6 MUSIC REVIEWS Another revolutionary Marley By ERIC SANDERS Daily Titan Staff
If ever there was an omen in the coming of an iconoclastic son, it would be no clearer than in the return of Damian “Jr. Gong” Marley, with his fourth album, Welcome to Jamrock. After winning a Grammy in 2001 for best reggae album, the new release brings Damian Marley back to the forefront of the music world. Welcome to Jamrock promises to follow the same path, debuting at No. 7 on The Billboard Top 200 Albums Chart, making it the biggest opening week for a reggae artist. Damian is the youngest seed of the royal-reggae-family-tree called Marley, but if people expect a modern day polished up version of his father, they will be sadly mistaken. Damian Marley’s music is a mixture between the classic island sounds
of his Jamaican homeland, and the hardcore street poetry of hip-hop – which is seen in his militantminded lyricism, sharp enough to test the most gifted of emcees. His heavy Jamaican flow weaves his words seamlessly throughout the album with unpredictable styles of hip-hop, reggae and dancehall, effortlessly and can only be described as a gift to his listeners. Damian and his brother, Stephan Marley, produced all but two songs the album. The well arranged tracks show off the diverse musical talents of the duo, with songs ranging from melodic easy-skanking-reggae-riffs to hard-pounding, neck-breaking rebel-beats. The guest list of artists stays true to the hip-hop and reggae theme, with names like Nas, Black Thought, Eek-A-Mouse and Bounty Killer, to keep both sides of the spectrum happy. Also featured is a
rare musical appearance by Bobby Brown, who dusted off his mike to throw down some vocals on a saxlaced love ballad. The album opens up with the track “Confrontation,” which is less like a song, and more like a call to arms. With a war-like drumbeat interlaced with sound bites of Marcus Garvey’s emphatic plea for action, the energy of the song makes one feel as if marching with thousands of irie rebels ready to clash at the first sign of authority seeking to oppress them. The title track and first single, “Welcome to Jamrock,” is a description of the Jamaican street culture and youth, which displays the conscious lyrical skills of Damian Marley. “Come on let’s face it / A ghetto education’s basic / And most of the youths them waste it / And when them waste it, that’s when them take the guns replace
it / Then them don’t stand a chance at all!” A more dramatic song, titled “Pimpa’s Paradise,” features Stephen Marley and Black Thought of the Roots. Stephen Marley sings the chorus in a raspy elegance reminiscent of his dad, while Damian and Black Thought paint a deep poetic portrait of a girl who falls into a dark TUFF GONG INTERNATIONAL despair of drug addiction. The highlight of the album Marley remains unique in his new album. is in the calm and peaceful track named “Road to Zion.” This album is a testament to the The song guest stars Nas, who power that music can have in our adds his own introspective flow to culture. With his sentimental melothe collaboration. dies and political content, Damian The soothing humming of a fe- Marley is the prodigal son who will male vocalist mixed with the sounds make all who listen nod their heads, of whaling winds, soft piano strides pump their fists and praise Jah for and gentle guitar plucks, take the the revolutionary bloodline that is listener on a journey. Marley.
Flashback Favorite
No doubts about band’s legacy By ASHLEY MAJESKI Daily Titan Staff
October 10, 1995: It was a day of intense emotion for a band from Anaheim. No Doubt released its third album that day, and half expected it to fail like their previous two albums did in the midst of a grunge revolution. However, the flannel shirts and greasy hair of grunge were waning, making room for a sunny, fun ska-punk album that would go on to become one of the best selling records of the 1990s. It’s hard to believe that it’s been ten years since Tragic Kingdom was released. The songs ranged from girl-power anthems such as “Just a Girl” and “Sunday Morning” to break up ballads like “Don’t Speak,” (which still in-
spires bad karaoke renditions). I can still remember my first sighting of Gwen Stefani. I was in 7th grade and mesmerized by the “Just a Girl” video as she jumped around in her midriff-baring top, blond bangs and Dr. Martens. Surrounded by guys, Gwen was tough, but still glamorous. As the band’s popularity grew, every girl in junior high wanted to be Gwen. At every talent show, the sounds of “Spiderwebs” or “Excuse Me Mister” were accompanied by a badly choreographed dance with equally bad “Gwenabe” costumes. Girls could relate to not only her lyrics about breakups and her frustrations with being a girl, but also her funky fashion sense. Tragic Kingdom went on to sell over 10 million albums world-
wide and could be heard blaring out of every pre-teen’s bedroom window from the years of 1995 to 1998. No Doubt went on to release three more albums after Tragic Kingdom, but none matched its commercial success. The band is still in the spotlight today, having released a greatest hits album last year. Gwen has also launched a successful solo career, with her first album going certified platinum. The songs on Tragic Kingdom are still great tunes to listen to while getting ready to go out, or when you just want to be transformed to the carefree days of 1995, before Gwen was a “Hollaback Girl” and stick-on bindis weren’t available in malls across America.
