PicStitch Knocks It Out the Park on Videos for “Don Dada” and “Ram Dancehall”

By Deuce

The return of PicStitch is marked by two momentous events—the release of a pair of music videos. The first, “Don Dada”, is an ineffable lesson in the power of reggae music itself. The second, “Ram Dancehall”, is a credible follow up that should keep PicStitch on the radar for any type of music, let alone that of the reggae variety.

In all honesty, it’s difficult to envision anyone not liking “Don Dada”, which is not the same as merely saying no one would dislike it, or think it’s ‘cool’, or just okay. It’s hard to picture anyone not liking this tune or, perhaps, even loving it. “Don Dada” is difficult to get through without dancing, two-stepping, or keeping one’s head from bobbing in place. It’s even more difficult to go the next five minutes without spontaneous outbursts of the hook (Don Dada)—unless one were to go into “Ram Dancehall” during that time.

For all that praise, this number is deliciously simple yet, in all the ways it counts, impeccable. As previously noted, the hook is merely two words, a couple syllables, repeated in time to conventional chords of roots reggae keys. Yet the backing vocals, an octave higher, make it shimmer, and the purity of the melody is undeniable.

The musicianship displayed on this cut, courtesy of PicStitch and the Reggaestra, which appears to consist of Huntley Vassel and Danny AxeMan (who co-produced these tunes alongside PicStitch), render this one a hit record before PicStitch even gives a breath of vocals. The rolling bass line is exacting to play on any instrument—bass guitar or synthesizer. But it’s the horns that truly take you to the next level, with that friendly, feel good aesthetic typical of those on Herb Albert recordings. Truly, truly, the artist deserves some sort of award, or consistent, significant radio play for his work on this tune.

The video for “Ram Dancehall” merely proves PicStitch’s efforts on “Don Dada” were far from a fluke. Whereas the latter is characterized by more of a feeling of infectious delight, the former is more laid back, mellow, and grooving. The artist combines the roots approach of singing (with an almost sweet, yet far from saccharine sounding voice) with the chatting of dancehall to keep your attention while the music grooves along. These releases illustrate the fact that reggae music is still pertinent in the third decade of the millennium as, of course, is PicStitch himself.    

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