Most dancehall DJs start with hardcore material and then, with age, turn righteous. Sizzla did it in reverse. Consequently Sizzla's international audience lost faith in his music. His last album, 'Da Real Thing' (2002), partially restored belief. It was the 27-year-old's first album since 'Good Ways' (1998) to speak more of love and unity than sex and violent solutions for offenders of his faith.
'Light Of My World', his 19th solo album, is on a similar vibe to 'Da Real Thing'. He spends less time ripping into the police and government, and more time declaring his love and respect for his wife, and women in general. It is, lyrically, one of his least controversial sets. Although he hardly treats the themes with care, vocally; delivering each track with unbridled ferocity.
Trouble is, unlike the beautifully crafted 'Da Real Thing', this seems hastily produced. Vocally, it sounds like each track has been recorded in one take. Live instrumentation is a rarity, with ragga (computer generated) rhythms taking precedent. There are few harmonies of note and, lyrically, Sizzla is too reliant on punch-lines; hence he rushes through the verses with little clarity or depth.
'Light Of My World' does feature some quality tunes though. Tracks like 'Need' (musically influenced by Mary J Blige's 'Family Affair') and 'Whole Heap A Woman' (on a variation of Beenie Man's 'Street Life' rhythm) demonstrate Sizzla's ability to ride r&b rhythms, and will appeal to the teen market. While the best track on the album is probably 'Babylon Is Burning'. A traditional roots reggae track with Nyabinghi drumming, a sinking bassline, a lonely melodica humming in the background and Sizzla's unruly predictive chants.
Still, one gets the impression that if Sizzla was to record a little less, an album like this could reach its full artistic potential. With the necessary time and attention. The arrangements are fine, but the execution is poor.
Sizzla remains an enigma. It's not just due to his prolific output or his rejection of the media (no interviews and, until recently, no videos). But he's an artist who, at his best, explains Rasta philosophies with peerless insight and melodic rage. Yet, at his worst, sounds uninterested in staying in the studio for too long. He does, however, remain the one contemporary reggae artist every peripheral fan should listen to. This, however, is not the album I'd suggest you start with.
