This interlude is the segue to I’m Living which is arguably the largest song on the album, destined to be a chart topper with its easy chorus and serious message to the bigger heads and careful production complete with melodica and “Flyers”-style cymbals in the front of the mix. The song’s take is stopped, a rewind sound sample is delivered as Sizzla says, “pull up that one deh” over live drums, solid bass and guitar sounds.
It’s great to hear Turbulence in this mix, with his strong falsetto punchlines punctuating the symphony.įor Blessed the team pushes a bhangra-style riddim for Sizzla to chant over, imploring people to provide blessings for the poor, “it will make your life better” over a ragga track that will shake the foundations of Babylon.Īn interlude song.a fragment is included in the album sequence, expressed from the first person, singing in a glorious tone Sizzla says “that he is living for the poor and giving what he’s got and more”. The difference between this and an actual live session is that samples and loops of Sizzla and Dunkley’s chants carry out the groove in a dubby symphony.Ĭhampion Sound is remixed with the addition of Turbulence in more of a dancehall groove version of the melody lines and is placed later in the album sequence. The chemistry is evident with both the artist’s writing and the production style melding together magically. This tune’s groove is so deep, its like a live in-studio band and vocal session. Vintage artist Errol Dunkley teams up with Kalonji on Champion Sound which is a call for unity, and a plea to ease off of the trash talking. The singjay chants eloquently over the intriguing groove, “poor man struggling, a money we a look, cause the bills have to pay and the food got to cook.”.
The title track Born A King is a strong, well-mixed drum and bass groove with interesting percussive and keyboard sounds mixed with haunting delay. This album features tunes and remixed versions of the tunes in the album sequence, as acoustic or dancehall versions. The programming is primarily by Jake Savona and is as varied as they come, showing the possible inspiration for the collaboration, that Sizzla is inspired by the forward thinking style of the production.Īs is also the case in these times, artists and producers team up to try different strategies in the studio or perhaps return to the music’s dub, version or b-side roots. Although some of the tunes were recorded right in Sizzla’s own August Town Judgement Yard studio complex and other production studios in Kingston, some of the music’s instrumentation and mix also took place in Australia, with some of the vocals and the final mastering completed in London. This latest release comes from a production and label team out of Australia.
After dozens of albums, and crisscrossing the globe, the artist now encounters enthusiastic producers, record labels and impresarios from all corners.
The life of an internationally renowned reggae artist at the level of Sizzla Kalonji is interesting with regards to the recording landscape.
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