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Friday, Sep 19 2014 | 12:29
Image: 1591414 Sounding quite like nothing you have heard before, The Excelsiors come correct with their
debut album, Control This. The latest project from Shane ‘Sureshot’ Hunt, known for his
Sharpshooters group, and for his highly-regarded Soundbwoy Reggae Breaks series wherein
he has liberally dropped science, sharing his in-depth knowledge of ska, rock-steady, reggae
and dancehall for the instruction of the hip-hop massive, The Excelsiors is the logical
extension of Shane’s passion for classic Jamaican music (and more) of the ‘60s through ‘80s.
At a time when seemingly everything is made using the same software packages, Control
This is a defiantly old-school, analogue record, dispensing with the uniform polish and sheen
of contemporary production methods and instead showcasing an array of ‘real’ instruments
and a variety of styles and moods. In the mix are not just bass, drums and guitars and some
real antique keyboard sounds but percussion including steel pans, organ, horns, backing
vocals, and even strings! All new music, cut live to tape and then seamlessly pieced together
across an album of (mostly) cover versions, a living link with the music that was the inspiration
for the project. Sounding like something that would be very expensive to produce in this day
and age, the finished result nevertheless retains a rawness and gusto that virtually leaps out of
the speakers.
Nor is this simply a reggae album –in fact, here we have Sureshot bringing together a whole
array of cultural influences, in a lively mash-up style. Vocals come from northern soul/disco
legend The Mighty Pope and Omega Rae of Blackalicious, coming from opposite ends of
about four decades of black music styles. Mrs. Magic is the Grover Washington Jr. jazz-funk
staplegiven a gender re-assignment, and an earthy reggae treatment: Esther Philips, Roberta
Flack and even Amy Winehouse have previously recorded vocal versions atop this killer
rhythm, this is how it might’ve sounded if Toots and The Maytals had done it at the time it
came out, raucous and intense. Carole King’s It’s Too Late has been covered notably by
Dennis Brown in reggae and the Isley Brothers in soul. It’s given a reggae groove but its
strings and deep backing vocals bring to mind classic ‘70s soul. It takes a particularly fertile
imagination (and an extensive record collection) to think of versioning Debbie Deb’s
freestyle classic Look Out Weekend as a sprawling, organic Afrobeat tune… Shane Hunt is
clearly the man with that imagination! Check the fierce horns here.
Similarly, Barrington Levy’s Here I Come, the digital-dancehall tune to end them all, is here reimagined
as a hugely infectious ‘live’ jam …try listening to this without breaking into a grin, it’s
so ‘wrong’ and yet so right! Thom Bell and Linda Creed’s People Make The World Go
Round has been covered countless times since its original Stylistics version, and seems to
have more resonance than most of the classic Philly era with contemporary listeners. The
Excelsiors’ version might not even be the first version to use steel pans, but it definitely is the
first to combine such instrumentation with a vaguely psychedelelic, eastern drone. Essential
version! The version of Gene Rondo’s A Land Far Away acknowledges its debt to the greatest
of all reggae anthems, the Abyssinians’ Satta Massagana … while This Is Sunshine Music is a
funky-soul version of This Is Reggae Music by the under-rated Zap-Pow. The optimism and
yearning of the former is tempered with dark psychedelic elements making it stand out
dramatically from other versions. The great era of conscious roots reggae is brought back to
life with a bang with these unexpected covers.
The script is flipped with a cover of The Beat’s Mirror In The Bathroom, a classic from the twotone
era, given a digital rhythm. Two-tone marked the definitive arrival of a new multicultural
generation as a distinctively British creative force… a splash still rippling to this day, with
projects like The Excelsiors.
As well as Shane’s version of a traditional spiritual, named here Soon I Will Be Done, he also
shows his own songwriting prowess with a couple of originals, In The Name Of The
Father and Cold As Steel, demonstrating influences from gutbucket funk to island music.
This is an accomplished work, essentially the creative inspiration of one man, with some very
talented musicians on board, and with its phenomenal ‘live’ sound definitely marks this
producer out as an artist to watch in his own right.

A1 Mrs Magic
A2 It's Too Late
A3 Lookout Weekend
B1 Here I Come (Broader Than
B2 In The Name Of The Father
B3 People Make The World Go Round
C1 A Land Far Away (Satta
C2 This Is Sunshine Music
C3 Mirror In The Bathroom
D1 Cold As Steel
D2 Soon I Will Be Done
D3 Ashes to Ashes

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