Bitty McLean- Over the river

Release Date: Apr 95
Chart Position: 27

Bitty Mclean, a man who’s first name adequately sums up his recording output, is again the subject of this week’s (ok week is generous given the current output of the neggae blog, tri-weekly is probably more accurate) entry. It will be no surprise to regular readers that it’s again a cover version, made famous by Justin Hines and the Dominoes. The Dominoes later abandoned the ska sound, dropped an E and became Derek Clapton’s backing band in the seventies when they reached the apex of their recording career with the release of ‘Layla’. Strangely this song has also been championed by maverick caller Thorsten Dudziak on the German hoe-down scene. This is a link to the moves in case you ever want to recreate the dance in your local discoteque and here’s a video so you can make sure that you’re along the right lines. It all looks like amusing harmless fun until you realise it’s combining the cultures of the American south and Germany which are two of the most racially intolerant societies in modern history, makes you think eh? These people need keeping an eye on, from Einfach Klasse to Furchtbar by the process of logical conclusion.
Bitty’s version goes straight in, no messing, with an explosion of Ska tinged horns and Bitty’s sweet vocals with the whole production being pretty true to the original. There’s a nice piano break behind it which is a bit reminiscent of ‘Ob-La-Di Ob-La-Da’, which allegedly was borrowed by Macca of this bloke. The production carries on in this vein, and whilst being old fashioned and reasonably simple it’s none the worse for it. Lyrically it’s about a long distance relationship between Bitty and his gal who’s moved to Notting Hill from the Carribean, a word to the wise Bitty, it’ll never work, she’ll be on those blues and jazz fags before you know it and you’ll be long forgotten, David Beckham was reduced to cheating with a woman who wanks off pigs on channel 5 when Posh refused to move to Madrid with him. There’s also a line about a big oak tree which seems to have no context to the rest of the song and a more cynical person might argue it’s purely there for rhyming purposes. The video unsurprisingly starts with a TV which is a staple of Bitty videos and makes me wonder if he has a Telly Addiction on a par with Noel Edmonds. The television in question is just a normal television this time round though rather than a time machine or portal to the wild west so maybe he has calmed down a bit. To cement the idea that the two star crossed lovers are far away we get a handy subtitle informing us Bitty is in Kingston, Jamaica rather than Surrey as the two are easily confused due to having a similar climate and reggae scene although I’m not sure the one in Jamaica has a Bentall centre. To further highlight the distance the video features an Indiana Jones type map of the plane journey between the two places although looking at the flight pattern I suspect Denzel Washington was the pilot. Whilst his girlfriend is watching a stuffy looking doco on immigration from the West Indies to England Bitty is living it up in the studio with his boys and it looks like she’s got the rough end of the stick but all becomes clear as the postie arrives and delivers a copy of the record the boys have been recording to cement the bond between the lovebirds. Bitty then gets on the blower to her and you can tell she loves it, basically the whole thing turns out irie, nice.
When skies are grey and you’re a bit down play and watch this, you’ll feel a bitty better – 7/10

Now it may seem like a real first world problem to have, but I am writing this under intense pressure! I am returning from my holiday, trapped on board Monarch Flight ZB 249 and the young girl (maybe about 4 or 5 human years old?) sat in the row behind me has kicked the back of my chair now to a regular two beats per minute for the last two and a half hours. The mother – who without being presumptuous has a neck tattoo, her hair in dreadlocks (and not fun in the sun, happy go lucky, Islandy type dreadlocks either….. these are bad dreads that look like Satan has platted his pubes to create some kind of ‘cap of evil’, spat on her head and affixed!) and wearing a Jack Daniels vest – seems to be reveling in the glory that her young apprentice is more than capable of inflicting pain and misery to the world while she has a quick snooze. We have another three hours to go and I think the chances are pretty high of me at least talking big about punching this 5 year old bitch in the face!
Although on the plus side…..we have just been given an eye full of arse from the chick across the aisle from us as she stretched for something in the over head lockers. Even Nicki gave it a slight nod of approval at the display effectively giving me the all clear to whoop a little and gesture to the guy sitting behind her. He floated acknowledgement back by means of a standard man-speak nod and smirk. He’s cool! Me and him would be good mates if we knew each other properly!
Anyway, the point of this was not to brag about the fact that the ongoing civil unrest and political instability has resulted in Egypt being a far more affordable seven day break than before and we have taken full advantage of that. It was to point out that despite having bags of time to write this review I am struggling to give this the emotionally unbiased effort that it deserves. But here goes………
Bitty smashes the crap out of this ultimately simple and highly enjoyable skank. It’s true Bitty from start to finish, uncomplicated, effective and loads of fun. The celebratory horn section at the intro gets you highly interested from the off and it gets better and better as the song progresses. The tempo is fast and upbeat and although its teases us at about two mins in when it stalls for a few bars, it swiftly pushes us right over the edge again and gives us little time to catch our breath.
Lyrically Bitty gives us a master class in delivery, keeping it to the point with very little bells and whistles round the edges. Just a great, simple, catchy and feel good tune. It would be the type of track that you would play when you wanted to crank it up a notch at a BBQ or had something to celebrate. Like if the window next to the spawn of Satan sat behind me were to break and she were sucked out of the plane never to be seen again! Me and the dude that acknowledged the arse earlier would put this on, order up some in-flight miniatures and get the party going! He’s well mental like that… mate!
Bitty never really cheats the island of the type of music it has given us and that is what I like about him. The same cannot be said about some of the other outfits we have reviewed who seem to have somehow lost what it is really about. Catchy, feel good stuff with nonsensical lyrics, it’s that simple! Bitty in this effort ticks all neg boxes.
No video on the version I downloaded, but I am not going to let that ruin it much. I bet if there is one it would be well smart!
9/10 from me on this beauty!

Delroy greets us this week with “Over the River” a slow and tropical choon that hit the dizzy heights of #27 in 1995 in the UK charts. I’ll be honest I don’t recall this one from back in the day. I’ve listened to it a few times and it still doesn’t jog my memory. How can this be, I thought that I was a Bitty supporter, a fan. I feel bad for letting this one slip through the cracks of my musical library.
Some amazing things were happening in ’95 that must have captured my attention. Nick Leeson got caught with 800m quid in some sort of dodgy account as part of the Barings Bank scandal, Eric Cantona was kung fu kicking that Crystal Palace supporter who threw a cuppa at him, Princess Dianna was spilling her guts to the world about James Hewitt and last but not least, Waterworld, that iconic movie that cost a bazillion $’s and essentially destroyed Costner’s credibility and more than likely credit. Although that may have had something to do with the fact that I missed this one, it is more likely to be down to fact that we lived at the Litten Tree back then.
So, back to it. I’m now getting into the Jamaican feel of things, slowly supping on Redstripe, while listening to Bitty do his thing. I really like the horn intro to this, it’s smooth and sets the tone for the rest of the song, Bitty then rolls into his traditional islandic rhythm. His voice is so distinct and soothing, it pairs well with Redstripe, the song gets better and better with each and every sip.
I’m not sure about video, according to the subtitle, we have a scene in Jamaica and a scene in London. At no point in the video do I see a palm tree, ocean, sunshine or pineapples. I therefore conclude that this video was shot in London or possibly Birmingham with the help of UB40 and their creative talent division.
Enough of that, Bitty is a happy soul, really into his music and seems content. That’s good enough for me. Chalk me up for 7/10.
Well done Delroy, sorry I didn’t catch this on first time around. This is head bobbing music, Redstripe or Malibu worthy.

A welcome return of Neggae’s young apprentice himself Bitty Mclean, with a lovely cover of Over the River by Justin Hinds And the Dominoes. I have to admit this is one of my favourite ska cuts,so my scoring will be somewhart biased. Bitty’s basically going to have to go some to nause this up. I discovered thr track by way of living legend DJ Derek and his marvelous LP Sweet Memory Sounds. Well worth a purchase:
But that’s enough of the old school, let get down to the neggezzae. Bitty doesn’t disappoint; the retread doesn’t dick around with the original – retaining the horn lines and general skank. In typical Neggae fashion Bitty has digitized and modernized the beats somewhat – but the sone still retains it joyous overall tone. And Bitty himself delivers another trademark tenor vocal, giving the song the enthusiastic vibe that ensured the yout’ dem all go to Woolworths and buy de t’ing. Or something.
Videowise, we are yet again transported back to the 60s. Judging by the fact that we know Bitty and the UBs were pals – I’d go as far to assume they’ve used the same director, studio, props and lead female actress in this video as in Baby Come back. That’s certainly the UBs with him berking about in the studio In Kingston Jamaica.
The narrative I think is supposed to suggest some sort of long-distance unrequited love affair, with Bitty’s paramour stuck in rainly old 60s Britain, in a cold flat watching a crappy black and white telly. She pines for Bitty, while he spends all day on a tropical island in a recording studio cutting dubplates and getting blunted with the Yowbs. I imagine she’s going to be waiting for him for quite a while.
SCORE: A very pleasant 7/10

Keith De Vivre
Transcribed by long standing friend of Keith’s – Master Paul Coleman.

It is with heavy heart that I write these words to you…
I’ve just left Keith’s bedside. (I say bedside, in truth, it was a plush couch in a private booth at Beavers gentlemans club, Watford.)
Keith has passed.
Already racked with guilt about not being able to give the time and commitment of 32 minutes a week/fortnight that a solid neggae review required, nay deserved (something about work pressures, but I don’t buy that) he said he was possibly going to ask you to pass the baton to someone else, someone with more Neg in their blood. But it seems this decision was taken away from him…
His final moments were both moving and textbook Keith. As a nubile, eastern european poledancer writhed nearby to the strains of Shabba Ranks, he both managed to say his goodbyes to the staff, move a cushion from his lap to show the dancer his appreciation AND give his final review to Bitty Mclean, Over the River. He simply said
“It’s fun… I like it… and the video’s quite colourful… 7 out of 10…”
His final words will be noted as “Tell the elders I tried. A bit…” and – as a rolled up, stripper destined 20 pound note fell from his once mighty hand – a final, barely audible “Boom Shakalaka” passed under his massively-hairy top lip, and he left us.
I guess some people just can’t handle the Neg…”



Sting and Pato Banton – This Cowboy Song

Release Date: Feb 95
Chart Position: 15

I’m writing this from Marbella, for a time we were the prince’s of Puerto Banus, not bad for two boys from the rough slums of Pyrford. It was never going to last though and now things have gone proper nutty and got wight on top. The only way we’re getting out of this is going to Cadiz to meet a man so mental his own nightmares are scared of him, I don’t mind telling you, I’m pwoper shitting myself.
*ahem*, sorry about that, don’t know what came over me, on with the review. This version is actually a remix, which thankfully has played down the banjo stylings of the original. This is Sting’s explanation of the original ‘It’s an outlaw song about the existential cowboy becoming repentant of his days in the saddle and dealing with the concept of growing older, death or religion’
To really underline the gravitas of this deep, spiritual tale Gordon decided to get an Irish neggaeist to berk about and lay a verse down about following a guiding star or something, nice one you tantric twat.
The song starts with a decent horn and skanking beat, Paddy gives it a bit of chat about a guiding star and then Sting’s first verse kicks in and you know what? It ain’t too bad in the grand scheme of things. Sting’s vocals do leave me a bit cold though, there’s an underlying strain to his voice that makes him sound like he’s in dire need of an evacuation or suffering from a hernia. Then the chorus kicks in and it’s this bit that bothers me. The first thing is that coffee table guitar sound that’s endemic of Gordon Sumner, I’ve still no idea how he gets the savage weapon of Hendrix, Page and Townsend to sound like a watered down, slick, coffee table instrument. Shortly afterwards his trademark piano and electronic strings have kicked in and all the neggae’s been sucked out of it, it’s like something that’s not been deemed good enough for ‘Ten summoner’s tales’. Straight after the chorus Pato comes in and I’d bet after a 3 hour chat with Gordon about the song’s deep rooted sensibilities, like anyone else he was none the wiser so decided to write some nativity play like rhyme and cash the cheque to top up his diminished bag of sensi. The song continues in this vein for another 3 minutes, which is about 2 minutes too long in this elder’s humble opinion.
The video is some weird ‘Blazing Saddles’ pastiche, it starts off with Sting and a load of brasses but just as he’s starting to get his tantric on he realises there’s some other cowboy in the bottom of the bed, the fact he only realises this when he sees a pair of feet at the bottom of the bed which suggests he’s not the brightest spark. He then gets chased out of the bordello by his other half Trudie, at this point I do have a little bit of sympathy for him, if she can’t make him ejaculate after 15 hours he’s going to seek solace somewhere else. Meanwhile Paddy is watching this unfold on TV whilst wearing the Cat from Red Dwarf’s hair. He then falls asleep and is engulfed by a sea of smoke which I think indicates the Yowbs are smoking it up in the kitchen as the next minute he’s in the tv (again) and has taken the form of a preacher, it’s hardly ‘Like a Prayer’. We then cut to Sting and the world rejoices as it turns out someone has finally locked the prick up for his crimes against music. Pat is then returned to his sofa and has undergone some kind of spiritual awakening, we’ve all been there after a few blue mushrooms, he’ll be alright once he comes down. Disaster strikes at the end of the video as it seems Sting’s been let out, one can only assume they had to free up the cell for Jamie Cullum.
4/10 – the cowboy element should be referring to Sting’s musicianship.


In the years leading up to the Neggae-Britpop handover, the other UK pop-culture touchpoint was renewed interest in all things wild and west. Tombstone, Wyatt Earp at the Box Office, Cotton Eyed Joe in the charts – for some reason the UK was back in love with whompin’-and-and-a-stompin’ and yeein-and-a-hawin’. The fire that started with Young Guns and Back to the Future III was by the mid-90s a veritable Cowboy-based flame. Remember the holiday where Jamie got China Black’s autographs? The day before that, Mum and Dad took us to see Maverick at Worthing Odeon. Singularly the worst cinematic experience of my life.
On the telly, there was a little show called Crocodile Shoes that was regularly pulling in 12m viewers. Jimmy Nail was the star, and released Cowboy Dreams – a maudlin ballad that my Dad enjoyed so obviously I didn’t (see reasons why here).
TOTP knew this. In February 1995, with Oasis, Supergrass and the Prodge all bustling around the top 40 – TOTP gambled on a western-themed episode involving wor lads. I’ve hunted and hunted for video footage of this amazing episode – which included ponchos, fake tashes and cacti – but none exist. What did happen was a veritable Geordie/Neggae/Cowboy free-for-all, with Pato, Jimmy and Sting all jumping betwixt performances purely to make themselves and the British Public laugh. And they bloody did. The only recording of this happening is this:
As for the song – well we all know Sting is partial to a bit of the Reggay-Reggay. And taking into account Shinehead’s earlier effort, by being covered and producing original material, Sting is the first artist on the Neggae Hot 90 to create a self-closing loop.
This Cowboy Song sounds like much off Ten Summoners’ Tales, Sting’s return to form ‘93 LongPlayer. Inoffensive yet clever chordplay with Sting’s unmistakeably decent voice delivering an uplifting paen to prospecting and lynch mobs. You’ll notice that the video is a cut-and-shit affair, with Pato’s TV based scenes hastily grafted on to the high-budget, Western-based original. This is because the song itself was a re-up; Pato’s parts were added an the song gerenally iriefied to cash in on the Neggaemania now sweeping the UK. Sting had his eye on Pato (and in fact bankrolled his Breakthrough hit Baby Come Back) so called on the Brummie BadBwoy to share the Neggae love.
And he did. By Pato spitting a few well paced rhymes and berking about in the video – plus beefing up the sound woth some Neggae horns and backbeat, Sting rightfully landed the Neggae hit he was owed.
Score: 7/10

Keith de Vivre
Keith de Vivre has been AWOL for the last 2 weeks, with some neggae elders suggesting that they’d heard the last of the hirsute one… until a telegram (yeah they still exist) arrived via Bangladesh late last night…

When I saw that we were covering this this week I thought that there was some kind of mistake, as this can’t be neg can it?
Although I’m not going to use my purist neggae fundamentalist views as an excuse for being a week late on my review, so I won’t, I’ll blame something else…..just not sure what that is yet.
But, for christ sake its about a Cowboy….is it really neg? I suppose if the Pato contribution turns it neg then so be it I won’t argue it.
I remember my dad being heavily into Sting at the time and him giving this one plenty of airtime in the car singing along loudly to it. He always used to say “great track! But who’s that yapping over the top of him?” If I am honest I have to agree with my old dad on this one, I don’t think that Pato brings much to the party and I hate to say that I reckon the track would be better off without him. By giving a twist of neg and adding Pato to the mix I think that they have turned a great Sting track into a ‘you remember that jokey one he did with Pato Banton’ type track.
7/10 for me (5 for Sting and just the 2 for Pato)

Oh my. Has this blog really come to this?
#weakneggae #patowhatareyouthinking #cowboysaintneggae
#poorexcuseforarecord #stingandpatodontmix #showtune #patotakethatshirtoff #stingisabadshot #imdonethisisreallybad
0.0/10 #notworthfollowingtheguidingstar
#youtwoshouldhaveknownbetter #whereisshaggy


C.J Lewis – Best of My Love

Release Date: Jul 94
Chart Position: 13

Here he is again then, the wiseman of Neggae, to tell us all ‘what a gwan‘ in this crazy place we call Planet Earth. A Neggae soothsayer if you will, nay –  a Neggae prophet. St John the Braptist. Nostrademus (and Pliers). CJ Lewis is going to take a melody from days of yore and fold in lyrical wisdom from the now to take us into from the future.
OR, he’s going to toast in exactly the same way as he’s done on his last two hits over a obvious pop sample anf over a happy shopper beat because it’ll shift a few more cassettes  In the words of Alan Partridge: “People like them, let’s make more of them.” Pop music consumers generally accept a degree of replication when a new artist suddenly hits the big time. Pop history is littered with follow-up songs that, give or take a melody line or a few different words are exactly the same as the initial chart smash. This was particularly prevalent in the 90s. Some examples:

Artist Pop Smash “We’re on to something here..”
Rednex Cotton-Eyed Joe Old Pop in an Oak
Scatman John The Scatman Scatman’s World
Prodigy Firestarter Breathe
No Mercy Where do you Go Please Don’t Go

Et cetera. Even the greatest band of all time did it (with this and this). The trick is, to get your foot in the door, but then go away and enhance your craft. Keep repeating the same old trick, and the public will view you as lazy or arrogant and won’t buy you records. As my Dad succinctly put it while watching CJ Lewis sleepwalk through this effort on TOTP “He’s taking the f*ckin p*ss now.”
And the song starts of so well too. There’s a sneaky little KC and the Sunshine band sample that fools us into thinking that young Steven James Lewis is going to go all Eric B & Rakim on our asses. Alas no. The rest of the song and video is a lazy yet uplifting homage to 70s disco; inoffensively cheery, like musical Schloer. CJ toasts, the guys and gals bob about in charity shop clobber and polyester wigs and everyone is happy.
The song is congruent with the whole everything-goes-in-20-year-cycles theory. Throughout the 90s There were tons of other Disco inspired pop hits (off the top of my head Kylie’s Step Back in Time, Gloria Estefan’s Turn the Beat Around, BucketHeads the Bomb). So in a way, I find it quite heartwarming that Neggae is following the cultural norm and CJ is representing our chart in the great merry-go-round of borrowed ideas that is pop. I too cashed in on this phenomenon, and hosted a suburban facsimile of the popular disco revivial night CarWash. It was exactly the same in many respects, but was held at Bisley Pavilion instead of Berwick Street and the average age of the clientele was 16¾.
Score: For reminding me of those Halclyon days (when Norm got caught eating the bouncers’ sandwiches) – 5/10.


After last week’s Lauper debacle I was hoping for some actual neggae this week, when I saw that it was Eggheads favourite CJ Lewis my heart leapt. It’s back to a cover of sorts, this time the Emotions disco classic of the same name, CL had latched onto this 20 years before Daft Punk, ze seely Fronch roobots. The intro to this is like some lost native tongues classic, even sharing a sample with ‘Say No Go’  but after 20 seconds the Neg kicks in. Well I say that but I’m not sure it does, I’m finding it hard to differentiate between this and the original musically, I mean they’ve looped it a bit, chucked a couple of hip hop type samples over the top but have they made this neggae? I don’t think they have, it’s a bit lazy. The only neg in this are CJ’s vocals and lyrically they’re a bit humdrum, the usual sentiment of ‘oh your very presence enriches my existence due to the deep love we share’. This might be true for a couple of weeks but it doesn’t take long for apathy to set in, followed quickly by bitterness and finally leading to the apex of a strong relationship, hate. Get with the programme CJ. I’m a bit disappointed in CJ actually, as an egghead and quiz champion this was an opportunity for him to lay down some serious knowledge, edutainment for the masses, along the lines of ‘did you know Uganda borders Rwanda’, but alas he serves up the standard lovey dovey nonsense.
The video is shot outside Cliff Huxtable’s house and features some burrrrrrrds and bwoys in both modern day (in 1994) and sevs outfits shaking their booty, which I believe is now referred to as ‘twerking’ in modern parlance. I’d always assumed it was referring to a Yorkshire native’s place of employment as in;

‘Kes, where are you off to at this time you daft apath?’
‘Down pit twerk’

Seems I was wrong and it is in fact the most popular dance move since the ‘Dougie’, which I’ve never heard of either, it was all waltzing and foxtrots in my day. Not a lot of imagination has gone into the video, it’s hardly ‘Back to the Future’, in fact it’s not even up to Wu Tang standard when it comes to time travelling music videos. After my initial excitement about this song I realise a lot of it was rebound excitement after the Lauper fiasco really this is a bit meh.
Score: 6/10 – Gains a point for the fact my friends and I substituted the chorus for ‘you’ll get the rest of my glub’ when it was released.

Keith de Vivre
Choo Choo!
CJ’s back and rolling back into town looking to repeat the success of his 2 previous charters. “Sweets for my Sweet” of course smashed down in summer 1994 and – as covers go – I found it an absolute bloody delight. But more importantly, it reminds me of buying an unbelievably marked down Donnay tennis racket in the Stevenage Sport & Soccer in ’94. With England not being at the World Cup that year I got into tennis in a big way. It’s not something i’m proud of, but they were great days none the less.

I have, however, absolutely no memory of this follow up and even less idea what The Ceedge is singing about here. What I do know is that if you lifted his vocals and laid them over “Sweets for my Sweet” nobody would be any the wiser. Judging by the gloriously happy vibe throughout though, my guess is he’s singing about peace, love and mashing bits with ‘honeyz’. Or perhaps he’s telling us how they’re all having a great time on THE CLEANEST STREET IN AMERICA (seriously! look at it!) Or maybe, just maybe it’s a thinly veiled tale for us about how the subway train that bookends this video is actually THE CEEDGE’S VERY OWN TIME MACHINE!!
Bear with me doubters, the evidence is all here… 0.17s: The 70s/90s fashion split screen teaser of things to come; 0.21s: SUBLIMINAL FRO-DANCER!; 1.12: More split; before chucking all subterfuge out the window from 1.15 onwards with full on disco time-shiftin’. I’ve been to Flares and Reflex enough times to know that this is EXACTLY what the 70s looked like, which just hammers home for me Mr Lewis’s dimension-jumping credentials.

Dr. Emmet Brown discussing Ceedge yesterday.

Apparently Ceedge had a couple of other albums after this one, but little was really seen of him after 1995. Some people have suggested he went into music production, others say he started a BMW dealership in Ryslip. The truth is he’s spent the last 20 years rattling around space-time, dodging Libyans, getting into scrapes with Biff Tannen and trying not to accidentally f*ck his own mother.
I just hope he took time out of his busy schedule to ride the time-rail back to ’77 to apologise to the Emotions in person for this abomination. Or at least let me borrow it for a bit so I can go back to the Stevenage West Gate Centre, circa May 1994, and smash my ears in with a freshly purchased Donnay tennis bat so I won’t have to listen to this drivel 19 years later.
Score: Timelord or no Timelord, don’t mess with disco classics. 3/10

Thank you Jeezzuuss, we are back and so is one of my personal favourites, Mr CJ Lewis. Best of my love is a nicely blended summer “choon” mixing CJ’s love for strong, fast paced island rap and some pop-disco beats.
I think we’ve come through stronger now after a tough few weeks in the boardroom at Neggae Towers. The inclusion of Lauper, the shall-we-shall-we-not on China Black, what’s Neggae? What’s not Neggae? Mixed reviews and some generally tardy performances all around by some of the elders. All shaky stuff. I’m not going to name names but you know who you are. I say that in jest as I am essentially two weeks late writing this.
Anyway, back to CJ and the “Lewisettes” A great summer song, a true morale booster for the younger generation and not to mention a must at any BBQ.
The video is a touch on the urban side, possibly New York. The 70’s theme had me in a time warp and placed in the kitchen of Bisley Pavillion making a cheese sarnie. Full marks to the background crew in the vid, not much creativity from CJ. Well, let’s not dwell on the Visual. Let’s praise the back to neggae music we are presented with. Great pace from start to finish, excellent vocals / rapping from CJ, innovative theme with decent dancers. Overall, very enjoyable, not offensive and absolutely Malibu worthy.
Score: 7.5/10 for me. Solid work again CJ!

Yes! CJ’s back, back again. CJ’s back, tell a friend! I’m not going to lie, I’ve started to struggle with the stale neg whiff that’s been hanging around in the air for what seems like a few months now. So seeing Mr Lewis on this weeks agenda was a welcome surprise!
Now, I’m normally not a big fan of covers. But I think he’s done a good job here. I don’t need to go into details about how great the original song is, its a classic, and I do think it is his recognition of this that helps him out. He’s left the heart and soul of the song intact, not really changing too much to the overall structure of it, but has added just the right amount of neg twist to it. Too little or too much of that stuff and it can really back fire on you.
Score: Its no Sweets for my Sweet, but is a fair offering from Seven James Lewis. 7/10 from me.