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RAS SHILOH & OSSIE DELLIMORE
August 2, 1998
Lion's Den
New York City
Ten
dollars doesn't go very far--perhaps buying subway fare and a junky meal
at a fast food joint. But on a recent Sunday summer's eve, it bought admission
to a show at The Lion's Den featuring Twin Sound's selectors, singer Jerry
Reuben, and two of reggae's young lions, Ras Shiloh and Ossie Dellimore.
During his set, Dellimore said he aimed to provide "food for the soul."
In truth, the show was a musical feast. Dellimore and Shiloh, conscious
and charismatic performers following parallel musical paths, served up soul
food, Rasta style. Though they (and their superb bands) differ stylistically,
they complemented one another, and their sets emphasized how truly soulful
and sustaining reggae can be.Singer Jerry Reuben opened the show singing a spirited, Marleyesque "Crazy Baldheads." Next came Ossie Dellimore. His voice--though richer--recalls Peter Tosh's. And he's a natural; a gifted writer of impassioned messages with memorable hooks, as well as a striking performer--tall, with dancing dark eyes, flashing dreads, and an exciting stage presence. But as any good cook knows, just because you've got all the ingredients, doesn't mean you can bake a cake. There are plenty of talented young performers, but those who succeed take their God-given "ingredients" and add lots of hard work. While established stars have an on-stage advantage--familiar songs that audiences immediately recognize--rising performers have a tougher task: introducing themselves, their music and making an impact. Dellimore--who already has established a solid fan base--was more than equal to that task. Resplendent in a long golden tunic and pants, he moved like a graceful cat, took command of the stage, and won the audience over with his soulful voice, lyrics, and melodies. Dellimore's voice has power, but it also has a kind of worldly wisdom. His band, the Soldiers of Justice (which shares many members with the Easy Star All-Stars), complemented his power with a gutsy, rootical sound and original new riddims. The Soldiers--Digital on drums, Michael G. on guitar, Noah on bass, Ticklah on keyboards and Frantz on percussion--with the Solomon Sisters singing backup not only recall Tosh's classic grooves, but honor the foundation sounds of the Roots Radics and High Times bands.
Ossie opened with "To The Limit," his rocking statement of conscience. Incredibly, he had to compete with videos being screened stage left. But by the time he sang his single "Time Has Come," (released by Easy Star on their compilation CD), the videos halted. This song's lyrics and riddim are memorable--you can't get them out of your head. Later, Dellimore chanted down Babylon in a riddim, delivering "Rocker Reggae," followed by the wicked boomshot, "Fire Man." With that tune, he burned down Rome and ignited the massive. And since he'd already started the fire, Ossie proceeded to light up the house with his last number, Tosh's "Legalize It," complete with dramatizations, reasonings, and a request to reason with New York's chief Babylonian, Mayor Giuliani, about legalization. While that wish is bound to go unheeded, the delighted massive listened, loved it and cheered.
Next, a turbaned Ras Shiloh made his way on-stage, carrying his decorated staff, wearing jeans, a tee bearing Selassie's image and a plaid shirt. He'd come to celebrate his new solo CD, "Babylon You Doom" (Shiloh B Records). Derek fittingly introduced him as a conscious youth carrying on Garnett Silk's legacy. Then Shiloh sang "Slavery." As powerful as this tune and video are, nothing prepared this reviewer for the crowd's response. Brothers and sisters who'd been meditatively enjoying the show rose and danced--the floor literally shook beneath their feet. Then, pon the same riddim, Shiloh sang Silk's "Love Is The Answer," and his soaring tenor seemed to reach to the heavens. Next came the beautiful "Child of a Slave," with its infectious riddim, and "Doom," the strong title track from the new CD.
In the past, Shiloh has performed with an almost possessed fervor. Now, he seems to have tempered his energy to positive effect. He's sung of staying humble--"not getting swell-headed yet." That seems likely; he still has a babyface, and when he speaks, he speaks softly. Sometimes, he sang in the shadows off to the side, allowing his excellent band, the Kingston Crew, and two sisters singing backup to shine. In contrast to Ossie's Soldiers of Justice, Shiloh's group played classic riddims. But this wasn't a band clash, it was a satisfying late night buffet of new and old. And, off to the side, blending into the crowd rather than hurriedly leaving after his set, Ossie watched in support of his bredren.
With the emergence of so many conscious young singers and deejays, the time has come for a real roots revival. The major labels should stop their continual search for the next Marley, and take their cue from the smaller labels who're nurturing and promoting this crop of rising stars--men like Anthony B, Sizzla, Nasio Fontaine, Ras Shiloh, Ossie Dellimore and Jah Cure. In Shiloh and Dellimore, roots reggae has two potent performers whose styles honor their elders while creating fresh musical vibes.
Toward the end of his set, Shiloh sang "Are You Satisfied?" It's safe to say the gathered crowd was satisfied. We'd been treated to performances by wonderful bands, selectors, singers and two very talented, conscious artists who served up ital soul food all evening long.
By Judy Hecker
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::
Sanchez :: Sugar Minott Dec 3, 2002 New York City ::
Jr Kelly ::
Frankie Paul ::
Sugar
Minott ::
The Meditations
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