Vol. 11 #26: Thursday, June 8, 2006
Calgary's News & Entertainment Weekly
FFWD Weekly
CD REVIEW
by FFWD WRITER
SIZZLA KALONJI
Ain’t Gonna See Us Fall
VIP Records

· Latest release finds controversial reggae star as confrontational as ever.

As a "Bobo Ashanti" or Rastafarian priest, Sizzla Kalonji takes the tenets of the religion seriously and his many albums are Rasta sermons put to music. However, Kalonji is also from the poor neighbourhood of August Town, Jamaica and attended the same high school as Shabba Ranks. The religious ethos of his family, mixed with the culture and music of the streets where he grew up, have formed powerful threads in his work.

The success of last year’s Bobo Ashanti brought much touring, media attention, and scrutiny to some of the less savoury aspects of Sizzla’s philosophy. Aside from a love of beats and gifted lyricism, Sizzla shares Ranks’ homophobia. Anti-gay lyrics and public statements resulted in the cancellation of several high-profile appearances and threats barring entry to Britain.

With this controversy as background, Ain’t Gonna See Us Fall is a rebuttal to what Kalonji depicts as the corruption of the developed world. The title track, along with "People Need Love." packs a powerful one-two punch, drawing the listener into Sizzla’s us-against-them world, backed with 1960s soul-style rhythms. However, after this relatively peaceful beginning, Sizzla switches into battle mode with lyrics lashing out at greed, both corporate and personal on "Rich and Beautiful." Kalonji further divides his world, attacking initials and social groups that he opposes with lurid details of how "we" should deal with them, as on "Run Out Pon Dem" and "Kill Yuh."

Pop moments return on "I’m with the Girls," and the next several songs find Sizzla waxing rhapsodic on his love of women. Perhaps the most poetic moment comes when he declares "Girl you’ve got the goodness/ now feel my fullness." Kalonji closes giving thanks and praise to Jah.

Displaying at times a sophisticated pop sensibility, Sizzla too often relies on scapegoats such as women and homosexuals. For an album ostensibly about love and unity, it dwells too much on hatred and power.

2/5

SEAN MARCHETTO

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