Record of 1998

IT'S NOT UNUSUAL

RICHIE STEPHENS

(STUDIO 2000)

1998 was, in retrospect, a vintage year. Practically all reggae tastes were satisfied by the 7" vinyl output from Jamaica .

Hardcore dancehall followers were given exciting, often innovative, hits from most of the usual suspects: Beenie Man, for instance, had a year of hit after hit, in particular Let him Go (Juvenile), Bookshelf (K..Licious), Year 4 (Studio 2000), Conquer the Dragon (Penthouse), Hypocrite (Xtra Large) and Ole Taker (Fat Eyes). While his old rival, Bounty Killer, held his own in fine style with strong tunes like War Lord (Opera House), Eagle & the Hawk, Can't Believe Mi Eye, Anytime (all on Xtra Large) and Mr Wanna Be (Fat Eyes). A younger, less serious, take on the dancehall vibe was presented by Mr Vegas, most notably with Heads High (Juvenile), which took a mere 18 months to cross over into the UK pop charts.

Roots fans with more traditional values in mind had nothing to grumble about either. Luciano's wonderful version of John Holt's Stealing Stealing rhythm, Ulterior Motive (Xterminator), still ranks as among his most arresting, and Morgan Heritage scored with their self-produced magnum opus Liberation (HMG), as well as the finest of the many versions of Black Uhuru's King Selassie in circulation, Things Out A Hand (Jammy$). Then, Ini Kamoze hot stepped forward with Kingstock, another example of his always very original mixing of dancehall and roots stylings that owe virtually nothing to anyone else's music. And making sure no-one forgot the purifying qualities of fire were important discs from Capleton, and Sizzla, including Witness (African Star), Jah Jah City (HMG) Who I Am (Henfield) and Statement (Stone Love) from the former, and Real Till It Some More, Babylon Homework (all Xterminator), Trust & Love and Pull the Resources (both Digital B) from the latter,

All the tunes mentioned above were serious contenders for the record of 1998, and there's no denying their very real qualities. Each is, in its own way, deserves classic status. Yet my personal choice falls into none of the above categories, but that often under-appreciated facet of contemporary reggae: the Jamaican cover - or do-over - of a foreign pop hit.

Richie Stephens's entire vocal approach can seem something of an anachronism: he employs a mature, big-voice in the tradition of vintage US balladeers such as Billy Eckstine, Brook Benton and Arthur Prysock. His own productions, appearing on the Pot Of Gold imprint, feature catchy, commercial rhythms, and very often have their biggest dancehall hit with a cut from the talented deejay General Degree.

But though a producer with an impressive and original style of his own, here Stephens puts himself into the capable hands of Steely & Clevie, who wisely chose to support the 1960s Tom Jones hit with an up-to-date rhythm that was pure dancehall. The "Sniper" rhyhm was also given a seeing to by Richie's old pal General Degree, as well as Elephant Man, Buccaneer and Alley Cat.

Whether everyone at Studio 2000 was having a huge laugh, or was deadly serious, remains a moot point. But it's certainly a tune that bears comparison with Horace Andy's interpretation of "Delilah", and would only have needed the right radio deejay in the UK to have picked up on it for Mr. Stephens to have tasted the international pop success enjoyed by Jones the Voice.