El Shaddai (Penthouse, 1998)

Cultural singer Jahmali could be described as part Yami Bolo, part Garnett Silk, and part Morgan Heritage (especially on "Cry People"), but with a distinct style all his own.  Part of this style is, frankly, a crossover edge.  Whether it be the dance beat of "Babylon" or the oh-so-catchy hook of "21st Century," Jahmali's material teeters on the brink of fluffiness, but never falls over, as each song manages to balance any mainstream tendencies with cultural lyrics, powerful vocals, righteous rhythms, and irresistible melodies (thus making these songs not guilty pleasures, but simply pleasures).  It's a wonder that Jahmali has yet to make it big, since his sound should appeal to both listeners who enjoy light, pop-tinged reggae and those who prefer more cultural acts.  He epitomizes the balance between being cultural and being "catchy."  Practically every one of the 14 songs on El Shaddai have a light, infectious, "hummable" melody, yet virtually all are conscious, righteous, modern roots (I don't mean to make it sound like there's a bunch of dance/hip-hop beats throughout, because there aren't.).  It's like crossing Maxi Priest with The Abyssinians.  There are a few dancehall and lovers-oriented tunes, but the predominant sound is modern (often digital) roots, and more hardcore roots fans should certainly enjoy numbers like "Hungry People," "Real Issues," and the airy classic title track (How were none of these songs never included on any Reggae Greats or Strictly the Best volumes?).  The more dancehall-styled "Politics" and the two lovers rock songs "Conscious Lover" and "Don't Blame It on Me" are also quite good, as is almost every cut on El Shaddai.