The Bold and the Cringeworthy: Burning Spear's forays into musical experimentation

As a fan of Burning Spear, I've come to appreciate every album he's ever released- but that doesn't mean I can't poke fun at his sometimes overly ambitious attempts to step out of the reggae box. Whether it's an attempt to spice up a classic ska track with pan flutes or giving rocksteady horns an orchestral treatment, there are plenty of moments throughout Burning Spear's discography where experimentation goes from being admirable for its boldness...all the way too cringeworthy for its lack of subtlety. And today, we're going to look at some songs and discuss how they may have been better off without their unique “remixes. Let’s dive in!

As a self-proclaimed Burning Spear fan, I've listened to every album he's ever released and have come to appreciate nearly every song for its distinct sound and message. However, there are some tracks that have me scratching my head, wondering what the artist was thinking when he added certain elements to them. Burning Spear has always been known for his boldness, but sometimes his attempts to step out of the reggae box are a little too ambitious for their own good. In this blog post, we're going to take a closer look at some of the songs in Burning Spear's discography that may have fared better without their unique remixes.

1. Estimated Prophet (from the album Mek We Dweet)

Burning Spear's cover of the Grateful Dead's Estimated Prophet is a prime example of his experimental tendencies. The reggae beats and Burning Spear's distinctive vocals are still there, but the song is also peppered with pan flute solos and heavily synthesized backing vocals. While some may appreciate the attempt to merge two very different musical styles, the end result is a bit jarring and takes away from the song's original charm.

2. Burning Reggae (from the album Appointment with His Majesty)

Burning Reggae is a classic ska track that Burning Spear added his own touch to, bringing in elements of rocksteady and even a horn section. While the ambition is admirable, the end result is a bit too cluttered for my liking. The horns feel out of place and the overall sound lacks the tightness and cohesion that Burning Spear is known for.

3. Mamie (from the album Living Dub Vol. 2)

Mamie is an instrumental track that features Burning Spear's saxophone playing. While the saxophone is a welcome addition to the artist's sound, this particular aural experiment got a bit too ambitious for its own good. The song is heavily layered with synths, backing vocals, and even a heavily distorted guitar solo. The end result is a bit of a sonic mess that detracts from the beauty of the saxophone melody.

4. Free (from the album Jah Is Real)

4. Free (from the album Jah Is Real)

Free is a slow-burning track that burns brighter towards the end with the addition of a gospel choir. While the concept of a gospel choir complementing a reggae song may seem like a good idea on paper, the execution falls flat here. The choir seems out of place and overpowers Burning Spear's vocals. Instead of adding to the emotion of the song, it detracts from it.

5. It's a Long Way Around (from the album The World Should Know)

It's a Long Way Around is a rocksteady-inspired track that features one of Burning Spear's most bold musical experiments yet – a full-blown orchestral arrangement. The orchestration adds a grandness and complexity to the track, but it also makes the song feel a bit too grandiose and over-the-top. The orchestration overshadows Burning Spear's vocals and takes away from the song's simple charm.

Burning Spear is a master of reggae music and his boldness when it comes to experimentation is part of what makes him great. However, sometimes his ambition gets the best of him and takes away from the simplicity and cohesion that makes his music so special. While I appreciate his efforts to step out of the reggae box, I also appreciate the beauty of simplicity. That being said, I will always be a devoted fan of Burning Spear and look forward to the next bold experiment he has up his sleeve.