The Wake

Reggae music has evolved considerably since its birth. With the worldwide popularity of hip-hop, dancehall reggae quickly became the forerunning sub-genre of the late ’80s. These days, artists such as Capleton, Jah Mason and Damian Marley are chanting over thunderous drums and bass, branding their own version of dancehall reggae characterized by their use of Bobo Ashanti chant.

One of Damian Marley’s best qualities, however, is his ability to explore a diverse range of sounds on his albums. With Welcome to Jamrock, Marley continues where he left off on Halfway Tree, jumping from hip-hop to roots reggae jams in the process separating himself from brothers Julian, Kymani and Ziggy. The album opens with Bunny Wailer calling for a stop to the worship of false gods and the support of violent leadership. This gives way to a cutting lyrical synopsis of the hegemonic forces at work, emphatically confronted with fever-pitched wails that are reminiscent of Bob Marley.

This energy carries over to the title track, a remix of “Exodus” that surely has Bob skanking in Zion. These tracks are balanced by low-key grooves such as “There For You” and “Pimpa’s Paradise,” a hip-hop version of his father’s song featuring Black Thought. “Hey Girl” and the Bobby Brown-backed “Beautiful” seem out of place. But with solid recordings, such as the early-ska-influenced “All Night” and the convincingly hopeful “We’re Gonna Make It,” those awkward tracks are the exception, rather than the rule. While Damian Marley’s album may not sound like his father’s catalog, one thing remains the same: It’s sweet rebel music.