Impressions

In 1976, Leroy Smart settled down at Channel One studio, recording there continuously over the next few years. He'd previously recorded there with producer Bunny Lee, and, of course, with the Hookims, the studio owners. Before the year was out, however, the singer began producing his own music, and from then on there was no looking back. Smart was on fire, knocking out so much excellent material that it filled two albums -- Dread Hot in Africa, and following hot on its heels, Impressions of Leroy Smart. Both were released in 1977, further crowding the shelves alongside the Hookim produced Ballistic Affair and Superstar, a round-up of his Bunny Lee numbers. Ballistic Affair garnered the greatest attention, rather unfairly, as the other three were of equally high caliber. Impressions itself included a slew of recent singles, and thematically swung easily from romantic concerns to cultural matters. The breezy "Sister Lorna" is one of the former, an emotive love song boasting one of the most infectious riddims on the set. "Don't Let Me Down" was more demanding, at least of Smart's woman, as Smart insists she prove his love over a particularly muscular backing. "Do You Remember" and "You I Can't Forget" wonderfully worked around other aspects of romance. "Music Is Sweet," in contrast, is a love letter to his British label Burning Sound, and to reggae music in general, with Smart as emotive on this subject as he was on his most powerful cultural numbers. And that includes "Jah Is My Future Guide," whose potent religious message is presented in deep roots style. "In This Time" was just as strong, its apocalyptic message spilling over the Revolutionaries' compulsive riddim. That band provided the fabulous backings for all the songs here, from the propulsive riddim that supports Smart's lecture on the evils of "Gambling" to the bubbling "Man of Future." Elsewhere, their versions of Wayne Wade's "Black Is Our Colour" and "Man of Living" -- the stunning "Back out Weak Heart" and the impassioned "Rasta Man" respectively, arguably beat Yabby You's originals. Smart's expressive vocals and inspired productions throughout this set and Dread Hot in Africa immediately cemented his reputation as one of the island's exciting singing producers, and marked the beginning of a remarkable canon of self-made music. ~ Jo-Ann Greene