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Roaring Lion (Xterminator, 1998) Note: This Roaring Lion is not the same as the Roaring Lion who helped spread the popularity of calypso throughout the 1930s, 40s, and 50s. This Roaring Lion is a gravel-voiced dancehall DJ who, guided by super-producer Philip "Fattis" Burrell, debuts with this promising yet ultimately unoriginal set. If you hear Roaring Lion but don't know who the artist is, you may guess you're listening to Jigsy King, Terror Fabulous, Mad Lion (without the hip-hop beats), etc. because his gruff voice, rugged style, and sing-songy choruses sound so familiar. Indeed, this is a nice style to have, but it won't blow anyone away. The aspect that actually makes him stand out a bit is that despite his rough sound, his lyrics are conscious and cultural. Burrell meanwhile doesn't deliver any killer rhythms -- they are generally simple and unassuming in an old school sort of way -- but like Roaring Lion, he does a competent job, his slow, heavy dancehall beats matching the DJ's vocal stylings. The first 6 tracks here are all fairly enjoyable -- catchy enough to stick with you -- but after that, Burrell starts to throw in more danceable, up-tempo rhythms, and Roaring Lion himself gets rid of his gravelly edge -- even half-singing on "Selassie a God." Thus, Roaring Lion goes from merely derivative to downright generic. Still, half of a good album is better than all of a bad album. |
| Track Listing 1. Jah Earth Is Calling 2. Rivers to Cross 3. Mama & Papa Works 4. Xterminate 5. Water Is Life 6. Will There Be Peace 7. What's Going On? 8. Judgement 9. Selassie a God 10. Saw Them 11. Babylon Burn Down |
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Roaring (Xterminator, 1999)
Dropping the "Roaring" from his name (presumably to avoid confusion with seminal calypso artist Roaring Lion), Lion adds the word to the title of this his sophomore album, I suppose to assure listeners that he is still "roaring." Indeed, this album finds "The Artist Formerly Known As Roaring Lion" putting forth much the same sound and style as he did on his debut -- with a marked improvement in material. One of Lion's biggest problems is that he has not established a unique enough style to separate himself from fellow gravelly-voiced conscious DJs like Buju Banton and Sizzla. Of course, establishing a unique sound wouldn't be such a priority if he would put out a killer album; the quality of the material alone would establish him as a force. That said, Roaring goes a long way to doing just that, as it approaches the quality and consistency of Buju Banton's Til Shiloh and Sizzla's Black Woman & Child. Any dancehall fan should find enjoyment here, particularly in the cuts "Home" -- which is rather Sizzla-like with its sing-songy chorus -- the funky "Ones That Are Close," and the ultra-funky hip-hop reggae jam "Non Shall Escape." Lion again benefits from the steady-handed production skills of "Fattis" Burrell, who, though he doesn't go all out, provides enough treats here to appease the palate. The recycled yet effective beats on "Helping Hand" and "Run Dem Away" and the simple, kinetic riddim of "Show the Youths the Rights" just might be enough for Lion to claw his way to the top.
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