Subject: I have found a CD that I think you would enjoy
Ghetto Youths Livity
Genres: World Music, Pop
Out of U.K.-based producer Mad Professor's Ariwa camp comes a rebel mic rocker with a lionheart style composed in equal measure of Capleton's nasal snarl and Sizzla's intricately elastic flow, with, thankfully, none of the... more »
Listen to Samples
Out of U.K.-based producer Mad Professor's Ariwa camp comes a rebel mic rocker with a lionheart style composed in equal measure of Capleton's nasal snarl and Sizzla's intricately elastic flow, with, thankfully, none of the latter's bizarre ideology. Starr is strictly about classical Rasta "righteousness still," as he pronounces in the "Radio Interview" interlude. Despite his familiar chanting style, he's more than capable of spinning his own handsomely rhythmic melody lines, served well here by the Professor's old school-meets-new productions. Ironically, Starr is most striking when he breaks off from reggae deejaying to reveal a warm, grainy, and completely original baritone singing voice in "One Day (My Time Shall Come)." --Elena Oumano
Straight Forward Hidden Gem!
Achis | Kingston, JA/Philipsburg, SxM | 01/17/2006
(4 out of 5 stars)
Chukki Starr will get overlooked in his career approximately 9.5 times out of 10. He is a dancehall/roots reggae artist from the UK, where his popularity is it's greatest height. The UK artists don't usually get a big forward in JA and that is probably why this artist hasn't received his just due as far as respect, because listening to Ghetto Youth's Livity, his debut album, it is clear from nearly the jump off, that this is a talent that needs to be heard, Starr's flows are ridiculous!
It's always interesting to hear an artist who can dj pure consciousness, without even bordering on the slackness. Chukki Starr is such a talent. While most usually compared to the leaders of the type of music that he makes such as (usually) Sizzla, Capleton and Anthony B (the only of the 3 who sounds like), I'd liken Starr's style more to the newer generation of artists who 'stray' further and further from slackness such as Lutan Fyah, Fantan Mojah and Jah Mason. While I'd definitely not put it past the talent to actually cleverly chat slackness, it is something he never approaches during GYL.
While listening to the album, it almost exits a spot where it stopped being a simple solid project and became something special. I don't remember exactly what point that was, but it changed from being the typical head bobbing outing to the constant rewinding of "what did he just say?!!!". The best tune here is without a doubt the title track which tunes in at an all-you-can-eat-buffet style 6:30+. The song is absolutely fierce and takes the full advantage of casually laid back riddim. Also have to check the opener The Almighty One which I had pegged as the album's king full-time before I continued with the listen. One Day and Mama Song, also Want to be Free and In Too Deep (but especially One Day) all good tunes.
The interesting thing about this album is that, although it is 14 tracks deep, there are 2 interludes, a remix of The Almighty One and the final 3 tracks are dubs (unsurprisingly when considering that Mad Professor produced the album, of the 3, the first, 'Positive Dub' is the finest effort). That means that really there are only 8 true studio cuts on the album, and its to the artist's credit that. . .
I Want More material here!
Overall, of course check out Ghetto Youth's Livity. You almost have to hear the gem that is the title track, a really really fine cut that went a long way in establishing the artist (as did the entire album itself). As he is still very active (approaching 8 years since this album was released) Starr is still quite underappreciated but is still making strides in JA. Should you ever pick up GYL, he'll be making strides at your house as well, big album."