The Most High see us through", HUGE tune! Up In Your face is a nice relation tune which I actually recall buying last year, it grew on me a nice bit and I think it stands as one of the finer examples of the excellent track selection by 2b1 and Lutan Fyah, because it wasn't a big hit at all. Gifted with that addictive one-drop of Black Shine's Weed Seed riddim, Up In Your Face is definitely one of the `dark horses' on Africa altogether. I don't know a thing about the tune really, but I have to mention the very uplifting Its All On You, which is just a nice meditative vibes as well, definitely check that one. It's All On You precedes what is in my opinion the single biggest tune on disc two, the SCATHING Watch Over Me! Amongst the songs I'm not very familiar with, I've probably spun through Watch Over Me more than any other. The tune reminds (and does so HARSHLY) that the most important thing is to know that you walk with His Majesty, because in doing so, no wicked force shall stand in your way. HUGE vibes on that one. I'll also mention the duet, I Love Everything About You which is an unofficial combination (with a nameless singer who I'm sure I'm familiar with from somewhere). As the title would suggest, it's a very nice and STRONG lover's combination and probably has one of the strongest riddims on the entire album. And disc two ends with the dazzling chanting Set The Children Free, another BIG vibes and wonderful message for the people. You could have picked EASILY any of these thirty tunes to end this album and probably none of the other twenty nine would have sounded as fine as Set The Children Free. Big credit goes to the setup, the entire project, VERY well done.

And I didn't mention at all tunes like Red Alert, Be Real (BIG TUNE!), Mek It So Hard and A Dat Mi See, ALL big tunes!

Overall, I hear often someone say something like, "Yeah I rate Lutan Fyah, but I really haven't heard that ONE thing from him that puts him over the top for me". If that's you, then `that one thing' has just arrived (even though you should've gotten the point on Phantom War) and more. Africa is the type of an album I can recommend to seasoned fans merely due to the fact that, although it has that compiled type of situation, it STILL gives you more than enough new material and even the older ones seriously, you probably don't have most of them or even have heard them at all. Big respect goes to 2b1 for placing out the piece and Lutan Fyah himself for delivering his own finest album to date. Africa is one of the best albums you'll hear anywhere in 2008 and beyond. When fans in the future look back for some prime Lutan Fyah, hopefully they'll star t at Africa: One of the best reggae albums of 2008. AMAZING! GO GET IT!

YOU BRING BLESSINGS: There's not much I can really add to Bramoi's comprehensive review, but I will definitely agree that Lutan Fyah has very quickly achieved top billing on Jamaica's ever expanding roster of young roots reggae singers. YOU BRING BLESSINGS is the latest showcase for In The Streetz producer Byron Murray's impressive catalogue of roots rhythms, joining Norris Man's HOME & AWAY, Jah Mason's WHEAT & TEARS and Luciano's CHILD OF A KING - all recommended releases. For Lutan Fyah, last year's HEALTHY LIFESTYLE (for Xterminator) and especially the massive PHANTOM WAR (a Greensleeves release), were always going to be hard acts to follow, but BLESSINGS definitely doesn't disappoint. What distiniguishes this latest release for me - apart from Murray's excellent production work - is the inclusion of four first class lovers numbers from an artist whose very best work has leaned more often on cultural themes. NO MORE PILLOW TALK on the nice, piano accented FREE LIFE rhythm is perhaps the best of the lot, but SPEND SOME TIME and YOU BRING BLESSINGS are also great selections , as is SHE'S MY SUNSHINE on Katrina Irons' well travelled FYAH rhythm (and the only non-Murray production featured here). Other standouts include the excellent opener DESIRE TO GET HIGHER, as well as SO MUCH GUNS IN THE CITY, STAND IN MY WAY on the sombre MOBAY rhythm, and the bubbling NEVER GET ENOUGH. All in all though, there's no weak link here, and BLESSINGS just might be Lutan Fyah's most consistent full-length release to date - perhaps even a half-notch better than PHANTOM WAR in my book, certainly the first must-have release of the new year and a very early runner for the 2007 top ten lists.

(4.5stars)
The current new class of roots reggae gets more and more impressive by the day, seeming to endlessly add another remarkable talent to the bunch, making it, arguably, the finest young group of roots talent in a very long time here. Names such as Turbulence, I-Wayne, the lethal Jah Cure and Natty King figure to at some point in the future take up the reins for such artists as Capleton, Luciano, Sizzla Kalonji and Anthony B. Mixed firmly into that mix of youths to come, and arguably at the head of the class is Spanish Town native Lutan Fyah. Where Jah Cure boasts his earth shattering voice and I-Wayne manages to combine his seemingly never ending passion for righteousness into a sickly heavy bundle of vibes, Lutan Fyah's 'hidden talent' is boasting one of the deepest bag of lyrics you'll find anywhere in reggae music over the past 20 years or so.

I first became aware of the former football standout actually while I was living in the states and he had voiced some material for California's excellent Lustrekings outfit (including one of my all-time Fyah favorites to this day, No More War), and had then set out seeking more material and possibly and album from Fyah. Although he is critiqued by some because of his melodies (which honestly isnt his strongest point), one listen to a song will tell you IMMEDIATELY that this whole lyrics thing isn't too much of a problem for Fyah at all. The debut album came in late 2004, Dem No Know Demself, and was immediately followed by the Lustrekings album, Time & Place.

And now, 3 albums later appears You Bring Blessings from UK based Cousins. The label, which was responsible for last year's excellent and overlooked Leave the Collie Alone from veteran singer Tony Curtis, and has released albums for such veteran vocal names liek Michael Rose, Al Campbell and the excellent Richie Davis (with the superb Nubian Woman) is continuing in recording the newer artists to nice effect. You Bring Blessings comes on the heels of an excellent 2006 for Fyah which saw him release not only the excellent Healthy Lifestyle on his VP debut, but my choice for 2006's reggae album of the year, Phantom War for Greensleeves, as well.

'Blessings' is probably best described as a half step below combination of the vibes of Time & Place & Phantom War, which is definitely not a bad combination to be linked to. The album also finds album producer extrordinaire of the moment, Byron Murray from In the Streetz hooking up with Fyah. Thus, if you happened to catch 2006's Home & Away from Norrisman, Child of a King from Luciano or Wheat & Tears from Jah Mason (or just happen to be a big reggae fan) many of these riddims will be familiar to you, but of course still up to date and hearing Fyah on a session with them is very impressive still (and I'm happy Cousins picked it up, but I imagine Greensleeves would have done the same if they intend on a 2007 album for Fyah). Both Fyah and Murray's reputations continue to grow, so an album just seems like the next big thing from the two (and I wanna see a In The Streetz Sizzla album this year too!)

The best tune on You Bring Blessings is probably the absolutely delightful opener, Desire to get Higher. The world class vibes built on top of a lovely nyah drum backed riddim is more than an excellent way to start off the album and the new year and I'm almost a little 'upset' that it didn't make it on the LOADED Phantom War. Curiously enough, Phantom War contained NO Murray productions, all to the benefit of Blessings! Go along in that same vibes and check the excellent title track over the Desperate Lover riddim, which is just a fine fine track, I remember hearing the riddim for the 1st time (I believe on Norrisman's Feelings Deep Within) and thinking about the possibilities it could have, and You Bring Blessings definitely builds finely on that vibes.

Also definitely worth checking is the wonderful Never Stop Hail Rastafari over the enchanting and HUGE Street Swing riddim. The song is definitely one of my favorites from Fyah altogether and again, would have fit lovely on the Phantom War album, but I digress. I dont think I've ever actually heard a Fyah tune which I thought was BAD, and this album is no different, as its completely brimming with nice vibes. Check Stand in My Way over the minimalistically beautiful Mobay riddim; the two relationship tunes in the middle of the album, the stronger of which is She's My Sunshine over the Million riddim and followed by the still strong No More Pillow Talk over the nice Free Life riddim as well.

Also present is the obligatory After All, the combination between Fyah and Norrisman which is on Norrisman's album Home & Away as well, still a well strong track closing the album out; And I'd be doing you a disservice to not mention the superb Never Get Enough!

Overall, definitely recommending You Bring Blessings by Lutan Fyah, with an excellent way to kick off the new year. The album is pretty much everything you've come to expect from both artist and producer. And to that reggaehead out there, just be honest, you were listening to Mason's and Norrisman's album thinking Fyah would be excellent over some of the same riddims! I know I was, You Bring Blessings definitely doesn't disappoint and doesn't fall too short of the absolute best work of Lutan Fyah's career.

And just to add on, EARLY 2007 is vibing nicely NO? With 3 albums ALREADY out from Fyah, Turbulence and Norrisman (Captura), Midnite dropping their obligatory 3 January albums again and Richie Spice to drop a boomshot next month, its an excellent time to be a fan of the music.

In reggae music, maybe even more so than in any other musical genre than I know of, a strong performance ALONE will take an artist quite a bit of distance in his/her career and a not-so strong stage show can definitely harm one's standing. As it is, very few Jamaicans who still call the island home actually buy music in any form and are generally only through television and radio and of course, they never-ending, ever-expanding and always active festivals and stage shows. And that route, for an amount which I would quantify as MOST, is the way MOST artists actually get their start, be performing their own original or (as is usually the case) performing the tunes of others looooooooooong before actually reaching the studio with their own vibes. You can definitely pinpoint several artists, even currently, who have been effected, for better or for worse, by their ability to perform live in front of the masses, or their lack thereof abilities. Of course the easiest and most popular example for the good side would be Ninjaman. I'd be surprised if the Ninja has actually taken time out of his not so busy schedule to actually WRITE and go into the studio and RECORD more than twenty or so tunes in the past decade of time. It simply isn't his area of expertise, it doesn't show him at his very best and to be perfectly honest he just isn't that good at it, despite his ridiculous longevity in the dancehall. HOWEVER, should you desire to see the Ninja with his full array of skills at his disposal ALL of the time, then simply limit your interaction with him to a visual-audio experience, rather than strictly audio (which isn't that hard, as he doesn't release much tunes these days). On a stage Ninja's greatest musical asset, his nearly PEERLESS and lethally QUICK wit and ability to string together freestyles on the spot, be it in a clash setting or simply for the moment: He is truly a performer who `makes it up as he goes along' and Jamaican and international dancehall audiences everywhere have been enjoying this quality in the Gorgon for well over two decades. On the other end of the spectrum would be someone like Sean Paul. The current reggae poster boy DEFINITELY doesn't need much help or critique from me or from anyone else to step his career up a bit, but if there were one area he could work on it would be his stage show. I believe he has asthma which would prevent him from being in a stressful situation, like the pressure of a stage, but fans rarely get to even HEAR the sometimes downright BRILLIANT flow Paul exhibits at his absolute best on record, in person which is something which would definitely improve his standing locally (and if you happen to be a casual fan of reggae and don't know much more than Sean Paul, I could probably name you full on twenty artists more popular in Jamaica than the dancehall superstar). Being nice on stage is just simply SO important in reggae, definitely.

Which, in my opinion, makes the lack of actual LIVE recorded albums in dancehall and in reggae altogether for that matter even more confusing. Even for Ninjaman, whose live performance EVERYTIME is truly something to behold (even if he never gets to perform: see Sting 2003), has never had a completely live album to my knowledge. This absence of our modern artists dipping into the Live release also tends to (at least from me) generate quite a bit of interest from the masses when they do reach. Recently, the continuously over-active (to say the least) superstar reggae band from the Virgin Islands, Midnite, released their own (SHOCKINGLY) very first live album, Live 94117, and it has become one of their most talked about pieces in quite awhile. And now, one of my personal absolute favourites does the same to not much fanfare, but quite a bit of interest to the hardcore reggae heads. Lutan Fyah is an artist who, at least to my ears, HASN'T DROPPED A SUB-STANDARD VERSE IN WELL OVER THREE YEARS! (much less an entire tune, I said VERSE). And in doing so has definitely proven himself, to me and a whole heap of others, one of the most skillful young rootsmen to reach the scene in the modern era, period. To date, Fyah has remained VERY active in the local scene, releasing a steady stream of singles throughout the years and (as is NECESSARY for an artist of his caliber) he has scored a solid number of hits also along the way. He has also given pieces to the international ears in the form of six albums (prior to this one) from dropping his first, Dem No Know Demself (for Minor 7 Flat 5) in 2004 which was IMMEDIATELY followed the same year by Lustre Kings Productions' EXCELLENT Time & Place just a month or two later. Then in 2006 Fyah again reached twice with his VP Records debut, the solid Healthy Lifestyle and then, of course, his Greensleeves debut with the best effort of his career, the MASSIVE Phantom War. 2007 saw him debut for fine UK outfit Cousins with the outstanding You Bring Blessings. Now, for his first effort of 2008 (and YES I have been waiting) Lutan Fyah delivers his most creative effort to date, his very first live album, Lutan Fyah - Live in San Francisco for San Franciscan based 2B1 Records. The label is somewhat of a specialist in that they pretty much ONLY release live albums and DVD's for a wide variety of artists, with very few purely studio releases under their belt (probably the most high profile of which being the notoriously difficult to find Up In Flames by Sizzla Kalonji). The label has released VERY SOLID live efforts for the likes of Capleton, Luciano, Junior Kelly, Gregory Isaacs, Yellowman and (my personal favourite of their bunch) even Lady Saw. 2B1 is, quietly, one of the labels I really look forward to hearing from. They actually PROMOTE what you hear on their releases and at the Maritime Hall (where I hope to go someday) in San Francisco and have been full on in operations for nearly fifteen years. Lutan Fyah's first dance with the 2B1 crew is yet another impressive release for artist and label alike.

If you've never had the opportunity to see Lutan Fyah the best way in which I can describe him is as `streaky'. He doesn't insist on clubbing you on the head with his vibes (like Capleton or Sizzla) and he doesn't fully focus on his music in the situation (like Vaughn Benjamin of Midnite seems to). Instead he quite nicely mixes the hype tunes and the slower tunes together and gives you his roots, highlighted by one of the deepest bags of lyrics the roots scene has EVER known. This DVD is very well put together and the visuals are quite nice throughout and (as is their 'calling card') 2B1 does a very fine job of covering the show. Getting things started here is a tune I'm not very familiar with actually, the very nice Thanks and Praises. I immediately recognized the riddim as Delly Ranx' Serengeti, which was a very HEAVY one drop, the type of riddim which is a virtual `can't miss' for Fyah. And he doesn't miss none at all as he delivers a high order tune exhibiting what I meant when I said streaky, even on just the one tune. Very impressive praising tune for His Imperial Majesty. Next up is the much more familiar Bits & Pieces (you can find it on the Phantom War album, which you should have already if you've read this far) over Pow Pow's popular Blaze riddim. He floats through the tune (accompanied by very nice backing singers, one in particular) the tune ever-so-slightly tones back the somewhat urgent nature of the original (that riddim is URGENT sounding), but is still pretty good, comes off very nicely and is the first piece of any kind of extended crowd interaction we see here. Completing the intro for Lutan Fyah - Live in San Francisco is another very familiar piece (also from the Phantom War album) on the wicked Blood Stain. The tune was originally for Rudolph Morrison's WICKED Labalaba riddim and probably one of the more underrated tunes on the album (might be one of the most underrated of Fyah's career as a whole). The real highlight of the performance is a nice extended guitar solo later in the tune which is definitely well enjoyable.

Live In San Francisco doesn't really feature most of the tunes which the Lutan Fyah really CRANKS in live performance (such as St. Jago Dela Vega or ESPECIALLY No Peace in Spanish Town), but it does feature a very healthy bit of vibes and some of Fyah's top tunes along the way and some mighty fine performances, of course. The show really hits its highpoint for me much later on things when he reaches with what is typically one of his better performed tunes, Save the Juveniles. The tune is one which has really attracted quite a bit of attention since its release almost two years ago at this point and become one of the more unlikely hits (as it didn't seem to differ much from much of his other material) of his career. Anytime can you really take in the vibes of that one, its definitely an experience and because of its original nature, it so easily lends itself to the live show, especially given such fine backup singers. Definitely the highlight of the show and one to spend quite awhile on (even though it comes and goes rather quickly). Interestingly enough, Save the Juveniles comes just after another of Lutan Fyah's more popular tunes and an odd one here, Rasta Still de Bout (Phantom War album). The original tune (which is downright MAGIC) features Fyah alongside underrated chanter Josie Mel. Mel didn't make the trip to San Francisco, but, again, serving in his stead are very strong backing singers. Certainly it would be better with Mel himself (who, to my knowledge, wrote the original tune), but it still doesn't lag too much behind the original and is still fairly mandatory for a Fyah show with or without Josie Mel. In that same swing of tunes, Rasta Still de Bout follows the LOVELY Screaming For the Poor (Phantom War). The tune originally played over the RIDICULOUSLY BEAUTIFUL Triumphant riddim from Kemar `Flava' McGregor and I don't think I've ever heard it done in a live show. It comes off quite nicely and the band is really pinpoint for the tune as far as what one might expect in a live show, definitely. Going back t o some of the earlier pieces which come off quite nicely for the show; check Looting N Shooting. Probably the most unfamiliar tune to me on the list here, it provides a VERY strong for performance from Fyah, excellent usage of the background singers and even quite a nice crowd participation segment as well on the higher vibed and intensity tune. Definitely the tune here which most surprised me on its presence alone is one of my more recent favourites, Mightier Than Them from Dangerzone' outstanding Jam Down riddim. I wouldn't have guessed he would have put it on such a play list, yet I'm SO grateful that he did, anyway that tune can be exposed to the masses even more so than it already has been, has to be a good thing and we're definitely looking forward to it being included on a future Lutan Fyah album (Save the Juveniles as well). Was also quite nicely surprised to see two other more strong recent efforts, the wonderfully peaceful and serene Is This Love (from McGregor's Trumpet riddim, not a Trumpet in site) and the very nice Is This the Way over Don Corleone's sublime Cruising Altitude riddim (check Pressure's WICKED cut of that riddim, Jah Alone as well). As the album winds down it does offer one more surprise listening to the CD, a bonus track after Fyah ends the show with the DIVINE She's Like the Rainbow (Time & Place riddim). The tune, People Cry, is a WINNER, definitely. Its more of a `quietly intense' sort of vibes which I don't actually recall hearing previously and it was more than just a NICE touch from 2B1, People Cry is something serious and I'd love to see it show up on another Fyah studio album as well. Here, it serves a purpose as a wonderful addition to end things on a show/album which really didn't need the help anyway.

Overall, like I said, you'll be able to find a better show of Lutan Fyah's definitely complete with a larger arsenal of his bigger tunes and performances, but you wont be able to find such things on an album as Live In San Francisco is his first (and only at least for awhile I'd be willing to guess). The DVD and entire project is well put together and some of the bigger reggae labels (ESPECIALLY VP, who I've always felt should have had a running Live release series of sorts) would be wise to linkup 2B1 Records to maybe even runit for them as they continue to very finely run their own special niche of the vibes. Also big respect goes to the band who maintains a very high performance throughout and features veteran musician/producer/artist Wadi Gad (I actually THINK that Ras Attitude may have opened the show, which, if true, HAD to be something special indeed). As I mentioned, the live reggae album for modern artists these days is becoming somewhat of an endangered species, so definitely if this is on your vibes, check Lutan Fyah - Live In San Francisco from 2B1 Records: A very healthy injection to the very thin genre.

I bought this CD because I found it somewhere for cheap. It is easily one of the best culture CD's I have purchased! Lutan Fyah rides each riddim perfectly, and his delivery is right on point. Every single track on this album is GOOD! If I had to pick a favorite it would be between "We Nuh Gangsta" where he gives you straight attributes of rastafari. Or "Mother Earth Healing" tellin you about the Ital livity. To sum it up, Buy da cd rasta!!
Give thanks for life, Keep the faith, Remember the Sabbath
Prophet, Priest, & King
Holy Emmanuel I Selassie I Jah Rastafari!!
Selah

PHANTOM WAR: This Greensleeves release is Lutan Fyah's third long-player, following DEM NO KNOW DEMSELF for the Minor7Flat5 label, and TIME & PLACE for the US-based Lustre Kings outfit. PHANTOM WAR collects nineteen sides recorded for various producers in Jamaica and elsewhere, including BITS & PIECES, which was one of several cuts on Pow Pow's BLAZE rhythm (alongside Richie Spice's massive BLOOD AGAIN), and the hit combination with singer Josie Mel, RASTA STILL DEH BOUT, which really tore up the reggae charts last year. Overall, this is a very solid collection that hits several sizzling highlights, and includes a nice blend of both cultural and lovers numbers. Best of the rootswise material is the excellent STILL DEH DEH, featuring a magnificent - and uncredited - performance from singer Mark Wonder, as well as the moving SCREAMING on Kemar McGregor's TRIUMPHANT rhythm, and the concious THIS FIRE, which seems to employ a slightly revamped version of the rhythm used for I Wayne's READY FE LIVE UP. Lutan Fyah handles the lovers themes just as convincingly, especially on U LEFT ME and RICH LITTLE GHETTO GIRL, demonstrating that he can move with ease between cultural concerns and romantic rumination.

In addition, PHANTOM WAR includes video footage for RASTA STILL DEH BOUT, as well as a quality liner with nice photos and proper musicians, engineers and producers credits; a classy package, all in all.

That Lutan Fyah and the various producers involved effectively maintain quality control over an extensive nineteen track play list is of enormous credit to everyone involved, not forgetting the UK-based Greensleeves label, whose releases have previously been directed almost exclusively toward the dancehall market. PHANTOM WAR is a massive success, and I can only offer the highest recommendation - this is the best roots and culture reggae album so far in 2006, hands down.

Call me biased if you want to.

I first heard of Lutan Fyah abou 3-4 years ago on a great Lustre Kings compilation called Culture Dem. His tune was called No More War and there were a ton of artist on the album that I hadn't heard of and some of them, to this day I don't know what became of them (i.e. Shadrach) but there was something that set him apart from the rest of the young artists on the compilation. His tune had a 'finished' feel to it that even some of the more established artist didn't have on that riddim, No More War was excellent.

Apparently the people at Lustre Kings felt the same way about the artist as they released his first (US) album, Time & Place and it was a big big album, and it showed (along with his official debut, Dem No Know Demself) that he had more than enough vibes and lyrics to go throughout an entire album and carry it. Lutan Fyah is full of talent and he's at a point at his career where he's either going to fall into the category of artists such as Junior Kelly and Jah Mason where he'll make great music, have the occasional big hit and be continuously be appreciated for it on some level, but never make it to the big stage of such artists as Sizzla, Capleton, Luciano and Anthony B, or he can set himselfup to fall into that category of truly massive artists.

If its based on talent alone (and its not) then he'll fit into the latter category. Phantom War is downright awesome! I don't know who woke up at Greensleeves over the last year that realized that people were calling more for real roots music over the continuous head-knocking dancehall that made up 99.9% of their releases and that roots artists, outside of the obligatory annual Sizzla release could sale to the reggae massive and prove profitable, luckily they chose to involve Fyah early in that eqaution, and they've proved to be whole-heartedly more reliable in releasing roots projects over their typical 'coming soon' dancehall schedule.

Phantom War has 19 music tracks on it, and one video track, they are all worth listening to and I don't know how I'm going to deem one the best of them all. The way GS presents the album is also a big thing, nice and simple, but powerful cover and the liner pictures are nice as well, always been GS' strength to make the project look well done, regardless of the music itself.

Big songs here are plentiful, check Wi Nah Gangsta, big big song dismissing the flashier and more 'viable' gunman lifestyle of the gangsta for the more clean Rastaman lifestyle. The tune shows more of Fyah's normal dj style, but he leaps in and out of flat djaying, singing and full on chanting. The big song here (and the reason why I think GS checked him for this album) was Rasta Still deh Bout with Josie Mel (also on Mel's album of the same name) the song might be my favorite on the album, but I'm very accustomed to playing it regularly, big big tune. Also check the title track here, the powerful Phantom War explains whats going on and who the real enemy really is. And its interesting, Fyah has much more of a story-telling style in that he won't just drop and rely on the methods of some of his Rasta peers where you'll say nothing but cliches, and ultimately resort to the punchline of "Emperor Selassie IIIIIIIIIIIII", the man, lyrically has truly studied his craft.

What I am calling the best tune here is Wipe Those Tears. I loved that tune from the first time that I heard it, late last year, its a really really poignant tune and it works works works! Also love Mother Earth's Healing; LOOOOOVE Screaming For the Poor over that big Triumphant riddim, have yet to hear a bad tune on it, Fyah does an excellent job. Poor Little Rich Girl, This Fire, U Left Me. . .

Still Deh Deh! Love that tune! Turbulent Time, Snares of Death! What can I say, its full of big big tunes. This is the album that should show everyone what Fyah is capable of, been listening for a few years and still he gets better. AND, check the video, worth watching as well.

Overall, this one is almost madatory. This is the groundfloor for an excellent career. Ultimately, I think Fyah may maintain an Anthony B like position in that he won't be the one closing the big shows, but just as popular and more consistent than his peers (in his case we'll be looking at Turbulence, Fantan Mojah and probably Jah Cure as the dominant singer), just take a listen to Phantom War, from a purely lyrical standpoint, you won't find too many better in or out of JA.
AMAZING! GO GET IT!

this one is not for the ruffnecks. Lutan Fyah is like a teacher, all his songs are informing. I recommend the album for those who are into Rastafi, they should enjoy this concious albam.
my favourate songs are;you can do it; hound dog and natural herbs.

Meet my favorite 'new' artist! Richie Spice once sang there's a whole garage of rightwous youths, Lutan Fyah is without a doubt leaping ahead of the rest with his dedication and recent Sizzla/Luciano recording schedule. Healthy Lifestyle being (almost shockingly) just his 4th album release to date, Fyah is in the process of separating himself lyrically from nearly everyone in the ultra-crowded pack of young roots talent. The former baller is now armed with one of the deepest bags of lyrics seemingly this side of anyone not named Sizzla or Vaughn Benjamin in roots reggae.

Healthy Lifetsyle came as somewhat of a surprise to me especially when you consider that it is basically a combination between Fyah and the Xterminator label. An the X label had been on what had ammounted to a production hiatus (aside from the constantly busy Turbulence). The big man in charge, Fattis, picked an excellent artist to make his return with (now if someone could just wake up Bobo at Star Trail).

HL is definitely not the best work of Lutan Fyah, it fails to approach the almost imperial levels reached by sophomore and junior releases Time & Place and the awesome Phantom War, but he NEVER once fails to hit a certain level lyrically. Depending on Lutan for lyrics is about as sure of thing as depending on Bunji Garlin for hype!

The best tune here is probably the wonderfully full sounding opener, Thief in Jah Garden, which would have fitted somewhere perfectly on the stacked Phantom War. Thief is one of the most powerful tunes I've heard in awhile, yet it fails nicely in Fyah's range, it sounds like something only he could get across. Also check the excellent Rough in a Yard, which, as someone who moved back home this year, just hits the spot and it was the first tune here that had me focusing on every word.

Also check definitely the closing 3 tracks here, 3 of the best tunes on the entire album, particularly the scolding Naw Draw No Blood which find Fyah going Turbulence on you at times. Natural Herbs is the obligatory herb tune (guess they couldnt find Rounhead that morning) which is so laid back but sameway straight to the point that it becomes one of the better tunes on the album. The closer is the title track which sounds not like I'd expect it to, still continuing the bigger vibe from the previous tracks HL is just pure knowledge!

Overall, Healthy Lifestyle almost seems like an appetizer for a big meal (although the big meal was released before it in Phantom War), with just 11 tracks, you finally get going with it and its over! But definitely fantastic to see VP recognizing the younger and up and coming talent, I dont NEED a Sizzla or Luciano from them every single year (even though they're giving a Luciano next month), but just big big vibes and as Spice said, the selection is great. You wont pick one too much better than Lutan Fyah amongst them at all.

HEALTHY LIFESTYLE: Lutan Fyah has been a busy man in 2006. Apart from this, his first long-playing link-up with veteran producer Philip Burrell at Xterminator, he's put out the excellent PHANTOM WAR album for Greensleeves, as well as about ten thousand singles (only a slight exaggeration), and numerous one-off contributions like WHITEWASH WALLS for Blood & Fire's FISHERMAN project, and IF JAH IS FOR YOU for Lustre Kings' NEW DAY rhythm. You might expect this sort of schedule to impact the quality of the product, but in fact, Lutan Fyah, otherwise known as Anthony Martin, has gone from strength to strength, developing a very distinctive, immediately recognizable chanting style and accomplished writing skills, so that he can now be considered one of the major players in roots reggae, up there with the likes of Sizzla and Capleton and so on.

HEALTHY LIFESTYLE is another strong addition to the Lutan Fyah catalogue. What stands out to me - aside from the sharp songwriting and first class vocal performances, which are pretty much standard for this artist - is the very fine quality of the musical production. Of course, you'd expect no less from legendary collaborators like Sly Dunbar and Donald Dennis, but it has to be said that the Xterminator camp has turned out some pretty average material over the past couple of years. That's not the case with HEALTHY LIFESTYLE though. Check out the bare-bones NAH DRAW NUH BLOOD with its menacing marimba-style backing, or the classic, rich reggae sounds of THIEF IN JAH GARDEN and ROUGH A YARD. Overall, HEALTHY LIFESTYLE probably isn't quite as consistently brilliant as PHANTOM WAR - which was sourced from various producers - but there are still several outstanding highlights, including the effectively layered NO MORE SUFFERING with its great interplay of synth lines, guitar and backing vocals, or the tough NAH DRAW NO BLOOD, or the jaunty, uplifting BELIEVE IN YOURSELF. All in all, HEALTHY LIFESTYLE is a tight, well rounded collection, definitely not one to miss.

Be sure to check out PHANTOM WAR, as well as the best of the 7" releases like NOTHING WITHOUT LOVE on the Ice Berg label, ANYTHING A ANYTHING for Tiger, and CRY NO MORE on the SPRITUAL WAR rhythm (a.k.a. Gyptian's massive SERIOUS TIMES).

RASTAFARI UNITY: Midnite's Vaughn Benjamin in combination with the great Lutan Fyah? Sounds too good to be true, but the US-based Lustre Kings outfit has pulled a real live reggae rabbit from their hat here with the RASTAFARI UNITY E.P. To be honest, STAY WITH HIS MAJESTY isn't the best thing I've heard from either artist, and the dubbed-up percussion track is a little overcooked for sure. Nonetheless, it's a strong team effort, and let's hope the first of many collaborations. Lutan Fyah returns for another combination, this time with Princess Menen and Khari Kill on the excellent WHY, WHY, WHY? The dub version is a real treat, too. Finally, Lustre Kings artist Jah Dan contributes the fine OUT A THE SLAUGHTER on I Grade's wicked LET LIVE rhythm - very nice tune!

Look out also for Lustre Kings' recently released RED RAZOR RIDDIM sampler, a follow up to last year's NEW DAY RIDDIM. RED RAZOR is a great, old fashioned reggae rhythm, and features an incredible artist roster, including more from Lutan Fyah and Vaughn Benjamin, as well as Norrisman, Marlon Asher, Freddie McGregor, Everton Blender, Ras Attitude, Luciano - and the list goes on.

It was a pretty long wait for Spanish Town's finest dj to finally touch down on an album. Fyah had been making a big name for himself for a few years, through, amongst other avenues, working with the fine Lustrekings Productions crew, and the height of that working has spawned one of the single best reggae debuts that you will EVER hear.

Fyah's style isn't anything you haven't heard before if you are a fan of roots reggae. He follows right along in the tried and tested methods of artist's like Sizzla Kalonji, Junior Kelly, Turbulence, Jah Mason etc. (although he's pretty much a pure dj), but the artist has undoubtedly distinguished himself through an abundance of vibes.

It was on a LKP project that I first heard him, their massive first release, the Culture Dem Vol. 1 album on which he did arguably the best tune on the disc, No More War, which is present on Time & Place and is amongst the very best here.
My choice for the absolute best track, however, is probably the massive Upliftment combination with Jah Dan. I will tell you that T&P is absolutely devoid of bad tracks, however, standouts include the opener combination with Yami Bolo, Fire in the Barn, the beautiful Speak Softly, Rise and Shine riding the single best riddim from LKP altogether, that riddim is huge! Also really love Ithio First which features bits of a speech by Marcus Mosiah Garvey himself; Streets of the Ghetto, Joy Within Myself. . .

I can pretty much recommend each and every tune on this album without exception, the album is HUGE! Absolutely put Lutan Fyah in with the emerging class of big young roots reggae artists. Such artists as Natty King, I Wayne (both also seeing their debuts in 2005), Turbulence, Warrior King, Jah Cure etc. are all artists who are stepping up to feel the Rasta chants, and to under no stipulations: Lutan Fyah is in that class of artist. Armed with this album (and a European album released just before this one which is also very very good) several big tunes in JA (including the as of this writing current big tune, Rasta Still Deh Bout with Josie Mel and Peace in Spanish Town) the future is blinding bright for one of the humblest and little known talents in Jamaica, big big things are in store.
AMAZING! GO GET IT!

this one is not for the ruffnecks. Lutan Fyah is like a teacher, all his songs are informing. I recommend the album for those who are into Rastafi, they should enjoy this concious albam.
my favourate songs are;you can do it; hound dog and natural herbs.

Meet my favorite 'new' artist! Richie Spice once sang there's a whole garage of rightwous youths, Lutan Fyah is without a doubt leaping ahead of the rest with his dedication and recent Sizzla/Luciano recording schedule. Healthy Lifestyle being (almost shockingly) just his 4th album release to date, Fyah is in the process of separating himself lyrically from nearly everyone in the ultra-crowded pack of young roots talent. The former baller is now armed with one of the deepest bags of lyrics seemingly this side of anyone not named Sizzla or Vaughn Benjamin in roots reggae.

Healthy Lifetsyle came as somewhat of a surprise to me especially when you consider that it is basically a combination between Fyah and the Xterminator label. An the X label had been on what had ammounted to a production hiatus (aside from the constantly busy Turbulence). The big man in charge, Fattis, picked an excellent artist to make his return with (now if someone could just wake up Bobo at Star Trail).

HL is definitely not the best work of Lutan Fyah, it fails to approach the almost imperial levels reached by sophomore and junior releases Time & Place and the awesome Phantom War, but he NEVER once fails to hit a certain level lyrically. Depending on Lutan for lyrics is about as sure of thing as depending on Bunji Garlin for hype!

The best tune here is probably the wonderfully full sounding opener, Thief in Jah Garden, which would have fitted somewhere perfectly on the stacked Phantom War. Thief is one of the most powerful tunes I've heard in awhile, yet it fails nicely in Fyah's range, it sounds like something only he could get across. Also check the excellent Rough in a Yard, which, as someone who moved back home this year, just hits the spot and it was the first tune here that had me focusing on every word.

Also check definitely the closing 3 tracks here, 3 of the best tunes on the entire album, particularly the scolding Naw Draw No Blood which find Fyah going Turbulence on you at times. Natural Herbs is the obligatory herb tune (guess they couldnt find Rounhead that morning) which is so laid back but sameway straight to the point that it becomes one of the better tunes on the album. The closer is the title track which sounds not like I'd expect it to, still continuing the bigger vibe from the previous tracks HL is just pure knowledge!

Overall, Healthy Lifestyle almost seems like an appetizer for a big meal (although the big meal was released before it in Phantom War), with just 11 tracks, you finally get going with it and its over! But definitely fantastic to see VP recognizing the younger and up and coming talent, I dont NEED a Sizzla or Luciano from them every single year (even though they're giving a Luciano next month), but just big big vibes and as Spice said, the selection is great. You wont pick one too much better than Lutan Fyah amongst them at all.

HEALTHY LIFESTYLE: Lutan Fyah has been a busy man in 2006. Apart from this, his first long-playing link-up with veteran producer Philip Burrell at Xterminator, he's put out the excellent PHANTOM WAR album for Greensleeves, as well as about ten thousand singles (only a slight exaggeration), and numerous one-off contributions like WHITEWASH WALLS for Blood & Fire's FISHERMAN project, and IF JAH IS FOR YOU for Lustre Kings' NEW DAY rhythm. You might expect this sort of schedule to impact the quality of the product, but in fact, Lutan Fyah, otherwise known as Anthony Martin, has gone from strength to strength, developing a very distinctive, immediately recognizable chanting style and accomplished writing skills, so that he can now be considered one of the major players in roots reggae, up there with the likes of Sizzla and Capleton and so on.

HEALTHY LIFESTYLE is another strong addition to the Lutan Fyah catalogue. What stands out to me - aside from the sharp songwriting and first class vocal performances, which are pretty much standard for this artist - is the very fine quality of the musical production. Of course, you'd expect no less from legendary collaborators like Sly Dunbar and Donald Dennis, but it has to be said that the Xterminator camp has turned out some pretty average material over the past couple of years. That's not the case with HEALTHY LIFESTYLE though. Check out the bare-bones NAH DRAW NUH BLOOD with its menacing marimba-style backing, or the classic, rich reggae sounds of THIEF IN JAH GARDEN and ROUGH A YARD. Overall, HEALTHY LIFESTYLE probably isn't quite as consistently brilliant as PHANTOM WAR - which was sourced from various producers - but there are still several outstanding highlights, including the effectively layered NO MORE SUFFERING with its great interplay of synth lines, guitar and backing vocals, or the tough NAH DRAW NO BLOOD, or the jaunty, uplifting BELIEVE IN YOURSELF. All in all, HEALTHY LIFESTYLE is a tight, well rounded collection, definitely not one to miss.

Be sure to check out PHANTOM WAR, as well as the best of the 7" releases like NOTHING WITHOUT LOVE on the Ice Berg label, ANYTHING A ANYTHING for Tiger, and CRY NO MORE on the SPRITUAL WAR rhythm (a.k.a. Gyptian's massive SERIOUS TIMES).

YOU BRING BLESSINGS: There's not much I can really add to Bramoi's comprehensive review, but I will definitely agree that Lutan Fyah has very quickly achieved top billing on Jamaica's ever expanding roster of young roots reggae singers. YOU BRING BLESSINGS is the latest showcase for In The Streetz producer Byron Murray's impressive catalogue of roots rhythms, joining Norris Man's HOME & AWAY, Jah Mason's WHEAT & TEARS and Luciano's CHILD OF A KING - all recommended releases. For Lutan Fyah, last year's HEALTHY LIFESTYLE (for Xterminator) and especially the massive PHANTOM WAR (a Greensleeves release), were always going to be hard acts to follow, but BLESSINGS definitely doesn't disappoint. What distiniguishes this latest release for me - apart from Murray's excellent production work - is the inclusion of four first class lovers numbers from an artist whose very best work has leaned more often on cultural themes. NO MORE PILLOW TALK on the nice, piano accented FREE LIFE rhythm is perhaps the best of the lot, but SPEND SOME TIME and YOU BRING BLESSINGS are also great selections , as is SHE'S MY SUNSHINE on Katrina Irons' well travelled FYAH rhythm (and the only non-Murray production featured here). Other standouts include the excellent opener DESIRE TO GET HIGHER, as well as SO MUCH GUNS IN THE CITY, STAND IN MY WAY on the sombre MOBAY rhythm, and the bubbling NEVER GET ENOUGH. All in all though, there's no weak link here, and BLESSINGS just might be Lutan Fyah's most consistent full-length release to date - perhaps even a half-notch better than PHANTOM WAR in my book, certainly the first must-have release of the new year and a very early runner for the 2007 top ten lists.

(4.5stars)
The current new class of roots reggae gets more and more impressive by the day, seeming to endlessly add another remarkable talent to the bunch, making it, arguably, the finest young group of roots talent in a very long time here. Names such as Turbulence, I-Wayne, the lethal Jah Cure and Natty King figure to at some point in the future take up the reins for such artists as Capleton, Luciano, Sizzla Kalonji and Anthony B. Mixed firmly into that mix of youths to come, and arguably at the head of the class is Spanish Town native Lutan Fyah. Where Jah Cure boasts his earth shattering voice and I-Wayne manages to combine his seemingly never ending passion for righteousness into a sickly heavy bundle of vibes, Lutan Fyah's 'hidden talent' is boasting one of the deepest bag of lyrics you'll find anywhere in reggae music over the past 20 years or so.

I first became aware of the former football standout actually while I was living in the states and he had voiced some material for California's excellent Lustrekings outfit (including one of my all-time Fyah favorites to this day, No More War), and had then set out seeking more material and possibly and album from Fyah. Although he is critiqued by some because of his melodies (which honestly isnt his strongest point), one listen to a song will tell you IMMEDIATELY that this whole lyrics thing isn't too much of a problem for Fyah at all. The debut album came in late 2004, Dem No Know Demself, and was immediately followed by the Lustrekings album, Time & Place.

And now, 3 albums later appears You Bring Blessings from UK based Cousins. The label, which was responsible for last year's excellent and overlooked Leave the Collie Alone from veteran singer Tony Curtis, and has released albums for such veteran vocal names liek Michael Rose, Al Campbell and the excellent Richie Davis (with the superb Nubian Woman) is continuing in recording the newer artists to nice effect. You Bring Blessings comes on the heels of an excellent 2006 for Fyah which saw him release not only the excellent Healthy Lifestyle on his VP debut, but my choice for 2006's reggae album of the year, Phantom War for Greensleeves, as well.

'Blessings' is probably best described as a half step below combination of the vibes of Time & Place & Phantom War, which is definitely not a bad combination to be linked to. The album also finds album producer extrordinaire of the moment, Byron Murray from In the Streetz hooking up with Fyah. Thus, if you happened to catch 2006's Home & Away from Norrisman, Child of a King from Luciano or Wheat & Tears from Jah Mason (or just happen to be a big reggae fan) many of these riddims will be familiar to you, but of course still up to date and hearing Fyah on a session with them is very impressive still (and I'm happy Cousins picked it up, but I imagine Greensleeves would have done the same if they intend on a 2007 album for Fyah). Both Fyah and Murray's reputations continue to grow, so an album just seems like the next big thing from the two (and I wanna see a In The Streetz Sizzla album this year too!)

The best tune on You Bring Blessings is probably the absolutely delightful opener, Desire to get Higher. The world class vibes built on top of a lovely nyah drum backed riddim is more than an excellent way to start off the album and the new year and I'm almost a little 'upset' that it didn't make it on the LOADED Phantom War. Curiously enough, Phantom War contained NO Murray productions, all to the benefit of Blessings! Go along in that same vibes and check the excellent title track over the Desperate Lover riddim, which is just a fine fine track, I remember hearing the riddim for the 1st time (I believe on Norrisman's Feelings Deep Within) and thinking about the possibilities it could have, and You Bring Blessings definitely builds finely on that vibes.

Also definitely worth checking is the wonderful Never Stop Hail Rastafari over the enchanting and HUGE Street Swing riddim. The song is definitely one of my favorites from Fyah altogether and again, would have fit lovely on the Phantom War album, but I digress. I dont think I've ever actually heard a Fyah tune which I thought was BAD, and this album is no different, as its completely brimming with nice vibes. Check Stand in My Way over the minimalistically beautiful Mobay riddim; the two relationship tunes in the middle of the album, the stronger of which is She's My Sunshine over the Million riddim and followed by the still strong No More Pillow Talk over the nice Free Life riddim as well.

Also present is the obligatory After All, the combination between Fyah and Norrisman which is on Norrisman's album Home & Away as well, still a well strong track closing the album out; And I'd be doing you a disservice to not mention the superb Never Get Enough!

Overall, definitely recommending You Bring Blessings by Lutan Fyah, with an excellent way to kick off the new year. The album is pretty much everything you've come to expect from both artist and producer. And to that reggaehead out there, just be honest, you were listening to Mason's and Norrisman's album thinking Fyah would be excellent over some of the same riddims! I know I was, You Bring Blessings definitely doesn't disappoint and doesn't fall too short of the absolute best work of Lutan Fyah's career.

And just to add on, EARLY 2007 is vibing nicely NO? With 3 albums ALREADY out from Fyah, Turbulence and Norrisman (Captura), Midnite dropping their obligatory 3 January albums again and Richie Spice to drop a boomshot next month, its an excellent time to be a fan of the music.

I bought this CD because I found it somewhere for cheap. It is easily one of the best culture CD's I have purchased! Lutan Fyah rides each riddim perfectly, and his delivery is right on point. Every single track on this album is GOOD! If I had to pick a favorite it would be between "We Nuh Gangsta" where he gives you straight attributes of rastafari. Or "Mother Earth Healing" tellin you about the Ital livity. To sum it up, Buy da cd rasta!!
Give thanks for life, Keep the faith, Remember the Sabbath
Prophet, Priest, & King
Holy Emmanuel I Selassie I Jah Rastafari!!
Selah

PHANTOM WAR: This Greensleeves release is Lutan Fyah's third long-player, following DEM NO KNOW DEMSELF for the Minor7Flat5 label, and TIME & PLACE for the US-based Lustre Kings outfit. PHANTOM WAR collects nineteen sides recorded for various producers in Jamaica and elsewhere, including BITS & PIECES, which was one of several cuts on Pow Pow's BLAZE rhythm (alongside Richie Spice's massive BLOOD AGAIN), and the hit combination with singer Josie Mel, RASTA STILL DEH BOUT, which really tore up the reggae charts last year. Overall, this is a very solid collection that hits several sizzling highlights, and includes a nice blend of both cultural and lovers numbers. Best of the rootswise material is the excellent STILL DEH DEH, featuring a magnificent - and uncredited - performance from singer Mark Wonder, as well as the moving SCREAMING on Kemar McGregor's TRIUMPHANT rhythm, and the concious THIS FIRE, which seems to employ a slightly revamped version of the rhythm used for I Wayne's READY FE LIVE UP. Lutan Fyah handles the lovers themes just as convincingly, especially on U LEFT ME and RICH LITTLE GHETTO GIRL, demonstrating that he can move with ease between cultural concerns and romantic rumination.

In addition, PHANTOM WAR includes video footage for RASTA STILL DEH BOUT, as well as a quality liner with nice photos and proper musicians, engineers and producers credits; a classy package, all in all.

That Lutan Fyah and the various producers involved effectively maintain quality control over an extensive nineteen track play list is of enormous credit to everyone involved, not forgetting the UK-based Greensleeves label, whose releases have previously been directed almost exclusively toward the dancehall market. PHANTOM WAR is a massive success, and I can only offer the highest recommendation - this is the best roots and culture reggae album so far in 2006, hands down.

Call me biased if you want to.

I first heard of Lutan Fyah abou 3-4 years ago on a great Lustre Kings compilation called Culture Dem. His tune was called No More War and there were a ton of artist on the album that I hadn't heard of and some of them, to this day I don't know what became of them (i.e. Shadrach) but there was something that set him apart from the rest of the young artists on the compilation. His tune had a 'finished' feel to it that even some of the more established artist didn't have on that riddim, No More War was excellent.

Apparently the people at Lustre Kings felt the same way about the artist as they released his first (US) album, Time & Place and it was a big big album, and it showed (along with his official debut, Dem No Know Demself) that he had more than enough vibes and lyrics to go throughout an entire album and carry it. Lutan Fyah is full of talent and he's at a point at his career where he's either going to fall into the category of artists such as Junior Kelly and Jah Mason where he'll make great music, have the occasional big hit and be continuously be appreciated for it on some level, but never make it to the big stage of such artists as Sizzla, Capleton, Luciano and Anthony B, or he can set himselfup to fall into that category of truly massive artists.

If its based on talent alone (and its not) then he'll fit into the latter category. Phantom War is downright awesome! I don't know who woke up at Greensleeves over the last year that realized that people were calling more for real roots music over the continuous head-knocking dancehall that made up 99.9% of their releases and that roots artists, outside of the obligatory annual Sizzla release could sale to the reggae massive and prove profitable, luckily they chose to involve Fyah early in that eqaution, and they've proved to be whole-heartedly more reliable in releasing roots projects over their typical 'coming soon' dancehall schedule.

Phantom War has 19 music tracks on it, and one video track, they are all worth listening to and I don't know how I'm going to deem one the best of them all. The way GS presents the album is also a big thing, nice and simple, but powerful cover and the liner pictures are nice as well, always been GS' strength to make the project look well done, regardless of the music itself.

Big songs here are plentiful, check Wi Nah Gangsta, big big song dismissing the flashier and more 'viable' gunman lifestyle of the gangsta for the more clean Rastaman lifestyle. The tune shows more of Fyah's normal dj style, but he leaps in and out of flat djaying, singing and full on chanting. The big song here (and the reason why I think GS checked him for this album) was Rasta Still deh Bout with Josie Mel (also on Mel's album of the same name) the song might be my favorite on the album, but I'm very accustomed to playing it regularly, big big tune. Also check the title track here, the powerful Phantom War explains whats going on and who the real enemy really is. And its interesting, Fyah has much more of a story-telling style in that he won't just drop and rely on the methods of some of his Rasta peers where you'll say nothing but cliches, and ultimately resort to the punchline of "Emperor Selassie IIIIIIIIIIIII", the man, lyrically has truly studied his craft.

What I am calling the best tune here is Wipe Those Tears. I loved that tune from the first time that I heard it, late last year, its a really really poignant tune and it works works works! Also love Mother Earth's Healing; LOOOOOVE Screaming For the Poor over that big Triumphant riddim, have yet to hear a bad tune on it, Fyah does an excellent job. Poor Little Rich Girl, This Fire, U Left Me. . .

Still Deh Deh! Love that tune! Turbulent Time, Snares of Death! What can I say, its full of big big tunes. This is the album that should show everyone what Fyah is capable of, been listening for a few years and still he gets better. AND, check the video, worth watching as well.

Overall, this one is almost madatory. This is the groundfloor for an excellent career. Ultimately, I think Fyah may maintain an Anthony B like position in that he won't be the one closing the big shows, but just as popular and more consistent than his peers (in his case we'll be looking at Turbulence, Fantan Mojah and probably Jah Cure as the dominant singer), just take a listen to Phantom War, from a purely lyrical standpoint, you won't find too many better in or out of JA.
AMAZING! GO GET IT!