Inna De Yard

ルーツ・ファン必聴！！フランス“Maka Sound”レーベル発、アール・チナ・スミス企画、アコースティック・セットによるレゲエ“Inna De Yardシリーズ”第1弾！“ＩLOVE MARIJUANA”の大ヒットで知られる、70年代からシンガーとして活躍、また80年代にはフレディ・マクレガー、バーリントン・リーヴァイらのプロデューサーとして一時代を築いたリンヴァル・トンプソンの作品！

Earl "Chinna" Smith apparently had his yard refurbished for Linval Thompson's Inna de Yard, the third in this excellent series of semi-acoustic sets, all recorded fittingly enough in the guitarist's backyard. With the inclusion of keyboardist Lloyd Palmer and trombonist Derrick Hinds, the album features fuller instrumentation than his previous one, but still has a gorgeous simplicity and immediacy of sound which so far defines this series. Almost evenly divided between new numbers and classic hits, Kiddus I has the honor of introducing the album, with Israel Voice bookending it, joining Thompson in demanding "Gimme Back." That latter 12-plus minute track is backed by a seething version of "Drum Song," Smith starkly sketching out the song's hook, while the hand drummers patter out the beats in nyahbinghi style. It's an absolute stunner, but then the whole set is filled with surprises, not least of all, Thompson's powerful performances. Even at his late roots heights, the singer's rather wispy vocals were little match for the powerful productions of the day, including his own. Here, though, he sounds stronger than ever, with the new versions of old hits a particular revelation. Virtually all bear little resemblance to the originals, "Jah Jah Dreader Than Dread," for instance is now set to a boisterous version of "Real Rock," the exuberant "Train to Zion" now doubles as an homage to "Death in the Arena," while "Ease Up" is reinvented as a menacing western. Even "Jah Jah Guiding Star" has an entirely different feel from the hit. The new material is equally impressive, most boasting astonishing versions of classic rhythms, like the plaintive "Mercy Mercy Mercy," built on a teeter-totter take of "My Conversation." "Hit Dem with the One Drop" features the richest arrangement on the set, underlit by Hinds' haunting solos and Smith's incredible fingerpicking guitar, then topped by Thompson's upbeat message and performance. "Inna the Hills" sounds like a stripped down roots reggae era smash, but is actually a new number, "Good Gracious Woman" is an equally new, soulful, deep roots show-stopper. But it's "Gimme Back" that takes one's breath away, an epic curtain-closer to Thompson's most power packed set in years, and a song that deserves an entire review of its own. The musicians are ferocious, the arrangements inspired, pushing the singer to incredible new heights. Who needs an expensive studio when you can create a masterpiece right in your yard? ~ Jo-Ann Greene|