Search - Midnite :: Kayamagan

Cracking Open the Vault. . .

Achis | Kingston, JA/Philipsburg, SxM | 04/14/2008

(4 out of 5 stars)

"Perhaps even more so in reggae than in any other form of music, for an artist to maintain a ridiculously prolific recording schedule (to the point of being over active) is often rewarded. Reggae music and it's fans have traditionally had and still have an attitude of `out of sight, out of mind' for an active artist in particular, activity is almost as paramount as actually scoring big hits. Here in Jamaica, on the local scene, you get new tunes from artists at a torrid pace which nearly ALL receive some modicum of success (speaking strictly of the artists at the top of the game) from fans who are as equally appreciative as they are demanding of NEW vibes from their favourite artists (the same concept would explain why you have discussions in 2007 about Comeback Artist of the Year including names such as Anthony B and Mr. Vegas, just because both may have taken a couple of months off along the way). On the international scale activity is reflected through new albums and touring and this is evident by any trip you might take to your local reggae music store and notice how many albums you'll see on the shelves from Sizzla, Anthony B, Luciano, Turbulence, Jah Mason, Capleton, Beenie Man and the list goes on and on (in a couple of years I'll add Lutan Fyah and Natural Black to that list) of artists who maintain (or used to maintain) ultra active album release schedules. The concept of the `new' album from a specific artist can really get lost on reggae music as at any given time during any given year, such an artist may have more than one album out less than a couple of months old. In other musical forms it is often the process of building albums through material recorded specifically, where, in reggae it is the exact opposite. Most modern reggae albums are compilations (albeit some of them VERY new compilations) with new material thrown in, thus, the ridiculous nature of some of these artists' album catalogues is even more impressive when you consider how the album was thrown together as a mix of songs for a given specific producer who then takes the music and tries to sell it to a label for distribution and for the very active artists, this occurs quite a few times a year. I've found that non fans of reggae and even newer fans to the vibes are either downright confused by this or just do not like the practice at all. I've even heard longtime fans and people whose opinions I respect on the topic speaking of the ills of such schedules and the possibility of over-saturation for an artist when he/she may have albums virtually competing with each other for the attention, but did I mention that being over active has it rewards?



A reggae act who would certainly Overstand those rewards would be (Vaughn Benjamin) Midnite Band, the largest and most well known band from out of the Virgin Islands. Over the past few years Midnite (again, by `Midnite' I mean Vaughn Benjamin) has set a level of releasing albums virtually unseen by even their Jamaican counterparts, making the artist somewhat of a `roaming label' as seemingly anytime they feel like having an album (or a book) Vaughn Benjamin, the group's lead singer and songwriter can make it happen on any of the five or so constant labels he voices for consistently (and as each year goes by, he seems to add another or two). And while I'll spare you the details of exactly what they (he) did in 2007 (but you can feel free to look at my review for Infinite Quality for that), Midnite even changed the game by their own standards. `Typically' (if you can call it typical) Midnite will release two or three albums in the early months of the year and two or three over the balance of the year. They have fans extending ALL OVER the world and their albums, in terms of reggae music, tend to sale quite well: One of the few rewards for such a schedule and definitely the same could be said for their Jamaican counterparts as well. Now you can imagine that when keeping such schedules in recording there are probably about a dozen producers and labels out there with material loaded and ready to go from Midnite which has yet to reach their release dates and some will almost inevitably fall through the cracks for one reason or another and may never be released. In Jamaican reggae, the concept of the `lost recordings' is strictly meant for the elder and far less active artists (I believe the last new one which I saw was a Junior Reid release) and you have undoubtedly seen (and probably bought) `new' albums full of seemingly lost and forgotten tunes form a given artist. I remember an odd Sizzla release from just a few years ago by the name of Stay Focus which had been full of tunes the artist had voiced for his former label Xterminator which hadn't seen the light of day in the label's heyday. Midnite, however, has chosen a different route (unsurprisingly) by releasing a complete `lost' album of songs which originated close to the start of the group's prime back a few years back when they were based in Washington D.C. in the States. Kayamagan has been hyped as an album which is full of tunes recorded at the same time as their very popular Unpolished and Ras Mek Peace albums in DC for established Jamaican born engineer/producer/artist Desmond Williams. Williams originally came to prominence by virtue of his serving an apprenticeship with the legendary Scientist and really becoming a protégé to the dub genius. Williams' long line of associations now receives what is arguably the crowning jewel of them all with an album which has been as ODDLY talked about as the man who voiced it. Kayamagan is a very interesting trip back in time to a Vaughn Benjamin who wasn't as yet as `mystical' as he is now. The album shows a hidden immediate predecessor to the ultra brilliant, ultra cryptic and ultra busy Vaughn Benjamin who now roams the earth spreading his bottomless vibes and knowledge in his music.



I actually heard about the coming of Kayamagan around the end of 2007 when it was mentioned that early in the new year Midnite would be releasing a `lost' album and doing so through one of their `lost' labels, Rastafaria. The New York based label was one of the very first few to begin releasing the group's music along with (Midnite's own label) the Afrikan Roots Lab imprint. Albums such as Unpolished, Intense Pressure and Scheme A Things all came through Rastafaria earlier in the century and all were quite well received. Kayamagan doesn't disappoint on those expectations at all as Desmond Williams and Vaughn Benjamin work together quite well together. It is EASILY foreseeable that someone who served their apprenticeship under the Scientist (himself, at times, known for his cryptic ways) would vibe quite well with Benjamin, but Williams style is, for the most part, much more straight forward. Kayamagan gets started with a very strong group of tunes which include the album's absolute strongest piece as well. First up is Burning Fire which more than adequately sets Kayamagan off on the right foot. It is VERY evident from the very first bit of the tune that one of Williams' greatest influences is definitely Bob Marley (and it is a consistent style of vibes which appears throughout the album) and its definitely always interesting to hear Benjamin on a much more traditional style of vibes. For his part, this younger version of Vaughn Benjamin comes off as a bit more jovial and dynamic than the well traveled and equally well versed version which we have today (although he certainly had a bit of that at the time of this recording as well, which comes later). Burning Fire is just a lovely song! As is his style still today, Benjamin seems to almost force the riddim to play to HIS vibes instead of the other way around and he does an excellent job with the fine composition by Williams. The song also presents his still present free-flowing style as there is a stretch later in the tune where Benjamin just changes the pace completely and seems to flow from his head top in one of the more memorable portions of the tune. Following Burning Fire is Kayamagan's strongest effort I Chant. Its quite interesting that I'm always wanting for Benjamin to record something more `normal' in his vibes, but the one time where he, arguably, comes closest to the vibes he has today, I am most impressed on Kayamagan. I Chant is just LARGE! The song just makes one feel good being of Afrikan descent as Benjamin utters the lovely chant, "I saw a Black Lion walking out of the sun. He was a dreadlock one." Reggae music is absolutely brimming with well talented wordsmiths of all varieties, but I don't know if there is any other lyricist in the vibes who could produce such a memorable line. Benjamin shines all the way through one of the most simple of Williams' riddims producing something well within the vibes his vibes his fans are used to and in the process further reveals his quiet but ultra apparent genius. Kayamagan's opening concludes with the very straight forward Repatriation Song. Built over a fairly normal, even `tropical' sounding one drop riddim (which really flourishes the second the horns are added). Repatriation Song is a very laid back vibes but one which you really NEED to pay attention to the lyrics to enjoy and receive at its best (the same could be said for all of Benjamin's music).



Of the many unique things that you could use to characterize the musical style of Vaughn Benjamin, definitely the one which I tend to appreciate most is his overall knowledge. Never the one to make music merely for the sake of making music (which is saying a lot when you consider his prolificacy), one could receive a virtual history lesson just rummaging through the old pieces of Midnite. This is probably most evident on the scathingly WICKED The Trixter which I would swear came out of the ranks of Midnite 2008 as opposed to 2003. The Trixter carries a more typical Midnite vibe but Benjamin allows himself to be directed more by the riddim instead of, as is his norm, the other way around. The second verse just starts the knowledge flowing like lava as Benjamin rather calmly comes forth with a HUGE shot. For his part, Williams builds a very nice and complex riddim, the highlight of which is a very soft piano which directs the riddim to the point where it disappears for quite a while. Similarly, there is Scarface. The tune even further shows Williams' Bob Marley influence as the start of the song mirrors the segment guitar riff start of Stir It Up from the Reggae King. Scarface draws on so many vibes for the lyrics and it was the first song on the album where I caught myself doing what I usually do when I listen to Benjamin in rewinding the song just to catch EXACTLY what he says at a point. On the first solid verse in the tune he poses so many precise and poignant questions which, in my opinion, at the end of the tune carries a message to watch those around you, watch their actions and don't do so suspecting, but watch their actions and it may reveal more of a person than just talking to them or just the perception of them. BRILLIANT! While throughout Kayamagan you'll definitely see a bit of Marley in Desmond Williams' production, you'll also (wonderfully) see the effect of The Scientist. This appears probably best on the strong tune Jah I. This tune flows over a composition which carries a very heavy bass line, one which would sound completely serving as the foundation for a dub track definitely. I wouldn't even call the tune Jah I one of Kayamagan's best efforts, but its certainly interesting seeing the many variants which go on to make up not only Benjamin's style (and I am STILL searching for the father of his style if it isn't Benjamin himself) (and it is) but Williams' as well. I'd also recommend checking Resilient Race (speaking Marley vibes again) which is another tune where you really need to concentrate on the lyrics of the tune to really enjoy the vibes. The tune speaks to the overall strength and resiliency of people of Afrikan descent on a really powerfully brilliant track. Her Clock is another very powerful tune as well. The song is a rare one which is more obtrusively speaks to the Black woman. The subject isn't a rare one for Benjamin, but, as on most things, he usually takes the song in a direction which requires the listener to tie things together for themselves. Her Clock is a tune speaking directly on the subject and even more importantly, speaking directly to the men who may be ignoring the strength of `Her Clock'. After a very nice tune in A Cool Veranda Kayamagan ends with Unrehearsed, another of the album's real highlights and definitely a nice way to end the show.



Overall, even though it is a new year, things haven't changed much for Midnite. Thus, while I am fully recommending Kayamagan to fans of Midnite (and even though it is from an older time, I think this one is still STRICTLY for those who are already fans), if you don't already know, its already the group's (Benjamin's) second album of 2008 (after the typically cryptic Maschaana from Natural Vibes). This one, however, comes with a very much `collector's item' feel to it. Musically, it's a slightly older take on Vaughn Benjamin's proven winning form and it definitely won't disappoint the staunchest of Midnite fans. It also speaks to the power of the producer Desmond Williams as he shines just as highly as Benjamin does throughout. Hopefully, sometimes during his seemingly endless `have vibes, will travel' phase; Vaughn Benjamin makes it back to Washington DC for the follow-up to one of the more interesting Midnite albums in awhile."

One of Midnite's best

Dave B | Seattle, WA | 02/03/2009

(5 out of 5 stars)

"This is really good - easier to listen to than some of Midnite's more recent music. Every bit as good as "Unpolished" and "Ras Mek Peace" (which are both awesome) in my opinion.

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