Christopher Ellis ADD

Review

Review: Christopher Ellis - Better Than Love EP

11/18/2013

Since Alton Ellis’ youngest male progeny Christopher signed with Bob Marley’s sons at Ghetto Youths International, the world has been eager to hear the resulting album. But the Marleys, like fellow reggae heavyweights, Sly and Robbie, create at their own pace. They finish their work when they finish. And they release without warning.

When Stephen Marley began talking up Ellis in interviews back in 2010 many expected he would be the one to produce the first fruits of the partnership. Instead the sparingly recorded youngster’s initial taster EP is helmed by his half-brother Damian. Also this is a far cry from Ellis’ recent singles - the dancehall of Wonda’s Yard Style and the barber shop pop of Junior Gong’s own Don't Change Your Number. Fans of Alton will be overjoyed to discover it is a return to the modern-classic elegance of Christopher’s time with Peckings.

Ellis has at times struggled with the limitations of singing his dad’s hits on what he called the “karaoke” circuit while at the same time wanting to continue the great man’s legacy. These tracks strike a balance. All are original songs written by Ellis (with a few lines from Damian thrown in) but to the rocksteady and early reggae rhythms of his and Damian’s fathers era. Recorded at Damian’s studio in Miami with a core band and horns overdubbed later, these crisp, clean authentic throwback productions recall Alpheus’ work with Roberto Sanchez. As if we needed reminding post-Distant Relatives, Damian is a very good producer indeed.

“Come on all gather round” ushers Ellis using surprisingly Marley-like phrasing to the pumping ska and reggae fusion Roller Coaster. Left Unsaid on a beat a little too swung for traditional rocksteady, recalls the Wailers at Randy’s augmented with a wonderful 50s R&B descending bridge and some vocal curlicues that call to mind Sam Cooke. Only when we get to the Leslie Kong period You Babe does Christopher fully unleash the unmistakable likeness of his father that has wowed stage audiences for years. It’s particularly gratifying that the Marleys have paid tribute to the productions of Randys and Kong (both of whom catch short shrift in the rockist Marley history books compared to Lee Scratch Perry’s canon).

Spoiling Me on a shuffling Studio 1 style backing is one of those pairings of a joyful romantic message and a minor key rhythm that implies heartbreak may be on the horizon. The title piece finally cleaves to full authentic rocksteady with lush high pitched harmonies.

But though there are many signposts to Jamaican music’s greatest historic moments the music never dines on empty nostalgia. At the core of this EP are songwriting and the production of such a standard to supply each track a beating living heart.

Some commentators have wondered whether Ellis might get lost in the shuffle of so much talent and ambition in the Ghetto Youths camp. This flawless amuse bouche gives a delicate yet intense taste of what's to come. It might be that a complete album will follow the same formula - although knowing the Marleys this could just as easily be “the root” before “the fruit”. But it proves beyond doubt that the Ellis project has been well worth the wait.