"Aura Of Personal Danger"

Submitted for your consideration:  Ninja Man.  Dancehall reggae DJ.  "Article badman".  A performer who has had much-publicized (in Jamaica, anyway) battles with such heavyweights as Shabba Ranks, Super Cat, and Crack Cocaine (which perhaps explains a thing or two about the outfit to our left).  Born-again Christian.  Machete-wound survivor (AFTER converting to Christianity, oddly enough).  Movie star.  And currently on trial for murder, conspiracy to commit murder, shooting with intent, and illegal possession of a firearm.

Thus, when I found myself in a Seattle record store that ONLY sold death metal and reggae records (a mix that perhaps makes more sense than one would originally assume) and I found Ninja Man's 1990 album (one of EIGHT albums our man released that year!) Out Pon Bail, I snatched it up.

Folks, this record is WEIRD.  The first track features a goddamn banjo (not a traditional choice for a dancehall record, if you didn't already know).  The banjo also appears in much-reduced capacity on the second track, and then sadly disappears in favor of (marginally) more accessible electronic squelching noises, orchestra hits, and an ASSLOAD of echo.  Now, whenever echo effects are deployed in a reggae context, critics like to trot out the word "cavernous", which these sounds are NOT.  Out Pon Bail is NOTHING like a cavern.  It is not vast or spacious.  It is instead FLAT and EMPTY, despite the fact that there are tons of crazy-ass sounds pinging around in its cramped, adimensional space.

This, of course, is awesome.  I have included the first six tracks, after which the album sadly turns into limp, predictable lover's reggae.  What happened?  I'm betting the coke ran out.  

P.S. - Pay particular attention to the second minute of "Get Out A Here," in which Ninja Man just gives up on the chorus midway through.  Shit like this is why I love dancehall.