Sizzla - "Care For The People"

David Rodigan's radio program has only been discussed here once. The results were filled to the brim with negativity. Truth be told, though, I have nothing against the man. If anything, my respect and admiration is unfamiliar with bounds (geography and legality aside). My exposure to the man's body of work is going on approximately a year, however, the adoration Rodigan has for his music of choice is evident. The passion the man brings is what makes his expertise so simultaneously unpretentious and enjoyable. Rodigan's name and tenure at KISS comes up in Dick Hebdige's Cut 'n' Mix, but his FACT mix acts just as formidably where introductions are concerned.

Now, whether or not "Care for the People," qualifies as a scorcher is not a my decision to make. I genuinely lack the qualifications, and  moreover the metrics for this grading system are obscure; weird considering its Pass/Fail vibe. Perhaps the qualities elevating any given track to "scorcher" status are purely subjective. At any rate, my recommendation is that all buffet-related jokes be used....now. The reasons for this will soon become clear because...

...the new Sizzla is worthy of bowl after bowl of attention, along with multiple trips for extra green from the salad bar. Primarily associated with dancehall, "Care for the People" (part of a compilation put out by Dub Tone Records) stands out for its rootsiness. Produced and mastered with a heavy bass by London's Tim Dub, in  track's sensation is that of a traditional reggae outfit with nothing more than back up singers and a meager brass section keeping the chicken-scratch guitar company, lest the Mood inbetwixt the chorus is ignored. The lyrics, beginning with a declarative statement - "There are the days, of great tribulation" - are sung rather than toasted; a lyric sheet is non-essential. A novel message is sent - evil's seeds are planted with ill intent, not due to inherent lack of morals - but Sizzla's range in delivery provides the track's central monument. Three verses are presented and no two bear much resemblance as far as style is concerned; first is the inviting vibrato of a storyteller, second the attitude of a rapper, and third combining the first two as the instrumentation strips down to just a rhythm section. As the oddly placed bridge brings the song towards a natural conclusion, and a final chorus, it becomes clear: simply put, this is a very good song.

- John Noggle