REBEL SOULS

ALBUM SLEEVE NOTES

In the wake of singers like Luciano and the late Garnett Silk, roots reggae music has been enjoying a renaissance for the best part of ten years now, but even the most ardent of enthusiasts have to search long and hard for strong female representatives. In Jamaica itself, Marcia Griffiths still holds the crown after three decades in the business, but not even the reigning Queen Of Reggae can lay claim to having written most of her own material, or contributing to the sound and arrangements of her records by playing a variety of instruments. Dawna Lee can, and with the release of this brilliant second album (which like its predecessor, her 1998 debut set Love, was produced by MCS’ Mykey Simpson), proves once again that she is the UK’s foremost roots and culture female singer/songwriter.

Raised in the Stoke Newington area of London on a diet of classic, seventies’ reggae music and encouraged by her brother who still operates revered UK roots sound-system Jah Youth, Dawna announced her arrival whilst still attending school by contributing bass, then guitar, and finally lead vocals as part of all-female, teenage reggae band Equity. She also learnt to play drums; trumpet and keyboards around the same time, and was writing most of the group's material before being invited to build rhythm tracks for Women In Music's roster in 1987. Reflecting her desire to make music with a message, her debut single Apartheid was released later that same year, after which she concentrated on making her own demo tracks, then sung a handful of lovers hits for UK reggae independents Progressive and Discotex. Some time was to elapse before she eventually met up with Mykey Simpson, but it’s at the latter’s studio in a quiet South London suburb that her best work has subsequently been recorded, and those heartfelt roots sensibilities best expressed.

True to form, this current album contains songs of resistance and reality, of love, autobiography and even personal regrets, although you suspect nothing could break the spirit of this indomitable warrior queen that easily. No matter the nature of her material she consistently examines her own experiences with life-affirming honesty and integrity, whether demanding respect in a relationship (Give Back) or from society, as on the powerful title track or the profound A Black Thing and Can’t Get We Out – the latter being a hymn to resilience, and as on so many of Dawna’s songs, finding her heart laid bare for all the world to hear.

With Handle It reviving the rhythm from Burning Spear’s Traveling and the dancehall friendly Action versioning Jah Mali’s 21st Century, there’s no shortage of winning backdrops, and again some of them are acoustic, with Dawna’s own musical skills off-setting her lyrics to perfection on tracks like the haunting Don’t Leave or Turn Back Time. In characteristic fashion she ends the set with questions, rather than answers - even sing-jaying on the reflective What’s Wrong, which features another of Mykey Simpson’s discoveries, Prince Live I Jah.

With Dawna in rebellious, but inspired form throughout, one of the most truthful voices in the whole of contemporary British reggae music awaits listeners to this album, confirming her potential as an artist of enduring, international appeal.