Interestingly, eventually one tends to find one’s specific preferences within a music genre as an art form, as a very personal matter of taste.
Of course it relates to, besides one’s (cultural) background, also to highly individual trajectories through life, different conflicting influences, lifestyle, temperament, traumas, attitude, friends.. all factors probably influencing music tastes of persons, even within one genre.
In my experience, also within Reggae this is the case. There are, to be sure, examples of broadly shared appreciation - by different people - for certain songs or artists due to mere quality – the bigger “club” hits – of a catchy nature, typically. I Feel Good by Beres Hammond, is such a quite recent “Reggae club hit” appealing to many, Tarrus Riley’s Gimme Likkle One Drop, perhaps another example, of such hits.
As for me, personally, I seemed soon to prefer somewhat “rawer” Rootsy 1970s Reggae, with a “folksy” feel and call-and-response/harmony vocals, drawing me to Rootsy Reggae bands like Culture, the Itals, the Abyssinians, Israel Vibration, and the Wailing Souls. Also I could appreciate “soulful”, but equally Rootsy artists and good singers, like Ijahman Levi or Hugh Mundell. I seemed to avoid “too poppy” or cross-over Reggae, for some reason.. Dennis Brown, Jacob Miller, or Peter Tosh, might have had some “pop” appeal, but were still on the right “Rootsy” side, according to me.
A band like Third World, on the other hand, I deemed too “commercial”, too “mainstream” or “cross-over” for my taste. The same seemed to me to apply to Chalice, of which I vaguely heard its cross-over efforts.
PERCEPTION
The problem is only that I am not quite sure whether this perception was due to my own impartial listening experience, or that I was influenced too much by convincing-sounding writers or speakers about Reggae, even before the Internet (I had some encyclopedia-like books about reggae), and so was maybe “led” - or misled? - toward rejection.
I think it was – as for others, I imagine – a matter of both. I like original, popular folk culture, and adapting or modernizing a sound to please foreign, external audiences felt akin to “lying” or insincerity to me, not fitting my straight-forward character.
Before I delve into too much self-congratulation or –praise, I must also admit, that of bands like Third World or Chalice (and other a bit more commercial Reggae bands like Matumbi, Aswad, Inner Circle, etc.) I have mainly “heard” from others – Roots Reggae purists – that they were more commercial and not as real as “sufferers” Reggae from poor areas, from people like Culture, the Mighty Diamonds, the Wailing Souls – with also stronger Rastafari and rebellious messages. These latter “kept it (more) real”, so to speak.
MIDDLE-CLASS
In the case of Third World, in Reggae encyclopedias or other writings, often is alluded to their wealthier, “middle-class” background (with even the son of a politician as member), differing from the other lower-class, “ghetto” Reggae musicians. Less folksy and “earthy” therefore, presumably, and also more internationally minded, including therefore more modern jazzy and Western aspects on a Reggae base, in Third World’s music.
Something similar occurred with Chalice, only their background is more “rural” than Kingstonian, urban Third World, as Chalice formed in the small town Gibraltar Hill in the parish of St Mary. Their modernizing tendency with synthesizers, and often “light” themes in their lyrics (though not without Rasta references), nonetheless smelled like seeking commercial “pop appeal” toward a cross-over audience.
Still.. a good song is a good song, and skilled musicianship is skilled musicianship. Okay, maybe you have to suffer more in your life to gain more “soul” in your vocals and art – that seems psychologically sensible to me – and from a more well-off, wealthier family you are more protected, thus “hurt” less.
As James Brown once said: “soul” can be resumed in one word: “can’t” (cannot).. Poor or suffering people’s music has therefore almost by definition more “soul”.
All true, but to a point. Every individual is different, and artists tend to be free and original thinkers, often able to look beyond their class background, or even their relative privileges.
CHALICE AND DESI
I got to think about how Chalice did not get my attention as much as Reggae fan, because I heard of the recent sad passing of Desi Jones (at 65), a drummer and founding member of Chalice, later drumming for other artists (like Bob Andy and Mutabaruka) and forming another band Skool. Quite suddenly and unexpected this loss and passing away of Desi Jones, also for ones close to him, some reacting shocked.
I saw some instructional films, e.g. on “straight” and “swing” feels in Reggae drumming, by him, that I found educational (I am a percussionist, but am occasionally “trap” drumming on a kit). A skilled drummer Desi Jones (Chalice member) was for sure, anyhow.
I knew a few songs by Chalice, like Good To Be There and Dangerous Disturbances, both “mellow”, nice, and let’s say “accessible” songs, that I kind of liked. It’s been a while since I heard these songs, though.
It confronted myself with an aspect I accuse others sometimes of, and thus with required self-reflection.
SONG RECEPTION
I have released some songs of mine (written, composed and played) officially (also recently), and these were, well, listened to by some, but (initially) ignored by many. I suspected therefore that some mix personal sympathy with wanting to listen to someone’s songs: people really can’t listen to a song impartially, unbiased. Not fully, I think.
“Race” and “ethnicity” can play a role, as a White, European person in e.g. Reggae (or Rap) might meet some initial scepsis as either – a possible - “wannabe”, “fake”, or intruding “culture vulture”. Besides race, also other "looks" or traits may people react sceptically toward artists (unlike their friends), and prefer getting into other, for them "cooler" ones. Humans can be that shallow, sometimes.
In theory, all art is open and free for all humanity to enter, which is a good thing. In practice, however, all humans are full of biases and prejudices, with differing capacities of trivializing or distancing these.
In your own personal sphere, a song you released as (upcoming) artist will not be appreciated – if listened to at all – by someone you only “vaguely” know by name, spoke to superficially once or twice – never visited his or her home (or vice versa), etcetera.
Those people in your circle who actually make an effort to talk with you, might also be more interested in your songs: so real friends, rather than vague acquaintances. “Duh”, you would say: indeed quite predictable, even without having studied psychology or psychiatry, but many upcoming artists nonetheless forget that, I noticed, in their promotional efforts among people in their surroundings, and become disappointed.
The other direction, nepotism, is likewise wrong and fake, in my opinion. It is by definition discriminatory, besides. This nepotism can also be found in Dutch Reggae and music scenes (I live in the Netherlands), but does of course not make music or songs any better. Quality should be inherent.
LISTENING WITHOUT PREJUDICES
Beyond such actual personal contacts relevant to “upcoming” artists, when listening to music of people far away – already known and settled artists -, theoretical constructs about artists or bands also play a role, like racial or ethnic (or national) identifications, superficial images, other prejudices or ideas put into your head somehow, when choosing to listen to them or become their fan.
In my head, both Third World and Chalice were known as “too cross-over and commercial” for my Rootsy Reggae tastes. I am not sure it this judgement is (entirely) true, though.
In the remainder of this post, I try to overcome this human tendency of prejudice, by trying to listen and analyze some main songs that Chalice released, as impartially as I possibly can. Just judging the songs by themselves. Unsubstantiated criticism is worth nothing, when you think of it.
My mother once told me that she mistrusted people who criticize, but never give concrete examples or explanations, when asked even just one follow-up question (e.g. “what did they do?”), beyond their first negative characterization. I think she had a point, I realize now better as I got older. Critique has only substance when detailed or concrete, I know now. Also a good way to deal with many “easy criticizers” out there (certainly also in a city like Amsterdam).
According to Jamaican activist and thinker Marcus Garvey, in addition, criticism: “is indulged in by the fellow who knows more than any one else, yet the biggest fool”..
This all can be applied to music appreciation. If I do or don’t like songs, I should at least be able to explain it well, including musical details and concrete aspects, and (where possible) some “distance” from my own biases and frustrations.
A good, psychological test for myself (listening without prejudice), - useful for a musician, also, evaluating music factually and dry -, but also a way to delve a bit deeper in the band Chalice, of which I did not know so much. Do I like their songs in and by themselves?
CHALICE SONGS
I choose some of Chalice’s biggest hits (high in charts in Jamaica), plus some other relatively well-known songs, to give some “song reviews”: still personal, but at least also with details and distance.
I STILL LOVE YOU
(1982, album Blasted, number one hit in Jamaica!)
Ballad-like with a ”soul” touch (some Commodores-echoes) this song is not even really Reggae. Well-sung and –played, and interesting, balanced “synth” additions, it is nonetheless somewhat boring, also melody-wise. Not too engaging or catchy, this melody, in my opinion.
GOOD TO BE THERE
(1982, also hit in Jamaica)
This is clearly 1980s Reggae, with some rootsiness. It has a Third World-like cross-over vibe, but a slight one. The critique of over-dependency of Chalice on synthesizers, by reggae purists (the site allmusic.com mentioned this critique) is indeed present. Well-sung again, and tightly played, and the song melody is this times more catchy, with a good hook in the chorus. The typical “1980s Reggae” feel of digital-edged bass-and-drum can be found on albums by other artists in Jamaica at the time, including “big names” like Gregory Isaacs (e.g. album Victim), Sugar Minott, or Black Uhuru, and has a nice “pump” to it. The extra synth additions, however, on this Chalice song seem a bit too much and unnecessary (even distracting from the rhythm), though - on the plus side - help give it a “light” feel. This song is overall good, I think.
I’M TRYING
(1983, from album Standard Procedure, hit single in Jamaica)
1980s Reggae, with again some exaggeration with the synthesizers (then a novelty, I suppose), but a good modern Reggae groove, with a groovy, keyboard riff as nice addition. This accompanies a simple song, a catchy chorus (sometimes keeping it simple has a good effect). The drum is kept a bit too simple, though, if straight and tight: no playful hi-hat or other drum creativity (that seems reserved for synthesizer sounds), neither percussion (e.g. hand drums, scrapers, shakers, or bells), that could have counterbalanced both the “synth” feel and simple drum on this song.
So, in my opinion, all in all the song is nice and catchy enough, but misses some rhythmic and atmospheric variation as I did find in other Jamaican Reggae. A bit too digital and simple.
POT OF GOLD
(1983, album Standard Procedure)
Less “synth-like” digital (though still a bit that feel) I kind of liked this song, as it is somewhat fuller, even allowing extra percussion besides drum or synth “bleeps”. The chorus is catchy with a good hook, though somewhat simple. There is still a Third World-like pop appeal in the “sound” that might, despite good message lyrics, put off the biggest “reggae snobs” or “purists”, but an okay song in and by itself.
WICKED INTENTION
(1985, a hit of sorts)
From somewhat later in Chalice’s career, this song – while quite popular – impressed me less. The same 1980s, digital, synth-filled Reggae feel as in vogue in Jamaica then, but of less quality and layers (compared e.g. to higher-quality 1980s albums from e.g. Black Uhuru or the Mighty Diamonds). Somewhat catchy chorus, but a too simple song. This seems the more commercial side of Chalice, with a “calypso/soca feel”, but also nonsensical lyrics. While being mad at a woman (or man) you’re intimate with, for “two-timing” or “cheating” is an understandable human emotion, becoming violent or aggressive (or even threatening just with it) – “not a man with a wicked intention, but I will make you feel pain” (as the lyrics go), is not very wise. Just curse in yourself and find a better partner/woman, I would say, haha.. No edifying lyrics on this already mediocre song, let’s just resume.
STAND UP
(1985)
Title song from the same 1985 Chalice album (Stand Up!) as Wicked Intention, which as song – I find – somewhat better.. Kept simple, but melodically effective (an art by itself), and a light, but bearable digital edge. Catchy and groovy enough, and maybe a more “poppy” feel than other Reggae from the period, but less commercial than other songs of them, plus with conscious lyrics more bearable for Roots fans, I imagine. Could be enriched with e.g. percussion, and not the best song I ever heard, for sure, but nice enough.
CONCLUSION ON CHALICE SONGS
These are of course not all songs of Chalice, but a mere, I think representative, “sample”, showing different sides to their style. I could enjoy some of their songs, but overall it is not the kind of Reggae I chose to focus on personally, but that’s me.
The only thing I liked about the Chalice sound is – in certain moods, anyway – that it maintained a ”light”, joyous vibe: not too “heavy” or “serious”, not too “deep” and “mystical”. Can’t always be in a “deep and mystical” mood (though I at times am), and sometimes it’s fun just to listen to guys playing around with synthesizers on simple, light-hearted catchy Reggae songs. Chalice’s being formed near the “touristy” but fun-oriented North Coast of Jamaica, might have influenced also that loose, party vibe.
Though receiving the same “middle-class” cross-over accusation by Reggae purists as Third World, Chalice thus has similarities, but just as much differences in their sound from Third World, the band. Chalice uses the synthesizer more, is an obvious one, but also Chalice seems more Disco/Soca-vibe focused – with several simple yet catchy dance songs -, whereas Third World as band has a more, sophisticated “jazzy”, instrumental and acoustic vibe to it, showing in e.g. the many solo’s by instrumentalists on even their biggest hits, and more complex song and chord structures (more so on their less commercial work).
Chalice is simpler, but like Third World is a self-contained “band” band: a fixed set of people (hopefully friends) writing songs, singing, and playing the instruments together: the “Beatles” or "Earth Wind & Fire"-idea, say. The musical skills within Chalice might be a bit less high or sophisticated than Third World’s, but certainly good enough, with some skilled instrumentalists, like the mentioned, recently deceased drummer Desi Jones.
The nice, joyous and catchy sound of many Chalice songs, is in fact helped by the fact that Chalice members as musicians know how to play “tight”, and a “crisp” (if maybe too simple) production, thus not requiring too much effort of the listeners to get into it. Less “rough edges” than as in some Roots Reggae (Black Ark, Augustus Pablo productions, Culture, early albums Israel Vibration and Twinkle Brothers), in the 1970s and part of the 1980s. Midnite/Akae Beka from St Croix, - later - in their early albums also sought those “rootsy” raw/rough edges, with some success (rhythmically a bit less groovy than Jamaican Reggae though).
I liked and preferred those “rough edges” from Jamaican Roots Reggae from an artistic point of view – and still do -, but some variation – such as with the Chalice-like sound - now and then, is also okay. As a “yang” to my “yin”, so to speak. Trying all kinds of things, to then stick – or: return - to what I love most..
