The Biggest Rhythms – Compilation
Greensleeves Records (GRELCD274)

Every so often an album comes along that is more important for its academic value than for its actual musical enjoyability. The Biggest Rhythms is such an album. It’s interesting to hear 18 big rhythms in one place, stripped of vocal embellishment, to compare and contrast, but it’s not really fun. Selector’s will appreciate having a single disc of the latest versions for mixing and stage-show purposes, and would-be singers or DJs will find it useful, but they won’t be banging it in their jeeps.

Devoid of vocals, the first thing that hits you about the rhythms is how, well, boring most of them are. For all the talk of how it’s the rhythm that drives Dancehall’s success, Rhythms is awfully bland and antiseptic. Without the organic element of a singer or DJ’s voice, you don’t feel most of the beats in the same way that Dancehall does and should. No wonder dub music and the proliferation of instrumental “versions” all but stopped with the advent of the computerized riddim.

The second thing you notice is that, without a gruff patois accompaniment, there isn’t a whole lot to chose between many of The Biggest Rhythms and a typical Hip-Hop track. Scatta Burrell’s “C-4” rhythm, for example,sounds more like a Jay-Z or Dr. Dre beat than anything a Dancehall artist should voice over. Baby G’s “20 Cent” is full of the cheap blips and bleeps of a typical Timbaland track. It all begs the question: What is Dancehall? If it’s the beat, what is it about the beat? Is it the lyrics? The accent of the singer? Interesting questions all,but not necesesarily danceable ones.

The title of the album also overpromises. It’s really the biggest rhythms of Greensleevess’ impressive Rhythm Album Series (the linar notes of the album tell you which number in the series each rhythm is featured). So you get four pseudo-eastern rhythms (“Bollywood,” “Coolie Dance,” “Egyptian,” and “Amharic”) but nothing by Steelie & Clevie, Dave or Tony Kelly, or Sly & Robbie. If you want to hear the “G-String,” “Wanted,” “Washout,” “Chiney Gal,” “Rice & Peas,” “Juice” or “Liquid,” you’ll have to wait for a similar VP Records’ compilation. However, with the bangin’ “Martial Arts” rhythm, Vendetta’s throbbing “Mad Ants” and “Good To Go” beats, and the omnipresent “Diwali,” The Biggest Rhythms still delivers.

THE VERDICT: The Biggest Rhythms is a great time capsule. Twenty years from now, you can pull it out and let your kids her what you were dancing to in the good old days of 2003. If you're a selector or a singer, The Biggest Rhythms will be a useful stage show and recording studio tool. If you're a Dancehall scholar, you have ample material to deconstruct. If you just want a fun, danceable album, The Biggest Rhythms isn't as much fun as the title promises.