ALBUM DESCRIPTION

THIS ALBUM IS "OUT OF PRINT" AT THIS TIME.

**ABOUT THE ARTIST**

Though he may be naively compared to artists like reggae godfather Joe Higgs or even Paul Simon, this genre bridging Nigerian, that currently resides in England, truly defies description. His unique blend of roots reggae, African, world-beat, folk, rock, and blues place him in a category all his own. This is the mark of a true artist--someone that is so original that he sounds like no one else.

Ben has long been one of the most requested artists by our regular store buyers. Though word of him and his innovative sound have reached the United States, his albums have been somewhat of an endangered species, rarely gracing the American shores. And when they do reach, it is usually in the form of a scarce import, personally carried by someone arriving from England.

This rarity was actually Ben's fourth release, revealing a more mature singer and songwriter. Instead of overwhelming the audience with typical overtly Christianese lyrics that are rarely understood by those of the world, Ben has used his poetic license to pen creative and thought provoking words from a Christian perspective.

**SONG BY SONG DESCRIPTION**

Kicking things off with the authentic roots bubbler "She Said," Ben pays tribute to the reggae foundation that has so heavily inspired his songwriting. The poetic and extremely ambiguous lyrics may be hard to decipher, but his emotion effortlessly bleeds through this track line by line.

A meditative organ and West African percussion start off the next passionate expression, "Shadows." Weaving a South African and folk influenced tapestry, Okafor continues to knit enigmatic sayings from his Christian world view. What exactly is he saying? I think that he wants to leave the conclusion up to each listener's interpretation.

On track three, the "Love Train" departs from the station with a rail-car full of top notch musicians. "The prophet has cried, the angel has sighed," and Ben has wailed on this three minute track.

The uncertain lyrical haze clears on the next track "Sanctify My Soul." And if it wasn't for the unique African bass sound, you'd think that it was Sting, Stewart and Andy (the Police) in the studio laying down their U.K. reggae stylings. Complete with various drums sections transitioning between roots steppers and aggressive choruses, this contagious anthem will have leave you singing "Sanctify my soul, I love you more than gold, Jordan River flow, Sanctify my soul."

"Call Me," is a sluggish roots feel that reflects the more mellow side of the music, as the musicians are presented in a more subdued light. The emphasis is on Ben's vocals and his occasional falsetto voicings. Echoing Okafor in a traditional blues style is the lead guitarist, gracing the track with numerous tasty licks. Tension builds at the halfway point, when Ben sings "Once a man but now a child......" Then there is silence. This pause/selah creates a dramatic effect, further accenting his abstract lyrics.

The Dave Matthew-ish "Living in a Suitcase" follows complete with rock drums, rapid guitar strumming, a wailing saxophone and a bellowing lead vocalist. After this is a the title track "Generation." To be honest, when I heard the first two seconds of the song, I though that I was listening to Bob Marley's "Exodus." Although it is not "Exodus," it is some of the most soulful, searching reggae music ever recorded. This is my favorite song on the album so far. It is clear where Ben is coming from with lyrics like "It is a generation who seek you, who seek your redemption,"--it doesn't get much better than this.

On "Go See (for yourself)" the reggae runnings continue, as Ben and his cohorts lay down another uplifting taste of heaven. We take another recess from reggae with "(Why can't you) Be My Brother" a modern-rock/world concoction calling for unity and brotherhood among all races. After this is the percussion heavy "Susan," another mellow reggae crawler. But I have no idea what this song is about. Ben's lyrics are so obscure that I am reminded of my poetry class in college. He is a clever lyricist.

The town-ship jive continues with the South African influenced "Sweet Lady," a track that is obviously dedicated to his mother. This song, and all of Ben's accomplishments should make his mother very proud--he is doing the Lord's work.

The album comes to a conclusion with the lazy reggae sounds of "Hear This Voice." The tight live instruments on this song make all of the new electronic stuff that is so popular in modern reggae sound like cartoon jungles. And after just one listen I know that I will "sing this song 'til the night goes out."

**CONCLUSION**

This is a timeless album. Though it was recorded in 1994, it isn't outdated. It is primarily roots reggae. And since there is no use of rap, r&b or dancehall, and the instruments were performed by live skilled musicians, this project is not limited to a specific year or decade. Seven years later it is still as relevant and contemporary as it was on the day that it released.

This is a rootsy album mixing poetry with reggae, modern rock, world-beat and folk music. Dripping with emotion, and abstract lyrics from a Christian world-view, this gospel reggae veteran paints vivid pictures with his scintillating, soulful, yet gruff voice. One thing is for sure, this album should not be limited to the gospel market. This artist, his message and profound music need to be heard by the entire world. Pick up a copy today and find out what all of the fuss is about.