Truth and Rights is rightfully considered
Johnny Osbourne's masterpiece, a stellar album of resurrected
Studio One rhythms wed to the singer's heartfelt new cultural lyrics. The album was a hit, but
Osbourne was already off to work with other producers, starting with the up-and-coming
Henry "Junjo" Lawes.
Lawes, the master of dread
dancehall, launched
Barrington Levy to fame, then introduced the world to
Eek-A-Mouse, before giving everyone
"Diseases" via the
Michigan & Smiley smash. If his deeply dubby productions fired the dancehalls, the
Roots Radics fueled
Lawes' sound with their militant, deep
roots backings. Perhaps after the bouncy
Studio One backings, the singer was overwhelmed by the
Radics' stark arrangements, which
Lawes and mixer
Barnabus would often strip back to
Style Scott's crashing beats and
Flabba Holt's stealthy bass riff. Only snippets of melody remained, and with vast open vistas to fill,
Osbourne choked. Most of
Fally Lover's songs feature reiterated lyrics, simplistic choruses, and sophomoric sentiments, which reach nadirs on
"Ice Cream Love" and
"No Lollypop No Sweet So." But that's almost a moot point, for it's not what he's saying, it's how he's saying it that actually matters. And playing off the dense atmospheres the
Radics are conjuring up,
Osbourne reaches new heights of soulfulness. The lovelorn title track is superb,
"You're Too Sexy" is just silly, but
Osbourne delivers it with perfect aplomb, while
"Ice Cream Love" is even more ludicrous, but the singer offers it up with panache, which means that a true
romantic number like
"Love So Strong" and a cultural cut like
"Man of Jehoviah," ring with fervid emotional depths. Can a stellar album still sport substandard lyrics? In this case, yes: without a doubt. ~ Jo-Ann Greene
