Let me play you “Arleen,” by General Echo, a seven-inch 45 on the Techniques label, produced by Winston Riley, a number one hit in Jamaica in the autumn of 1979. “Arleen” is in the Stalag 17 riddim, a slow, heavy, insinuating track that is nearly all bass—the drums do little more than bracket and punctuate, and the original’s brass-section color has been entirely omitted in this version. I’m not really sure what Echo is saying. It sounds like “Arleen wants to dream with a dream.” A dream within a dream. Whether or not those are his actual words, it is the immediate sense. The riddim is at once liquid and halting, as if it were moving through a dark room filled with hanging draperies, incense and ganja smoke, sluggish and nearly impenetrable air—the bass walks and hurtles. Echo’s delivery is mostly talkover, with just a bit of sing-song at the end of the verse. It is suggestive, seductive, hypnotic, light-footed, veiling questionable designs under a scrim of innocence, or else addled, talking shit in a daze as a result of an injury: “My gal Arleen, she love whipped cream/Every time I check her she cook sardine….”
HERE Interestingly on the day that Australia brought in mandatory data retention because you know "terrorism" that Alex Murray one of the journalists who worked on this piece at the BBC said on Facebook: "One of our key findings is that the importance of "radicalisation by internet" is less important than friendships and peer groups, which challenges one narrative which is frequently repeated and induces a public paranoia about the threat"