Bearing all the hallmarks of Bobby 'Digital' Dixon's dancehall-influenced production, the impact on both the reggae and mainstream markets was phenomenal. Sizzla and Homer Harris Sizzla's style at that time was in stark contrast to his mature and developed flow today, as is to be expected with any young talent that is beginning to blossom. The point at which Sizzla arrived on the scene is pivotal due to the fact that a ''Roots Revival'' was occuring at the time, with Garnet Silk and Luciano as it's frontmen. Garnet Silk, who was by all means the main figurehead for the Roots Revival movement, was killed at his home in Manchester, Jamaica in Decemeber 1994 due to a gas cylinder explosion in his yard. In the tune ''No White God''. A brilliant and passionate performer, Sizzla broke boundaries, appealing to those looking for something new, music with depth. He also started his own company Kalonji Records; this set the mark of his growth not only as a great reggae artist but also a record label executive and businessman.
Unlike kindred spirits Capleton and Buju Banton, Sizzla's early material was culturally oriented right from the start; he was able to build an audience without any of the lyrical slackness that helped establish the other two. Creatively speaking, Sizzla really came into his own with the release of his second album, the Burrell-produced Praise Ye Jah in 1997. Luciano represented a mild force, while Sizzla began to become heavily associated with his true element; fire. Securing his position as a top conscious reggae artist, he set about cultivating his role as a spiritual messenger. The only difference with this one is that we want it to go all the way, and we're putting in extra work to make it happen. Sizzla's combination of Rasta principles and up-to-the-minute dancehall rhythms made his hard line approach more palatable. We feel like the album has what it takes.
Sizzla Kalonji is one of the most prolific leaders of the conscious Reggae dancehall movement. Emerging in the latter half of the 90s, he helped lead dancehall back to the musical and spiritual influence of roots reggae and heavily Rastafarian subject matter. . Previously, Kalonji was known as a strictly ''roots'' artiste, and many of his hardcore fans became disenchanted with him by Kalonji's seemingly raunchy lyrics. A trip to Africa influenced two of his 2012 albums with The Chant focusing on his visit to Zimbabwe while In Gambia was partially recorded in its namesake country.
By the end of 2006, Sizzla released the high-profile The Overstanding, an album with hip-hop impresario Damon Dash as executive producer. It is as prolific, infectious, and melodic as the previous albums. Along with Buju Banton and Capleton, he helped lead dancehall back to the musical and spiritual influence of roots reggae, favoring organic productions and heavily Rastafarian subject matter. The various singles on this album spent numerous weeks on the Jamaican and international Reggae charts. The 1980's witnessed a dancehall explosion, and with the music came the lifestyle. Nonetheless, he still ranks as arguably the most popular conscious reggae artist of his time.
From the outset their relationship was one of mutual respect and Inspiration. The evocative title track, issued as a single, rapidly achieved anthemic status. In response to all of the criticism from his former fans who longed for the ''Black Woman and Child'' classic Sizzla days, while simultaneously denouncing his increasing penchant for performing ''slack'' tunes, Sizzla released what is arguable his best album to date, ''Da Real Thing'' in 2003. Sizzla recorded many unacclaimed and obscure singles for various producers throughout most of his early years. When Sizzla initially signed to Xterminator he had a relatively slow start. Two more albums, Light of My World and Rise to the Occasion, appeared in 2003. Welcome to the Good Life followed in 2011.
In addition, many detractors have claimed over the years that Sizzla ''fell off'' and his career was over. Working with Fattis marked an important turning point for Sizzla. Xterminator has produced and managed some of the biggest current talent in Reggae such as Buju Banton, Luciano, Beres Hammond and others. This still remains a huge criticism of detractors today. On the other hand, those who are positively inspired by Sizzla's music may claim that he is the ''King of Reggae''.
In addition, Kalonji has been one of the most imitated artistes in Reggae since he emerged on the scene. In the earlier Dancehall music that was characteristic of the mid 80's to mid 90's, ''slack'' lyrcis were the order of the day. Even those who happened to be turned off by his music and message will have to admit that Sizzla is a truly gifted artiste at the very least. He also spent many years as a young mentee of Homer Harris, who was an elder responsible for steering Sizzla on his destined musical path as a youth. His 2013 effort The Messiah was recorded with the Bread Back production team and marked his 70th album.
This album consists of strictly roots and lovers rock material, while every single tune featured on the album eventually became bonafide hits and eventual classics. The career as a mechanic would soon take a back seat to the music and eventually fade. The lyrics in ''No White God'' were markedly different from his previous Rasta inspired lyrics, in fact, they were perceived as ''inflammatory'' by more mainstream audiences at the time. At this point, Sizzla's relations with Luciano began to deteriorate due to the fact that the two had begun to blaze different trails within the same music. A versatile singjay-style vocalist with a gruff, gravelly tone, he is capable of both rapid fire chatting, powerful, melodic singing, and his best backing riddims are among the strongest in contemporary dancehall. Kalonji soon became an anomaly due to his unparalleled versatility and it became difficult to classify his music strictly within the genre of Reggae. However, Kalonji offered a simple explanation when confronted with this criticism by simply stating that, ''Man and woman are the natural order of things.
This huge musical output that has become characteristic of Sizzla over the years led many critics and detractors alike to assert that the bulk of his recordings were subpar and rushed. In a joint venture with Kalonji Records, his most recent album The Overstanding was released in November 2006 with Damon Dash Music Group and Koch Records. After honing his vocal skills, he landed a gig with the Caveman Hi-Fi sound system, where he first made a name for himself as a performer. The title track was a smash hit and became something of a cultural reggae anthem. Overall his music is generally positive, advocating faith, compassion for poor black youth, and respect for women. Eventually Sizzla had the last laugh with the release of ''Da Real Thing''.
That approach changed in 2002, when he concentrated on softer, mellower, more romantic material, which dominated that year's albums: Ghetto Revolution and Da Real Thing. In addition to his musical breakthroughs, Sizzla continues to build different business opportunities to empower himself and the community by creating an environment for young people to grow and develop skills. Soul Deep was released in 2005, with both Ain't Gonna See Us Fall and Waterhouse Redemption landing a year later. After honing his vocal skills, he landed a gig with the Caveman Hi-Fi sound system, where he first made a name for himself as a performer. At that time, he was also attempting to begin a career as a mechanic, as his father Father Magnet aka Daddy Sizzla operated a garage of sorts. The sole fact that the responses are extreme is the only issue at hand because this in of itself signifies Sizzla's power to affect the Reggae-loving masses positively or negatively in a very potent way. Yet overall, his music was generally positive, advocating faith and compassion for poor black youth, and respect for women.