It was with the striking poem (also the title track) that
Michael Smith
's reputation was established. Originally recorded for
Ras Michael
's
Light of Saba
label, the poet included
"Mi Cyaan Believe It"
in his rousing performance at 1981's
Carifesta
in Barbados, which itself appeared in a
BBC
documentary. That in turn led to
Smith
's appearance at the International Book Fair of Radical Blacks and Third World Books, to great acclaim. By this time,
Linton Kwesi Johnson
's interest was well peaked, leading to both the single and the album titled after it being released in the U.K. on
Johnson
's own label. The similarities with the British based
dub
poet's own records is instantly obvious, not surprising considering
Mi Cyaan Believe It
was co-produced by
and his engineer
Dennis Bovell
, with
's backings provided by the same musicians as
utilized. There were, however, significant differences, beginning with locale;
inevitably dealt with the concerns of Britain's West Indian community,
with the Jamaican experience. Both men's politics leant far to the left, but
was ever the reporter, an angry observer on the scene,
, though, was the man caught up in the melee. Thus
's seminal poem is written in the first person, as is his equally epic storytelling in
"Trainer,"
while
"Mi Feel It"
bristles with an intensity of emotions. The poet was also deft at irony and sly humor, as
"Black and White"
and
"Long Time"
respectively illustrate. And whether he was turning over the myriad meanings and implications of
"Roots,"
or warning of the coming revolution, as on the incendiary
"It a Come,"
's words -- sometimes playful, sometimes wrenching -- were always as sharp as a scalpel. A stunning debut,
Mi Cyaan Believe it
already finds the poet at the height of his power, with his work superbly showcased by the sizzling, simmering musical backings. Murdered the following year, this album would also be
's epitaph, a heartbreaking monument to a brilliant talent taken away far too soon. ~ Jo-Ann Greene