By Bob McMahon
By Allison Babka
By Kelsey McClure
By Carolina de Busto
By Ben Westhoff and Sarah Purkrabek
By Steve Brennan
By Joseph Hess
By Allsion Babka
The pop smorgasbord on Beenie Man's previous major-label releases, 2000's Art and Life and 2002's Tropical Storm, disguised the vocal vigor of one of dancehall reggae's most charismatic artists. But on his first authentic dancehall album in years, Back to Basics, Beenie Man displays an impressive, at times astonishing, DJ flow, stamping his identity on some of this year's liveliest riddims from Tony Kelly, Timbaland and Troyton Rami.
Libidinal energy dominates Back to Basics, as Beenie Man delivers incessant sexual braggadocio with varying degrees of vulgarity. Opening with "Dude," his irresistible duet with the teenage Ms. Thing, he guarantees the ladies a "proper fix." He exaggerates on "Dr. Know" ("Girls walk in the sun to play with my big water gun"). Even that sounds like a nursery rhyme compared to the disturbing declaration on "Pussy Language" ("Mi fuck a man's gyal mi nuh have no moral").
Dancehall has always featured a "slack" element, with the most sophisticated practitioners cloaking their X-rated verse in metaphors and double-entendre. Beenie Man is only one of a current crop of DJs tastelessly expressing sexual themes, but as a 22-year veteran who has earned major hits by skillfully addressing everything from guns and girls to religion and racial oppression, his ribaldry should be presented with greater finesse. After two crossover-tailored detours, Beenie Man is again on the right road with Back to Basics. But the clichéd, repetitive and sometimes offensive lyrical content ultimately prevents him from reaching his ultimate destination: making a truly great dancehall album.