Capleton's albums

Reign of Fire:

Offering a satisfying set of righteous reggae that is more laid-back than usual, Capleton once again combines roots grooves with the computerized sounds of the time on Reign of Fire. Known as "the Prophet" on his island home of Jamaica, Capleton pulls the music back here, but his lyrics are still rebellious darts, mostly directed toward the powers that be and the irresponsible. Warning of the cleansing fire, Capleton calls out the oppressors on "That Day Will Come" and eagerly awaits the day "the wicked men will have nowhere to run." It's a powerful track, matched in intensity by "Wise Up People," "Who Yuh Callin' Nigga," and the fantastic "Or Wah," which is just about the catchiest prophecy of fire and brimstone the man has ever released. "Real Hot" and "In Her Heart" -- which utilizes the slick and infectious "Chrome Riddim" -- give digital nods to current dancehall, but while other dancehall vocalists go for fast verbalizing, Capleton gets his aggression across through his writing. His soulful delivery also makes the lyrics easier to understand for non-islanders who will find his writing and stance closer to Tosh than Marley. With plenty of fully formed tracks by producer Bobby "Digital" Dixon, Reign of Fire ends up an excellent introduction to the singer. With its urgent lyrics and certain delivery, longtime fans will have little to complain about.

The People Dem:

Capleton's The People Dem is more a collection of recent 45s and hard to find tracks than it is a proper album, although that doesn't prevent it from sounding like a cohesive sequence, mostly because Capleton seldom varies his approach to things, staying blustery and aggressive while adhering to his standard roots-influenced dancehall style. "See Dem," "Judgement," and "Jah Lives" (with its fuzzy electric guitar lead) are among the standout tracks, but Capleton really sounds at his best here when he tones things down just a hair on the romantic and poppish "So Fine" and the infectious set closer, "No Time," which features a guest spot from Military Man.

Wild West Riddim:

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Still Blazin':

After rejecting the "slack" (i.e., sexually explicit) lyrics that typified his early work, singjay Capleton embraced Rastafarianism with increasing fervor in the 1990s, culminating in his embrace of the Bobo Ashanti branch of the faith. Its doctrinal and symbolic themes have come to dominate his work, both for better and for worse. On this album, there's no denying the continuing power of his delivery or of the rhythms generated for him by the production team of Clifton Bailey and Joel & Christopher Chin; those rhythms vary nicely between modern but rootsy grooves and more dancehall-oriented and computer-generated backing. Highlights include the strange and minimalist "Caan Tan Yah" and the interesting arrangement on "In Your Eyes." But the less palatable aspects of Capleton's Bobo beliefs are on (plain) display as well -- the bizarre veneration of Idi Amin, the paleosexism ("Pure Woman"), the murderous hatred of homosexuals ("Punchline 2 Hit"). Most of the lyrics will be incomprehensible to anyone from parts north of Kingston, but all too often those words that are distinguishable to the average Babylonian carry with them a distinct whiff of sectarian hatred. That's too bad; Capleton has shown himself capable of nobler sentiments.

More Fire:

From the very beginning, Capleton issued in a new era of conscious dancehall with his caustic, status quo-challenging lyrics, stirring up flames of controversy with every bellow of his thunderous vocals. More Fire continues the assault on Babylon with a tight package of sizzling beats and thought-provoking poetry. From the scorching riddims on "Danger Zone" to the wicked groove of "Who Dem?," this album guarantees non-stop dancing, as well as spiritual counsel, with tunes such as the anti-violence anthem "Jah Jah City" and "Good in Her Clothes," which offers praise for feminine modesty. On the opening track, "Fire Chant," Capleton explains, "Well, the fire is for purification and how can you fight fire?" If More Fire is any indication, listeners will have to admit defeat.

One Mission:

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I-Testament:

I-Testament is a calculated attempt to increase dancehall singer Capleton's appeal to the contemporary urban artists of America. That means that whatever genuine reggae roots he had are now smoothed over, but that isn't necessarily bad, since his voice is powerful and convincing. I-Testament owes more to sinewy, seductive contemporary R&B rhythms influenced by ragga and dancehall than to reggae itself, but much of this music is solidly constructed, such as the soulful "Hurts My Heart." There's still a bit of filler on I-Testament, but the best moments make it a winning record.

Prophecy(1995):

Rude boy turned Rastafarian Capleton proclaims his redemption on Prophecy. In his signature militant yet melodious style, Capleton rhythmically extols the wisdom of the Rastafarian forefathers, former King of Ethiopia Haile Selassie and Marcus Garvey, throughout the album. Dancehall legends Sly and Robbie, Steely and Clevie and Stuart Brown provide the majority of the sonic landscape for Capleton's philosophical and spiritual meditations. "Heathen Reign," "Don't Dis The Trinity," and "Babylon Judgement" are Capleton at his most melodic and prophetic. Prophecy attempts to make Capleton more universally palatable by fusing a few hip-hop remixes, laid down by Lil Jon and Paul, into the dancehall. The smash hit remix of "Tour" lifts a sample from the Slick Rick classic "Children's Story," and Def Jam labelmate Method Man teams up with Capleton on the remix of "Wings of the Morning," fueled by a sample from Marley Marl's "The Symphony." Capleton's preaching on Prophecy is substantial and highly repetitive, but he does so without sacrificing the musical elements, making the album quite enjoyable overall.

Good So:

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Alms House:

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Double Trouble:

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Lotion Man:

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