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Coming Back For you by Pressure

Coming Back For you by Pressure

Coming Back For you by Pressure

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If it ain't 'Buss' don't fix it.

Sampler

Think of Virgin Islands reggae and you'll probably hear the ponderous, lyrically dense reasonings of Midnite. Yet there is another internationally renowned artist whose commitment to cultural music and lyrics is almost as prominent, who blends this vision seamlessly with a light, radio-friendly approach.

Born Delyno Brown, August 5th 1981, Pressure Buss Pipe’s 2004 first album 'The Pressure Is On' was a patchy albeit potential-filled set on Tsuni Records produced by Eno Stafford and Dean Pond. His second, 'Love And Affection', for Jamaican eminence Don Corleon, honed the slick pop roots that is his hallmark, without a single dull moment. Third record 'Coming Back For You' is overseen by Pond again but continues in much the same vein as Brown’s work with the Don. Refreshingly there are few well-known backings, (Jah Alone featuring Hedrokk Productions’ wistful Cruising Altitude rhythm is an exception) giving the songwriting space to breathe.

Mostly, Pressure sticks to his remit, working his strained, emotive vocals over laidback lavish rhythms with guileless unashamed hooks. With lyrical flair he breathes vibrancy into familiar topics from romance (Coming Back For You, which as strong a love song as the title track from the last album) to herbs (Weed, boasting some synth brass that actually sounds pretty good) to the divinity of Rastafari (the binghi-drummed Ever Living King).

A few departures do represent a progression of sorts. There are no hard dancehall tracks but Pressure flexes a rap delivery on both Baby Girl and Together As One (on the latter he dismisses people who try to get between him and his girl rather scathingly as “slimy tadpoles”). Hurt No More has a banjo (recalling the days of mento). And - controversially for those whose love of reggae is a rejection of the rock culture they grew up in - Love Conquer All and I See Rastafari are rife with thrash guitar.

Ultimately, however, it's a case of “if it ain't buss, don't fix it”. Another earnest but effortlessly satisfying record from one of reggae's modern greats.

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