Dry your weeping eyes now, I want you to know.
Love is the conqueror...

:: Conqueror ::

I can't express the pains I feel so.
Pray with I and let us heal...

:: Rise Up ::

Mr. sweet mouth say that him care.
But where is the love.. ..

:: Blood for Blood::


Give And Take Released 2005

The solid roots sound beneath the words is what takes Give And Take to another level. With nearly an hour's worth of music, you're certainly not cheated either...



1. Have a Little Faith (intro) Show Lyrics


2. Conqueror Show Lyrics


3. Give and Take Show Lyrics


4. Blood for Blood Show Lyrics


5. Movin' Up Show Lyrics


6. See Dem Deh Show Lyrics


7. Wages of Love Show Lyrics


8. Parable Sound Show Lyrics


9. Whose Game Is It Show Lyrics


10. Feel the Spirit Show Lyrics


11. Rise Up Show Lyrics


12. Stop the Hate Show Lyrics


13. Show We Some Love Show Lyrics


14. Have a Little Faith (outro) Show Lyrics


Give And Take Reviews


Review by Larry Leiber, Reggae Movement

Clinton Fearon and the Boogie Brown hails out of Seattle, Washington nowadays, but the music he produces and offers comes straight from Jamaica. Give and Take, Mr. Fearon's latest release from the northwest, gives a modern day flavor from a recipe from yesteryear. Notable is the variety of styles that Mr. Fearon, a former member of The Gladiators band, offers, from the beautiful rocksteady inspired "Parable Sound", which makes one smile and remember The Ethiopians sweet melodies, to the playful and crying "Feel the Spirit" which gives the classical reggae beat that everyone seeks to find.

Infused throughout the album are sweet musical instrumentals that captivate the reggae mind and imagination. The Boogie Brown band has evolved into a sweet reggae machine with Clinton Fearon as the Captain commanding the way over snaky, twisting bass rhythms.

Mr. Fearon states in the repetitively hypnotic "Movin' Up", "In this world of competition, there is no recognition." Where this may speak some truth in our current societal system, it is just due to give him the recognition he deserves for putting out a great album. A very fine addition to any respectful reggae collection.




Review by DJ Bahilman, Creation Steppin' and SKY.fm

Former Gladiator Clinton Fearon has in recent years made his home in Seattle, but he hasn't left his roots behind. This album follows "What A System" and "Soon Come" with all new material that sees Clinton's songwriting skills at their peak and the Boogie Brown Band's sound at its tighest. Those who recall the few tracks that Clinton was allowed to sing lead for with the Gladiators such as "Can You Imagine How I Feel" will love this album, which generally features the smoky, bass-driven roots sound he tantalized us with years ago. The crucial live instruments (especially Jeff DeMelle on bass, Clinton himself on guitar, Sergio Cuevas on drums, Barbara Kennedy's organ, and a sweet horn section) lend the perfect vibe.

Among the crucial tracks here is "Blood For Blood" with its commentary on violence and war in today's world, reminding the listener to "have a little faith." The title track warns us against being judgemental, and "Rise Up" exhorts us to overcome the system. My favorite tracks include "See Dem Deh," "Whose Game Is It" and "Stop The Hate," which really takes me back to the Gladiators' sound. As you can tell from the track titles, there's no pulling punches with the social commentary here, all of it pertinent in this time. But the solid roots sound beneath the words is what takes this album to another level. With nearly an hour's worth of music, you're certainly not cheated either. This album perfectly bridges the past and present in roots reggae, and I recommend it very highly.




Review by Ted "The Boot" Boothroyd, Jahworks.org

I listened to Give and Take with my brother Dave, a classical music accompanist and voice coach, who was visiting for a few days. "It's very relaxing," he said, apparently surprised. He started counting. "I don't think I brought a metronome with me. Too bad."

"Darn," I replied, "mine are all at the cleaners."

But he was serious. "It's around 72 beats per minute. Just like a heartbeat. That's why it's so relaxing." I beamed. I told him reggae is known for that.

I asked for advice on how I would describe for readers one particular aspect I really enjoy on this album: Fearon's effortless ability to carry his vocal line across the changing musical background from one part to another. He listened approvingly to my first example, where Fearon sings: "Don't shed no more tears/I said dry your weeping eyes now/ I want you to know/Love is the conqueror."

"Hey, that is nice," he said. He suggested I write this: "the vocal is carried over different musical phrases." Thanks, Dave.

"It sounds very sophisticated to me," I persisted, "so I wonder whether it's consciously composed that way or if it's a natural, spontaneous thing." "Hard to say. Could be that it just comes naturally to him." Thanks, Dave. He should host an "Ask A Professional Musician" radio show.

In fact, Give and Take has many highlights. The title track has a fragile but seductive flute arrangement balanced by dominant vocal. Then there's "Blood for Blood", with soulful singing, subtle organ and lyrics pointing out that "It's a gruesome situation everywhere" although optimism wins out in the end.

"Wages of Love" is a beautiful hymn with beautiful voila accompaniment; if that worries you, remember that The Beatles' "Yesterday" was a simple vocal over string quartet, and this has the added benefit of reggae rhythm in the foreground. And oh yes, the lead vocal in this one carries over from one musical phrase to another, providing sophistication.

"Parable Sound" has a memorable melody and bubbly rhythm with juicy horns and inventive percussion. I also like the a cappella intro of the spry and catchy "Feel the Spirit", and the delicate organ riff of "Stop the Hate" as well as its Bob Marley-like vocals and tune. Then there's the emphatic lyrics and guitar solo of "Rise up". Many highlights amidst overall high quality music.

Clinton Fearon has a great reggae history, true enough, but the issue is really his great reggae present. He now counts among his fans at least one new-to-reggae classical musician, thanks to a wonderful album that is possibly sophisticated, but definitely tuneful and...oops, it's time to pick up my metronomes at the cleaners. Gotta go.

:: Connect To Our Social Media ::