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Just a Passing Glance (RAS, 1984)

Loved by fans as one of Don Carlos' best albums, Just a Passing Glance finds the singer at his mellow, silky smooth best.  There's no sense of urgency or hectic agitation for revolution with him -- even on message tracks like "I Just Can't Stop" and "Zion Train" -- he is at ease and relaxed with a quiet humility not often seen nowadays in the frenetic, boastful dancehall-dominated reggae scene.  The title cut is an unmitigated classic, as Carlos pulls off what is essentially a love song to Jah with convincing and appropriate awe and reverence.  The two-minute follow-up DJ version is a bit disappointing, though, with Carlos just doing a skatting/chatting riff with no real message in what should've just been made into a single extended disco mix.  This is as energetic as he gets; the remainder of the album continues in his typically laid-back manner, crooning captivating tales of love, life, faith, and the struggle entailed in them all.  The music, produced by Dr. Dread and performed primarily by Roots Radics, is less edgy and more easygoing than the Henry "Junjo" Lawes sound of Day to Day Living, but neither sound surpasses the other.   Beyond "Just a Passing Glance," "Knock Knock" and "Heartbreaker" shine the brightest, although "I Just Can't Stop," "Front Line," and "I'm Leaving" are all solid.  I found "You Are My Sunshine" and "Spring Heel Skanking" to be two of the weaker tracks here, but both were included on the "best of" Ras Portraits collection, so I suppose some people do find them enjoyable...maybe you.

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Deeply Concerned (RAS, 1987)

*GUEST REVIEW*
This 1987 album is live- band roots reggae, but with clear early dancehall influences. Themes discussed in the lyrics (the title track dealing with South Africa under Apartheid) are often serious, or are on sadness, disunity, or injustice. Yet, the vibe throughout is relaxed and mellow. Don Carlos's beautiful, heartfelt vocals give most songs an extra, melancholic quality. Furthermore, he shows how he is equally effective in singing as in "toasting" or toasting/singing (on a few songs), which gives this set of songs a varied character. The style is somewhat understated, yet atmospheric and engaging, with only some songs, like "Cool Johnny Cool" (on a migrant to the US gone bad), having a more spectacular sound. Overall this album has a nice, not unimportant "feel good" effect. Not all songs are unique classics, but none of the songs are bad or boring either. The early dancehall "Ruff We Ruff" has a somewhat generic version but remains entertaining enough. The (on this release) added 5 bonus tracks, from/also on other albums, are good choices, and fit the overall sound. Besides the classic "Just a Passing Glance", the emotional "Harvest Time" stands out, while of the earlier songs "Satan Control Them", the title track, and "Cool Johnny Cool" stand somewhat out.

- Michel Conci

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Groove With Me (Orange Street, 1999)

Groove With Me shares two tracks in common with Ras Portraits -- "Johnny Big Mouth" and "Laser Beam" -- but beyond that, there is little comparison.  While the songs on Ras Portraits sound like a concise summary of Don Carlos' career highlights, the tunes on Groove With Me have the feel of more filler than killer.  These tracks were basically taken straight from Carlos' 1983 album Spread Out (AKA Laser Beam), meaning they weren't exactly painstakingly searched out in order to provide listeners with his best material.  As such, it's a pretty dry effort, with only "Praise Jah With Love & Affection" and "Groove With Me" standing out alongside the previously mentioned cuts.  To add insult to injury, the hit "Spread Out" isn't even on this album; although it's listed as track 10, "Praise Jah With Love & Affection" is repeated in that spot.

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Day to Day Living (Greensleeves, 2002 [orig. released 1982])

A minor highlight of the early pre-digital dancehall era, Day to Day Living has been re-released by Greensleeves to the delight of listeners worldwide...well, at least to my delight.  Carlos' unassuming warbling against the backdrop of producer Henry "Junjo" Lawes' signature pounding drum and bass sound (performed by the Roots Radics) is a match made in heaven.  As far as I'm concerned, the bass and drums can never be too big when Junjo and Roots Radics are involved.  The raw, simple power is to me the essence of early '80s dancehall.  If you already have Ras Portraits and/or Groove With Me and want to check out more of Don Carlos, this is a great choice because none of these songs are on those collections.  That doesn't mean, however, that Day to Day Living doesn't contain compilation-worthy material.  Indeed, you can't help but sway to grooves like "Hog and Goat," "Roots Man Party," and "English Woman."  The rest isn't particularly spectacular, but forms a strong, cohesive mix.

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Live in San Francisco (2b1, 2002)

One of the more unsung reggae icons, Don Carlos's placid performance (both singing and speaking) on this live set underlies a humble nature that has probably contributed to his lack of mainstream notoriety. Those who are "in the know," however, relish Carlos's cool, laid-back demeanor as an artist, which lends to his hypnotic flow and supreme likeability. Even if everything he performs doesn't always knock you off your feet, it's always pleasant and of rock-solid quality. It's no surprise, then, that Live in San Francisco is a good, if brief, investment of time. Some of Carlos's best tunes are represented, including "Passing Glance," "Lazer Beam," and "Cool Johnny Cool," but you can't look at this as a comprehensive overview of his work without classics like "Harvest Time," "Deeply Concerned," and "Jah Jah Hear My Plea." As a nice bonus, though, there are a couple of groovy covers included: the Abyssinians' epic "Satta Massagana" and "Every Day Is Just a Holiday" from The Sensations. Overall, a very good introduction to a reggae great.