Point Taken: A review of Can't Take My Space by Everton Blender

Irreplaceable. Back in March of this year we lost Mr. Calvin George Scott, better known as the coolest of them, sweet singing Cocoa Tea. I think that, for so many people (myself and yourself included), Cocoa Tea was the type of individual who, whether we listened to his work consistently or not, we just kind of presumed that he would just be there. Every once in a while you'd get a new song from the singer and he'd even score a hit every few years while, of course, building upon a mountain of tried and trusted output. About a month prior to Cocoa Tea,'Kette Drum' chanter, Determine, left us as well and, although in somewhat of a different way from Cocoa Tea, Determine was also a fairly dependable type (although probably not as often in his case) and someone who was woefully underrated, given his undeniably mountainous level of skill. We have others who're in similar positions and are still with us and I think that we, as fans and listeners of this fantastic sound, have a wonderful opportunity with us to be able to celebrate these individuals while they are still here to appreciate it and are still here to continue to provide us with these healthy moments. I don't know how this is going to work out but the last thing that I finished writing before I just started this one was a Signatures feature on Jah Mason. Today is the 16th of October (two hours left in the day); so a month from tomorrow Jah Mason turns fifty-five years old. He's older than Determine and, despite all of his acomplishments, there're people who still have the nerve to walk around thinking that Jah Mason's a 'one hit wonder' (MADNESS. ABSOLUTE MADNESS!). He's someone who we CLEARLY need to show more love to and, hopefully, I've done my part for the moment and turned some attention to his amazing catalogue of music. You know someone else who belongs in this conversation who almost NEVER gets brought up, Steve Machete! I probably have him on the mind because of a WICKED compilation he once appeared on alongside Jah Mason (and Anthony B) called "Saddle To The East" but he definitely applies here. There is a 0% chance that Steve Machete will ever be alive to appreciate the gratitude that fans have (or should have) for the wonderful music that he has given us throughout the years but, in his case, it may not even come after he's gone. Because of that (and because he's fantastic), I make a point out of just randomly checking to see if he's done anything recently every few weeks or so. Occasionally I get lucky and he does have something new (or something I missed) and it's just about always at least SOLID. I also go to the late Peter Broggs and I am so damn hopeful that man went to his grave with the knowledge that he changed lives with his contribution to the world and is able to rest well due to it.

We do have a number of individuals who have entered a stage of their careers where you would begin to think and HOPE that fans would be keen on showing our appreciation to. I'm not talking about elders such as Beres Hammond or Marcia Griffiths or Horace Andy who will enter eternity knowing EXACTLY how much we love them but another strong group of vocalists who may not feel it inn terms of consistency. We may pull up a certain tune or tunes or maybe even an album or two but they also have a massive body of work to account for as well. In this lot, I include someone like Glen Washington who we, routinely, cover around here and someone else we've always made a point to acknowledge (coincidentally, a native of Clarendon, like both Washington and Cocoa Tea), the WELL ESTEEMED Everton Blender.

2000

I feel better when Everton Blender is making music. Reggae music, in general, is better when Everton Blender is making music. We can all sit down up 'lift up' constantly songs like 'Lift Up Your Head' ["and hold it up hiiiiiiiiiiiiiigh!"], 'Ghetto People Song', 'Blend Dem', World Corruption' and others but the Blender has has churned out VERY solid material which hasn't received similar praise and it seems like it's been a really long time since he's hit a level (in terms of popularity, not quality) of those tracks... but he's been hard at work. Most recently (I THINK), in 2020 he gifted us his most recent full release, the more than decent "Where Is The Love" for Spider Ranks' Love Injection Production imprint (another longtime favourite of mine). That album would have initially reached during our hiatus but I made it a point to make sure that I reviewed it when I returned and for a similar reason as the foundation of this review. In that one, I essentially referred to Everton Blender's music as "comfort food". It's the type of music where, if you don't know what to listen to, you can always go back to it and will always work for you (I also mentioned someone else who definitely fits into this class of names, Yami Bolo) (Junior Reid is another - just people who're older than you're realizing when you think about them). It's easy to listen to (and can be thrilling at the same time) and very dependable; even with new music that you have not heard before, you know what you're getting from Everton Blender in sound and in grade. He was back at it again (two days after my date of birth), in 2024 with a new release, this time via  Blendem Inc (I wonder who that label belongs to???), "Can't Take My Space" (I THINK that's the first  time he's done that on his own label). The new release is a blend of songs of various ages but it does seem to have arisen through some distinct design/planning. I don't think Everton Blender just up, one day last year, said that he felt like making an album and put it together and here we are (though I wouldn't be surprised if it took a bit longer than he thought it would when he started). If you're familiar with Blender's work, even if you haven't heard a single one of these tunes before - you should know what to expect. "Can't Take My Space", like every other album he's ever done and ever will do, is a mixture of modern Roots music with vibes of a more old school type, as well as some Lover's Rock. Again, it's always of a certain level of quality and you do not have to worry AT ALL about disappointed by Everton Blender. He is what he is and he'll hit his mark. I guarantee it! Of course, it's particularly sweet when it's even better than what you're expecting and I can HAPPILY say that, as far as anything recently, "Can't Take My Space" shows itself to easily be amongst the Blender's finest. 

Can you think of a better phrase to describe Everton Blender's voice than "BRIGHT"? When he pushes it to any degree whatsoever, it literally SPARKLES. It turns on and it illuminates EVERYTHING it crosses. For example, take the very first tune from his latest offering, "Can't Take My Space", 'Reparation Time'. Riding a cut of some classic riddim that I don't feel like figuring out the name of, the Blender dazzles in the name of calling for some amends and changes to be made ["Over four hundred years of slaver, backra masters still nah waan pay wi"]. This song PERFECTLY exemplifies what I mean when I talk about how dependable and reliable Everton Blender can be. 'Reparation Time', for the most part, is done. It's already had its run and it wasn't a HIT, but you listen to this thing and doubt its quality. I dare you! It is a FINE tune with a big heart and, definitely, one of the best tunes on this album. We get our first bite of Lover's Rock very early on with 'All Day', which was a single here and did pretty well, actually. Though you will find better tracks of its type on "Can't Take My Space", I've got no problem with 'All Day' (minus the talking in the middle which is kind of cringe and it always is on love songs) and it actually has grown on me just a bit from the first time I heard it (the riddim behind is a GORGEOUS piece of instrumentation. It's probably one of the strongest on the entire album). 'She Is So Mellow' is also near the front of "Can't Take My Place" and is probably just a touch stronger than 'All Day'. 'She Is So Mellow' is just a SWING. It's just a vibe. There is substance there (I GUESS), but you won't dare focus on that at all. Things get to soaring again courtesy of the tried and trusted 'Another One'. As far as I know, this song might just be around twenty-five years old at this point. It was produced by Jr. Reid and featured on "Tribute To Grammy" a compilation done in honour of the late younger brother of the 'One Blood' singer, which released in the year 2001. Because it's SO old, I would presume that this is a personal favourite of the Blender's and he felt compelled to include it on an album over which he had total control. I have no problem with that. 'Another One' has somewhat of an odd trajectory (you're going to have something of a problem trying to justify a chorus like that with most of the song's lyrics from the verses) but, in full, it's still very, very good and if it's managed to slip between the proverbial cracks for you, ENJOY your first flash of it here. Also featured in the first lot of tunes from "Can't Take My Space" is another older tune, 'Babylon Get A Blow'.

"Woke up this morning, behold the sun come shining

Three little birds by my doorstep singing

This is what they're saying -

'Babylon must get a blow

They must get a beaten

Babylon must get a blow

They must get a beaten' "

The song is a production of the once mighty Cousins Records (memba them???) and though, unlike virtually EVERY SINGLE ONE OF HIS PEERS, Everton Blender never got around to doing a full album with Donville Davis and co. at Cousins, a tune like this one, and its ULTRA-cool vibe (it is a revolution song but it's so damn chilled for the most part) and common-sense edge, it definitely makes you think of what might've come from such a union in full.

The middle portion of the album really represents the class of "Can't Take My Space", including its single finest moment altogether. 'Right Girl' (by the slimmest of margins) is probably its strongest piece of Lover's Rock (with respect to one song I'm going to tell you about in a bit) (...I might as well just mention it now, give me a second). 'Right Girl' is kind of infectious. It's very hard to shake certain parts of it atop what sounds like a cut of the Picture on The Wall Riddim, which Blender uses to tell the tale of how someone special caught his eye once upon a time. Much later on, we get the interesting 'Lady Madonna', which isn't too far behind the level of 'Right Girl' (if at all). In his catalogue, Everton Blender has a downright SPECIAL tune (with an album just as precious named after it) called 'King Man'. 'Lady Madonna' is also lovely to listen to (probably going to turn out to be my Wife's favourite tune on this album - she is LOVING it at the moment) with a highly catchy track underpinning it and a slightly unusual (not really) style to the Blender's vocals. You'll also find here a track that we actually covered a couple of years back, the excellent call to revolution 'Slavery Ship'. I was both happy and unsurprised to see 'Slavery Ship' aboard this album as, if I recall correctly, it did quite a bit of damage in its time and was relatively popular for Blender. A year on, it was a perfect fit for this album or any other album from the singer as he predicted, "Babylon ship ahgo capsize tonight". You might also recall the very similarly ruddered 'Going Down'. This tune, just like 'Slavery Ship', declared the days of oppressors to be approaching an end. You could not find a damn thing wrong with this one if you were to grind it down to its absolutely powderiest (probably not an actual word but who cares?) core. 'Going Down' is just solid modern Roots Reggae, with a very nice message (and one which does have its own blend, slightly, as Blender is keen to comment on the importance of respecting Mother Nature) and a lovely sound. For its part, despite its title, 'Good Old Days' does have a little something different to it; a little spiciness (let's call it... horns!). The instrumentation on the song is damn impressive, it's going to get you moving and keep you there, meanwhile the Blender goes about making his poignant point.

"Back in those days in the dance when a man step on your shoe-

It was just love between me and you

But nowadays the man dem face ah screw

Calling on the youths to make love flow through

There's a message in the song reaching out to you

So take a tip from your brother, Bubbaru" 

"Can't Take My Space" reaches its zenith on the song for which it is named as 'Can't Take My Space', the song, rather EASILY, became one of the very best Everton Blender has ever done the second he finished it. He warns that "my shoes are too big for their feet" in not only an attempt to substantiate the lofty levels he's achieved in life (lest we forget) but the tune also (of course) has a spiritual side to it. The biggest shoes are worn by His Majesty and should anyone try to fill THOSE, they will surely stumble over their own feet in the attempt. DJ Virus (Star Bwoy Virus) takes both a producer's and featuring artist's credit on the clear champion of the album. 

The album's closer, 'Don't Be Used', is its only other combination, this one pulling in Isha Blender, Everton's daughter. This song is actually a remake/remix of an older one for Star Trail and while I do prefer the original (it's a touch more... 'agile' than the heavier new recording), this one, while definitely heavier -- and almost somber -- is still a fine offering, and Isha adds a fire as it progresses through but I would suggest that you track down the original for some contrast. I'll tell you (warn you), that you probably may not care for 'Money' (THE SONG) the first time or two that you go through it. It can be a little awkward, particularly early on, but it will pick up, I assure you; though it does not ever completely shed a most deserved "awkward" label (that chorus is just... something else). Give it time! You often hear pieces that shred money but the Blender injects a bit of realism into things with this effort. The last bona fide GREAT song on "Can't Take My Space" is the anti-violence set, 'Too Much Guns' which, as far as I can tell, is the album's most recent single (with the official music video just dropping yesterday as of my writing this, apparently). Songs like this are plentiful and downright infinite in the genre but they rarely sound so damn SWEET at this one. Blessed with another classic track, Blender serves up SUBSTANCE and IDEOLOGY in abundance in making his point but he also takes care to appreciate the moment. Later on, he soars in calling up some of the greats of Reggae music who've passed to gun violence such as Peter Tosh, Hugh Mundell and Nitty Gritty as well as others such as Tupac Shakur and the Notorious BIG in suffering similar fates. 'Too Much Guns' is a fantastic song, an strong choice for a single and I'm expecting (and hoping) that it reaches many pairs of receptive ears.

Overall, in doing some research on myself, I've noticed that this is now the fourth of Everton Blender's albums that I've reviewed and I mention that just to kind of stress the mindset here: Again, I think it's so important that not only show our appreciation in the historical sense for what he HAS done and the contributions that he HAS made but as well as what he's continuing to do in the music. We will forever (literally, FOREVER) be celebrating the greats. Someone, somewhere will be listening to 'Lift Up Your Head' and thoroughly enjoying it (if they have good taste) (and sense) but hopefully we recognize that this hole goes much deeper than just that tune and a handful of others. There is work to be heard on throughout the career of Everton Blender, such as right here, for which the case could be made being just as stellar. "Can't Take My Space" is a perfect title for Everton Blender album right now. It stresses what he's done and how he's come to be where he is, while also signifying that he is not yet ready to abdicate his throne. Long live the Blender. Well done. 

Rated: 4.15/5

Blendem Inc

2024

What I'm Listening To: 10 Weeks Til '26

'Who Are We' by Turbulence [Unemployment Records - 2025]

Gotta start off with something that's definitely put a a smile on my face over the last week or so and biggup Filomuzik and Unemployment Records from out of Italy for getting the best from one of Reggae's most enigmatic figures that I've heard recently. Turbulence MOST CERTAINLY has not been one of the most consistent of artists in Reggae music but I still maintain that he sits on a gold mine of talent which places him in very thin company. Alongside the aforementioned producer and label from Southern Italy, Turbulence turns up with 'Who Are We' which is, CLEARLY, the best song I have heard from him in 2025 and... probably the best in quite a few years (off the top of my head, I would probably say from since 2021 but it could very well be even longer than that). 

"Who are we, who are we-

Without His Majesty?

Who am I, who am I-

Without The Most High?

Who are we, who are we-

Without His Majesty?

Who am I, who am I-

Without Rastafari?

I'm nothing but a drowning victim waiting to be saved

Jah hand me lifeguard inna this tidal wave

Lost and confused inna this deep, dark cave

Jah hand me lantern just to light my way HOME

Rastafari say: Who do I think I am to disobey?

According to your works, that is how you get your pay

Mi ask them this without delay" 

'Who Are We' is a scorchingly clever praise, backed by a GORGEOUS riddim (and notice how it changes and electrifies as the song goes along) making it not only, as I said, Turbulence's best this year but likely one of the best from anyone. BOOM.

'The Days' by Busy Signal [Zion High Productions  2025]

I'm always looking forward to seeing just who one of my (if not my absolute) favourite production units, the vaunted Zion I Kings, will work with next and I have to say I was quite shocked when I saw that next in the offering was the ridiculously gifted Busy Signal and I was also damn excited. I'll temper my HOPES (You know what I want) and just deal with what's at hand. While the link maybe surprising, the results most certainly are not. The ZIK's record is what it is, they've been amongst the most consistently high quality outfits in all of Reggae music since their inception (INDIVIDUALLY AND TOGETHER) and, in case you haven't paid attention, Busy Signal is one of the most versatile stars the genre has ever produced. The man can literally rhyme about ANYTHING and shine whilst doing it. Their effort together, 'The Days', is a damn gem. It's a work of art... but you knew that already. 

'Shout It Out' by Fikir Amlak [Saj Moor Dub - 2025]

Biggup our old friend, Saj Moor, who we told you about the last time we did one of these and is already back and this time, arguably, even stronger as the producer links up with the always active Fikir Amlak for 'Shout It Out'. I'll qualify this a bit: I haven't listened to Amlak's music a great deal over the years. Though I find myself crossing paths with his work every so often, I've never really focused much on him for one reason or another, but I have heard some of what he's done (he had a song a few years back that I REALLY liked called 'Royal Son'). So maybe you'll take that into consideration when I tell you that I'm quite confident in saying that 'Shout It Out' is the single best Fikir Amlak tune that I've heard thus far and maybe it becomes the impetus to get me to really tune him in (I'm pretty sure he has a new album now and even if he doesn't (or even if he does) the next one isn't too far away.... it NEVER is)  Despite its title, 'Shout It Out' comes with this very cool and kind of building vibes to it (the riddim on this one is gold bar. Literally). It never fully ascends in terms of intensity but it remains with this gorgeous, almost mystical sound which Amlak puts to excellent usage in praise of The Almighty, while channeling the immortal Marcus Garvey. 

The Tear Iron Riddim [Muscle Records - 2025]

Grrrr! Little late season madness courtesy of Muscle Records, check out the superb Tear Iron Riddim. I've been meaning to give this one its own mid-week feature post but it took me so damn long that it made more sense here. There're only five tracks on this riddim and I'm not crazy about all of them ('Jab Bull' by Island Prince is actually kind of annoying and I cannot remember the last time I called a song "annoying") but the absolute class of this thing is buried between a pair of tunes which are absolutely delicious. Greens blowtorch, Lavaman scorches everything everywhere with his 'Take Dat Down', while the queen reigns supreme as Fay-Ann Lyons provides the iron with its greatest threat, 'Show Me The Road'. 

"A Piece Of The Blender: The Singles" by Everton Blender [Heartbeat Records - 1996]

I'm working on a review of an Everton Blender album so, of course, I'm going back and enjoying some of his older work so this EXCELLENT nearly thirty year old compilation is our blast from the past today, "A Piece Of The Blender". I've always appreciated how well this one was put together because it features songs such as 'World Corruption', 'Bob Marley' and 'Blend Dem' that would definitely get your attention and get your foot in the door; and when you settle in, also waiting for you were killers such as 'The Man', 'When You Wrong', 'Coming Harder' and others. I mention in the review how important I think it is for us to make sure that we pay the deserved respect to and CELEBRATE elders like the no seventy year old Blender while they're still around to be able to enjoy it. When you dig into much of his catalogue it isn't difficult because the man has given us some certified GEMS throughout his time. 

Signatures Vol. IX: Jah Mason

I saw something that bothered me a little while ago. We won't put it in here (because you don't want to see that shit) but I saw a video about "Reggae One Hit Wonders" and on that list was Jah Mason... anyone with functioning ears (and a few people without) should know what rubbish his inclusion on such a list is. Yes, he has had a biggest hit -- I'm going to tell you about it RIGHT NOW -- but to discredit and discount well over THIRTY YEARS of beautiful work is pure insanity. Today we attempt to spread some mental health and a few drops of common sense while celebrating one of the genre's most CONSISTENT of champions. Signatures: Jah Mason 

{Note: Coming soon - Skinny Fabulous & Pressure Busspipe}

{Note 2: Doing this list definitely gave me a new appreciation of Jah Mason's work and I hope it does the same for you. That man is an INCREDIBLY skilled writer} 

1. 'My Princess Gone'

Far far away. As is our tradition (because I've written enough of these things now to have a TRADITION!), we begin with what is likely (it is) Jah Mason's most identifiable track to date, 'My Princess Gone'. Producer Roland McDermott handed the Mason his lovely (and woefully mistitled) Adrenaline Rush Riddim (which also carried a well underrated tune, 'Wine & Roses' by Anthony B) and returned to him was an undeniable CLASSIC which conquered the Reggae world and, nearly twenty-five years on, is still sitting on a throne... but it's not the only ruler he's had. 

2. 'Keep Your Joy'

Goodness! 'Keep Your Joy' was both an early hit for Jah Mason and the title track for his debut album (for the wonderful people at Ghetto Technology... wherever you may be these days) (it was also one of a handful that appeared on both that debut album and its followup, "Working So Hard" - more on that one later) (neither one of those albums ever made it to the digital side and that's too bad). 'Keep Your Joy' is GORGEOUS! It is a beautiful, beautiful song and if you do know it, its presence here can come as no surprise as Jah Mason put on a stunning display in the name of telling all to keep your proverbial heads up in the face of negativity or when life just isn't going your way.

"Keep yah joy, keep yah joy

Even if yuh unemployed"

3. 'Fire'

Blaze without a limit. Another early top-taker, 'Fire' would have come up in an era where the trend in Roots music -- largely courtesy of the Capletons, Sizzlas and Anthony Bs of the world -- was to find anything even remotely negative or oppressive and completely DOUSE it in a cleansing (or destructive, if it was too far gone to save) flame. The result was songs like these but they were RARELY this good.... from, like, anyone. Brutally straightforward, yet still pretty damn clever ["Fyah caan escape, coulda short like midget. Well miah bun di fyah and it well legit. Well fyah red! And dem caan bridge it. Well fyah mek dem all ah dance like mimic"], 'Fire', perhaps unbeknownst to anyone during its day had a very sturdy pair of legs and it has aged exceptionally well. This is a list of my favourite Jah Mason songs and this one would DEFINITELY be in the top half of these: One of the best songs he's ever done. 

4. 'Most Royal'

No barrier. No bridge. The title track of what is, arguably, the Mason's most underrated album to date, the Jah Warrior produced "Most Royal" (...for some reason, I was stuck trying to think of the name of that album.... I should probably go to bed after I finish this one), 'Most Royal' is just an overly-solid piece of music. What I mean is that, in describing it, you want to use words like 'proficient' and 'efficient' and 'solid' but it's better than that while not, at least on the surface being entirely spectacular. Keep on listening to it though... maybe it is kinda spectacular. This aggressive slow-burner earns its keep on such a post of mine for having grayed (you have to admit that "grayed" is a very cool way of saying "aged". ISN'T IT!) amazingly well; finding Jah Mason preaching for us all to just up our personal standards and expectations of others, as well) just a bit more. 

5. 'Stay In My Heart'

Special place in my heart. Jah Mason's megahit, the aforementioned 'My Princess Gone' would head an album of the same name in 2006 where it was, undeniably, a highlight BUT it was not the best song on the album named after it.... it also wasn't the second best either (album was quite top-heavy, in retrospect, but maybe a bit underrated, still). The latter distinction belongs to the downright GLORIOUS 'Stay In My Heart'. What's so damn good about this tune? I'd challenge you to find a love song as intense as this one without falling into the ridiculous category. You'll find some craziness, surely (biggup Sizzla), but I can't recall one from the top of my head where the artist managed to keep his wits, while turning up the heat and putting on a blistering and EXCITING display in the name of professing their love. Jah Mason did it sublimely here and it has stuck with me over the years... still sticking. 

6. 'Run Come Love Me' featuring Jah Cure

Let Jah loving share. Nearly thirty years ago now, the great Beres Hammond put his hands on 'Run Come Love Me' and, in doing so, would help to launch a couple of careers to some level of stardom. One of them (that other guy) would embark on a career as full of controversy as hits, while Jah Mason would go on to, as you can see, do a considerable amount of damage on his own. The two would also link on 'Working So Hard' for Henfield (I think he produced that song) and another one from much later, which was also excellent (I don't feel like looking up the title of that one right now), but 'Run Come Love Me' has gone on to such a distinguished level of reverence amongst the masses (myself included) -- and for good reason -- that it simply had to make this list.

7. 'As Much As Mi Get'

High grade plant. 'As Much As Mi Get' is as much of a "viral" tune as you will find here as I don't actually know where I first heard it. It popped up online one day and... about fifteen years later, here we are. You'll find at least one or two other ganja tunes in my compilation but 'As Much As Mi Get' earns its spot by combining EXTREME cleverness and lyrical adroitness ["Man ah smoke before Billy The Kid"] with this DOMINANT infectious riddim (which is probably called the Royal Crown). A head-knocking tune which does not care whether or not you enjoy it. Once it has you, you are not going anywhere.

{Note: 'As Much As Mi Get' has just recently been re-released (if it was ever actually released in the first place, that is) as 'High Grade Plant' on Datsmusic Productions}

8. 'Gideon Start'

Like a thought. I've spent the last twenty-two years telling any and everyone who would bother to listen to me just how confident I am in the FACT that Jah Mason's single finest album to date is the well underappreciated and overlooked "Never Give Up". It just is and I am not sorry to be the (only) one saying that to you. The album is one of THE best I have ever heard in my entire life (already declared a modern classic, from longtime ago!) and I when I think of it, generally the first tune that comes to mind is the SMOOTH album-opening 'Gideon Start'. The song was a all to a revolution but it wasn't at the fevered pitch as some of the other selections that you'll find here, at least not for the most part. Still, in an almost prophetic move, the Mason would provide the song, whole of "Never Give Up" and maybe ALL of the music you'll find here with a very fitting punchline when he said:

'Rastafari still ahgo show dem love from my heart

Keep this inna yuh head, like a thought"

It's been a thought of mine for over twenty years now and should I live another twenty, it WILL still be a thought.

9. 'Couple Chalice A Day'

Nah stray. The signature tune from one of Jah Mason's most popular albums, 2006's "Wheat And Tears", the BEAUTIFUL 'Couple A Chalice A Day', could not possibly be left out. Immediately when you listen to this one, what's going (at least partially) is clear: THIS SONG SOUNDS REALLY, REALLY GOOD! It just does. It's melodic, infectious and it just makes you feel good listening to it. Furthermore, and again, lyrically... this thing is in the stars somewhere. It is EXQUISITELY penned ["If a no high grade, throw dat inna di dustbin"].

10. 'Si Dem Move'

Jason & Chucky. I can pretty safely guarantee you that were you to find another collection of songs like this from Jah Mason (and, unfortunately, you probably won't) that the song 'Si Dem Move' would PROBABLY be the one here that would be least likely to appear on anyone else's though, from the second I heard it, it became an instant favourite of mine and, clearly, it still is. Why exactly?? 

"Mi dun si dem move

Mi dun si dem flex

Mi get fi overstand seh nuff ah flex like Rex

Mi dun si dem move

Mi dun si dem flex

What kinda move dem ahgo mek next?

MI TELL DEM LIVE CLEAN DEM GWAN LIVE DUTTY!

SELASSIE I COMMANDMENT? DEM RUN GO BRUK IT!

DEM HEART - IT NO CLEAN!

DEM MIND - IT SMUTTY!

WATCH HOW DEM AH MOVE LIKE A DOGS AND PUPPY!

CAAN ESCAPE, NO CARE HOW DEM LUCKY!

WATCH HOW DEM AH FLEX LIKE JASON AND CHUCKY!

WELL YOU NO SI SEH DEM A WALKING DUPPY!

DUTTY LIVITY? MI AH BEH UNUH FI LEF IT!"

Highlighting Reggae Vibes hilariously underrated "Unlimited" album, 'Si Dem Move' featured a well pissed off Mason at his absolute SCATHING best. 

11. 'Team Up'

Together we will be. Were it not for the penultimate song on this list, I'd be pretty confident in proclaiming 'Team Up' the single best song that Jah Mason has ever done. When I first heard this song, now more than twenty years ago, I LOVED it IMMEDIATELY. That was partially to the credit of Loyal Soldiers and their HEAVY Black Shade Riddim (I Wayne probably gave the riddim its most popular tune with 'Bleacher') and it sounds even better in 2025 with a Jah Mason who is as FOCUSED and ON-POINT lyrically as, arguably, he's ever been. Probably THE best written song of his entire career.

"Don't contradict yourself or you will end up inna mystery

...living like some unsolved mystery"

12. 'Black King' featuring Lutan Fyah

Haffi hail HIM. It bothers me to some degree that, after all of these years, though the song is respected (in as far as it is remembered), the true extraordinary quality in 'Black King' hasn't been celebrated nearly enough. The tune would be carried on an album by the name of "Dem No Know Demself", which is best recalled as being the debut album of Lutan Fyah and came via the once mighty Minor 7 Flat 5 imprint (with Al.Ta.Fa.An on production) and, twenty-one years on, still stands a very good, though not GREAT release. HOWEVER, are we just going to ignore the elephant in the room of 'Black King' FOREVER?? Is the ENTIRE WORLD just going to pretend as if we didn't notice that, about a minute and a half into it, Jah Mason ABSOLUTELY DESTROYS AND VANQUISHES EVERYTHING EVERYWHERE ON THIS SONG? ALL OF IT:

"I'm delighted to do thy work, Oh Jah

Well, dem caan stop mi

No time, no sah

Salvation mi need, mi no waan no sponsah

Tell dem, love is di way, also di ansah

Gimme di old time tradition, mi no waan no sponsah

Bangarang dem ah pick and ah powda and pampah

YOW, IT'S TOO LATE!

DEM GWAN GET ANCHORED

WELL A UNCONQUERABLE WEH DEM CAAN CONQUER!"

13. 'Saga Bed'

Govern and dominion! Were there a question of their potency together following 'My Princess Gone' & 'Stay In My Heart' (and there weren't), perhaps you should take a listen to 'Saga Bed' as a testament of the power and chemistry of Jah Mason & Roland McDermott. 'Saga Bed' is my favourite Jah Mason song ever. Period! Why? You take, again, an almost EXPLOSIVE level of (monitored) intensity (and not just being crazy because you want to attract attention) and combine with brilliant lyrics and you have a tune for the ages. 'Saga Bed' left no stone unturned and challenged the listener while, simultaneously, BLASTING them. 

"CAN'T WE ALL JUST GET ALONG?!

CHANGE YUH DUTTY WAYS FI A BETTA LAND!

DIVINENESS ALONE DEH PON DI MOTHER LAND!

HAILE SELASSIE I SET DI ORDER, NOT ANOTHER MAN! 

GIVE PRAISES, NO THINK SEH THAT YOU BIGGA THAN!

HAILE SELASSIE I: HIM A THE HIGHER ONE!

SO VICTORIOUS!

ONE OUT OF A MILLION!

RASTAFARI GOVERN & DOMINION!"

And I cannot pass through this tune without mentioning just the brilliant arrangement. You listen to what happens as 'Saga Bed' develops. The backing singer/s (who deserve SO much respect that I am going to dig up this physical album just to see the liners to see who she/they are) ignite more and more ["HAIL THE KING! HAIL THE KING!"], while the music gets more and more intense as, of course, Mason destroys any and everything that can hear him. What we end is a downright exhausting, sweat dripping EXPERIENCE of a song and... probably one of the best thirty or so that I have ever heard: FROM ANYONE. 

{Note: There are no backup singers credited for this song}

{Note 2: Full credit to her/them, whoever and wherever she/they may be}

14. 'As The Wind Blows'

Do not wonder. Lastly, I know a couple of versions of this song. The one you hear here is the better of the two (and I think it's the more recent recording) but I would have initially heard the older one first. Regardless, 'As The Wind Blows' (also called 'Even When the Wind Blows') is HUGE! If you REALLY tune this one in -- I mean really -- you'll find something that ranks very highly on even this list. It comes through as such a powerfully organic and FLUID praising song. I get the impression that the chanter had a chorus written that he was quite happy with and began to work around it and what he came up with was genius level. You look at a song like this and you listen to it and enjoy it or feel however you feel about it and that's fine; but it is such a.... SURPRISING selection when you can vibe it that everything changes and that doesn't even get into mentioning the music which also levels up as you progress through it. Jah is EVERYWHERE! I can feel HIM even in a breeze!

Haile Efficient: A review of Worthy 2 B by Jah Myhrakle

Hola! I like to focus on how songs are worded and written a great deal for several reasons; the least of which is certainly not due to the fact that, as I've said in the past, I don't think we give enough credit to that aspect of music-making enough, particularly when it comes to 'message music' and Reggae, in general. We have bona fide geniuses in the genre who display it to some level of consistency (or at least have in the past) and they deserve recognition and respect and to be celebrated and I will go out of my way to provide all of those things every single chance I get. Now, you may choose to take that with a grain of salt because that's coming from someone who absolutely adores lyrics which center around "jump and wave and misbehave", but I think that my TRULY RIDICULOUSLY LONG record will speak to my fascination with those that are proficient with the spoken word. With that being said, however, music is also about entertainment and making a sound that people can enjoy. In the written sense of things, you can read some... well written technical instructions and you'll come away with a purpose having been served and you will probably feel good about it but you won't have been AMUSED necessarily. It isn't an independently pleasing experience (if you don't give a damn what the instructions are to, they're not going to do anything for you) and music should be that in some manner. With all that being said, when you can combine beautiful wordplay with an enthralling sonic experience, that is where special things occur and throughout the history of Reggae music, we've seen so many powerful examples of that, played out in album form. Personally, the PRIME case would be little release by the name of "Black Woman & Child" by Sizzla Kalonji but we don't even have to go to those loftiest of levels for the sake of comparison (...even though I just did). Take a listen to a number of sets by someone like Perfect Giddimani; as someone who CONSTANTLY provides a most thrilling brand of modern Roots Reggae while not abandoning good lyrics which are fresh takes on the genre's typical fare. Just last year, we talked about the burgeoning Eesah (BEAUTIFUL debut album, "Deep Medz", more than worth your time) and he is definitely another one who is well skilled and specializes in making music which that you can find as entertaining as it is educational and meditational (if that is even a word)... and don't even get me started on someone like Capleton yet. 

I took this direction for this review because I found myself fairly deep into "Worthy 2 B" when it finally struck me that I might actually be listening to something pretty special but when it did, it knocked HARD. There was a dominant quality to the music which kept me at least superficially interested but I was listening on a casual level for the most part (never want that first listen to be too heavy) while doing other things. This went on for awhile but eventually got to the point where I had to take a closer listen, There was a BEAUTIFUL and POWERFUL sonic appeal to "Worthy 2 B" and, coming on the heels of what I had previously dealt with ahead of it, as far as Jah Myhrakle goes, I got REALLY excited to dig into it further.

What was that, exactly? The most recent review that I wrote was for an album by the name of "Heart Of One". It was a lovely compilation from the delightfully active people at Trinity Farms Music. Amongst the impressing vocal artists appearing on that set was Jah Myhrakle with a pair of offerings... and it just so happened that he had recently been at work as, earlier this year, he had released "Worthy 2 B". It wasn't TFM on board who pushed it (although I'd LOVE for artist and label to get together on a full project at some point in the future), however, "Worthy 2 B" comes to us via Phallu Ras Sound and Gold Den Arkc Recordsz (....because people don't have enough of a hard spelling properly on their own. That is BRUTAL!). I believe that Gold Den may be Myhrakle's own imprint as everything that I have come across that they've been involved with has been his releases and, like Jah Myhrakle, the label appears to be based in New York although the artist (and if it is his label, so does it) origins trace back to Belize (biggup Ras Indio). Myhrakle's is a name that I've definitely come across over the years (sometime probably confusing him with Jah Mirikle) (biggup Jah Mirikle) but had never really tuned in, properly, until his work on "Heart Of One", which is such an added bonus in listening to compilations such as that one. They'll introduce and reintroduce you to names that you haven't paid much attention to/paid attention to at all and that is exactly what I did for me in this case (and a few others as well). I'm damn thankful because, when I started to get into the work of Jah Myhrakle, not only did I run into "Worthy 2 B", the man has SEVERAL impressive projects that I am currently working my way through, not the least of which would be "AncienT" from just last year. That album is GORGEOUS, it's full of dubs as well (nineteen tracks in all) and had I come across it last year, I might have had to make room for it in my Albums of The Year choices. Another that really stood out for me was "All 4 U" from a few years back because I found the vibes of that one to be somewhat similar to "Worthy 2 B" (call the new album a new and improved version of "All 4 U") in that they both have this BIG, chanting sound which works so well when spread out in album form. I could talk about "Eyc On Fyah", "He Who Keeps The Seals", "A Rival" and other still as examples of Jah Myhrakle turning in very strong performances. So I think it's time that we all get to know him better, courtesy of the new album. Let's take a closer listen.

There is a "dominant quality" that I alluded to prevalent throughout "Worthy 2 B" that definitely draws you in (and keeps you in). The album just has a very LARGE sound to it and it is VERY intoxicating (but in a more subtle way) and, like I said (or attempted to say), there is weight behind the words  as well - it ends up as very well written material as well. Want an example?? Check the chilly opener, 'Don't Come Plain' (is that not a very Vaughn Benjaminesque way of titling??) (is "titling" an actual word??). Though not my favourite on the album (several songs here have a dash of Hip-Hop, which is not for me, 'Don't Come Plain' has more than a dash), with the level of wordplay on the first track, Myhrakle definitely does not come plain. You can stop and take a snapshot of pretty much any line here and find something seriously impressive: 

"This is not a comedy, neither allegory

Prophecy fill judgment, now dem all ah worry"

The next tune up, 'No Knight Fall' ASCENDS! It is, easily, amongst the very best that "Worthy 2 B" has to offer and if you wanted to make the case that it is THE best altogether, you'd have a fair point in my opinion. I told you there was LARGE sound to the vibes of this album and that sound makes its initial appearance on this stunner as Jah Myhrakle burns oppression and a general negativity straight to ash!

"A who fi turn clown fi go blow dem bubble

A who dem entertain fi go walk and wobble

BABYLON YUH TROUBLE JUST AH TRIPLE-DOUBLE AND IT DOUBLE"

I told myself I wasn't going to POUR lyrics on this one because... the entire damn review would just be lyrics with teeny tiny paragraphs of actual review in between but 'No Knight Fall' is nearly as PERFECTLY worded tune that I've heard in a good amount of time. It is shattering and anchored with this big chanting sound at the chorus which goes up into verses chock-full of both knowledge for the brain and inspiration for the heart. It is a gorgeous selection. NOTHING in terms of quality is lost to the next song up, the MAMMOTH 'Hail The Emperor'. TEARS! I hear this tune and I think that, somewhere, Vaughn Benjamin is listening and he is enjoying what he hears. There is something very Akae Beka-ish level hypnotic about 'Hail The Emperor', which finds Myhrakle taking a most spiraling and winding road in the name of praising His Majesty. Benjamin might find himself a supporter of the whole of "Worthy 2 B" and that includes 'Prepare The Banquet' as well. I'm also giving it my full approval as I hear nothing on the level of 'Prepare The Banquet' on the whole of "Worthy 2 B", it is a SPECIAL tune. It's a praising piece and though they are so incredibly prevalent (and probably BECAUSE they are so prevalent) it makes such a powerful impact on me when I hear one that goes above and beyond.... 'Prepare The Banquet' goes above, beyond AND then it just keeps going!

"Haile Selassie I keeps the high place

Seraphims and cherubims they dance there

Upon the surface of the Earth there is a market

It's Haile Selassie I who prepares the banquet

Incline ya ears unto the ites and hear the words of the wise

Knowledge, intuition and discernment on your heart fi apply

For it's foolishness which is bound up in the heart of a child

Rod of correction remove these inna spiritual drive

For the preservation of good and mercy is within The Lord's eyes

Deliverance of grace and mercy by The Almighty's side

Jah overthrow the word's of the faithless who has no spiritual ites

Total laziness inside fears the lion outside

But a courageous lion inside face the punctuous

Clairvoyance and good attitude is a disciplined mind

MANNERS, DISCIPLINE AND SELF-RESPECT IS THE WAY TO LEAD A CHILD

Proverbs 22, 23, 24 and 25

And properly Proverbs is the selection to testify

He shall take heed unto I word

Lift thy heart - heart and hand unto I word

As earth" 

BOOM! BREAK SOMETHING! CALL SOMEONE YOU KNOW AND HANG UP WHEN THEY ANSWER FOR NO GOOD REASON! 'Prepare The Banquet' is THE class of "Worthy 2 B" and though there is some truly STELLAR material here, it's the clear head. If you need an example of such "stellar material" (I've already told you about some of it), check a couple of numbers on when the downright majestic 'I Behold' rolls through. There is something so damn mystical and.... EARTHLY about 'I Behold' as Myhrakle expresses the emotion behind being in complete AWE of The Almighty. Some of the wordplay on this one, particularly later on, is damn impressive as well and not to be passed over. Similarly steered (and of a similar quality) is the track chasing 'I Behold', 'Thy Gaad'. This one is SPACIOUS! It definitely does handle the business end in terms of the wording but 'Thy Gaad' comes across as being very open and, though the chanter does eventually tighten things up (you'll know what I mean when you hear it) by going Vaughn Benjaminesque, I still come away from this one FEELING just as much I am THINKING on another giant praise. I'll also add 'Rejoyce In His Name' to this lot though I don't love everything about it. The chorus on this song is somewhat strange, a little ponderous and almost overly simple to my opinion but 'Rejoyce In His Name' isn't a bad song at all (no such things exist on "Worthy 2 B") and it really flexes during the verses when Jah Myhrakle shines, in bursts, as he always does. 

Speaking of shining (and in bursts), there's a song here called 'Lion And The Lamb' which was CLEARLY intended to be a highlight (and it is) as it is the album's longest effort by nearly half a minute and, following a somewhat unremarkable start, Jah Myhrakle flips the switch and levels up to a HUGE degree. 

"Extinction ah stink waste, nuff a dem no waan let it go

Pride punctuous and pompous, nuff a dem waan pump up

Air balloon, helium balloon

Loony Tune cartoon watches a boom, boom, boom

TNT explosion, IV in living room

And all spill over right dehso inna di ocean womb

Fox News censor messenger and Google too

Puss and di boots have dem ah trooped up, boot-by-boot

Big recuit tight, tight, tight

Buckle up belt and boot

And fi di Strait of Gibraltar, right ya now dem ah parachute

Fi religious with structure, right yah now dem ah harm and loot

Fi sewage canal dem dun hammer fi drop their nukes

HE'S THE LION AND THE LAMB

RASTAFARI: LION AND THE LAMB

HAILE SELASSIE I: LION AND THE LAMB

ALPHA & OMEGA: LION AND THE LAMB"

If you enjoy -- like I do -- combing through and combing through words and analyzing people who... OVERLY proficient in their usage of words, 'Lion And The Lamb' is divine! Jah Myhrakle's style is to go in as many different directions as he possibly can under one unifying topic (which is almost ALWAYS crystal-clear) and listening to how he arrives there, at times, is thrilling. 'Lion And The Lamb' is one of those times. In a much different way, the title track is also a fine display of Myhrakle's talents. This one is nearly brutally straight-forward. This is right out of the Vaughn Benjamin bag of tricks (I literally hear stuff that I recognize as being from Benjamin ["Inna di world wide open"]). Of course, at its core 'Worthy 2 B' is a tune giving honours to His Imperial Majesty, placing HIM above all. It isn't very melodic or immediately pleasing but if you have an ear for things like this (and You do), you will have all kinds of FUN with this song. 'When We Learn' comes with a bit of a gestation process to fully receive its gifts but IT TELLS YOU EXACTLY THAT:

"CULTIVATE EAR FI HEAR"

You will have to have done some work on yourself before even approaching this one (otherwise, I can't imagine you'll get much, at all, from it) and, now that I think about that. I'll definitely revisit that idea in closing (and I'm almost done now) . There's the swinging closer, 'Pass Dat' which is one of the more sonically enjoyable songs on the whole of "Worthy 2 B" but also [DUH] isn't a lightweight at all, lyrically. I was definitely curious about the direction of this one (title almost seems a ganja tune) and it turns out to be a kind of spiritual grounded (the irony there, I know) social commentary and a BEAUTIFUL one. 

"As the hand on the wall write a language which is clearly spoken

As the compass set the space and point the direction to go

Such as the clock on the wall which alludes the mind of our true existence

There is a spiritual war going on the open, unfolding

And there's eternal war between good and evil inna di to and fro

Which way to go?

Which way have you chose?"

'Pass Dat' ends up being another of the numerous highlights "Worthy 2 B" has to offer and a stellar way to end matters here. 

Quickly, just in case I didn't make it completely clear in all of that stuff ^: "Worthy 2 B" is an EXCEPTIONALLY WELL WRITTEN release. Because of that, it becomes a very specific album to recommend. If you stress being challenged while entertained as a listener, you will LOVE this album. It's detailed as can possibly be and, musically, while you will definitely cross paths with more entertaining listens in Roots Reggae, "Worthy 2 B" is promising for what it is. It isn't dull or lacking musically. 

2025

Overall, to make it even more narrow: Do you like Akae Beka's music?? If you do, I can well suggest you take a deep listen to the work of Jah Myhrakle and why not start with "Worthy 2 B". Personally, if you've hung out here at all, you know how much I revere the work of Vaughn Benjamin and I encountered more than just the one moment that I mentioned where Myhrakle would say things that either indirectly or directly reminded me of the wizard from St. Croix. On top of that, I think I've listened to enough of his work now (from the time I started this review until now has probably been.... the better part of a month by now, if not longer) to be able to place it, in comparison to other work that he has done. Since this one, in fact, Jah Myrhrakle has already released another album, "OF 1". While solid, "OF 1" is not on the level of "Worthy 2 B" and it isn't particularly close. "Worthy 2 B" finds its very high level almost immediately and rarely dips below it and then goes discernably higher on several occasions. What ends up happening is a MOVING education of an album and, unsurprisingly, you can now count me as a fan of Jah Myhrakle from this moment forward. OUTSTANDING. 

Rated: 4.6/5

Gold Den Arkc Records

2025

Signatures Vol. VIII: Queen Omega

Today will be fun! In the next installment of our Signatures series, we take a look at someone who is not only a personal favourite of mine but someone who I also consider to be amongst the most talented individuals that Reggae music has EVER produced in the form of an ultra-dynamic, versatile and POWERFUL songstress from out of western Trinidad. Over the course of the last quarter-century or so, Queen Omega has dazzled! She has shown herself to be at a SKILL level placing herself amongst the absolute greats of the genre and has, subsequently, demonstrated a level of consistency which, again, places her in very select company. A list like this could, EASILY, be a hundred tracks long but we're going to attempt to narrow it down and gather the strongest works of, in my opinion, THE most talented female in the history of Reggae music. Signatures: Queen Omega

1. 'Warning' featuring Sizzla Kalonji & Capleton

Lovely works. In any direction you would take this one -- Sizzla & Capleton, Capleton & Queen Omega, Queen Omega & Sizzla -- you'd be sure to have a winner on your hands. The very fact that it is ALL THREE of them, however, is kinda ridiculous (and the case could be made that the young Queen outshone her legendary spars). The song was THE signature from the Queen's  beautiful self-titled debut set and has aged very well. I THINK the song was originally a combination between the two Jamaican legends and Queen Omega's portions were later added (not entirely sure though), in any case however, again, SIZZLA KALONJI + CAPLETON + QUEEN OMEGA = Something truly unforgettable.

2. 'Ganja Baby'

Ganja lady. While the legendary Rita Marley carries the heaviest of hands when it comes to ganja tunes from women with 'One Draw', I'd probably go as far as to say that Queen Omega charts in second place with the MAMMOTH shot that 'Ganja Baby' has grown into over the years. Far and away one of her most recognizable efforts, the Mickey D helmed track has remained a pillar and aged exceptionally well also. ANY type of compilation such as this would be totally incomplete and just downright irresponsible sans its presence. BOOM!

3. 'Wise Queens' featuring Kushite & Jalifa

Nah normal. This song had to be here for me for exactly whom it brings together. Years from now, hopefully we'll look back at 'Wise Queens' as having made a major impact on the genre but, specifically, Reggae from out of Trinidad in the wider sense. The tune linked Queen Omega with a pair of her very talented pears also from out of Trinidad, Kushite and Jalifa. In doing so she not only exposed their monstrous talents to a greater audience but they also, collectively, represented for women currently in the genre REGARDLESS of origins. Outside of the circumstances behind it, 'Wise Queens' was MIGHTY. It was a huge tune which pulled a variety of different vibes and covered a lot of ground and will be damn difficult to forget anytime soon.

4. 'Thunder Storm'

Grrrr! While I have not finished fleshing out this list (currently sitting at eight tracks (thirteen is the magic number, I'm thinking) (ended up being FIFTEEN), I'm very confident in saying that 'Thunder Storm' is the most purely EXCITING tune that you will find here. Irie Ites supplied their ASAP Riddim to the Queen and, in return, she burned it to the ground! EXPLOSIVE as it could possibly be, do not let what immediately strikes you about this storm distract you from another HUGE aspect about it: 'Thunder Storm' has a seat at the table of the discussion of being THE best written song of Queen Omega's entire career. The lyrical display she sets forth is one for the ages in the name of signaling to all the forthcoming unmissable revolution. 

"I SEE THE FALL BABYLON WHEN JAH PEOPLE RISE"

5. 'See You Down'

To the ground. I feel threatened by 'See You Down'. I always have and I probably always but I will tell you what I mean . At no point in during its time does it NOT feel like there is some.... uncomfortable, uneasy presence to it. Maybe (probably) it's only me but there's SOMETHING so damn unsettling about it. I think Queen Omega knew it and she invited it and even did her part in adding to it. How, exactly?? Listen to how she sings it. She, herself, "threatens" to wholly eviscerate everyone, everywhere with her vocals (which, SERIOUSLY, are amongst the finest in all of Reggae today) teetering ever so closely to completely exploding several times during the song.... only to be reeled back in at the last possible moment. I look at songs at how they're written, how they sound and how they are delivered and there's another aspect: Presentation. There isn't a finer PRESENTED selection here as the Queen makes you feel LITERALLY what her idea of "down" is.... and you don't want that. One of the most strongest songs I've heard from anyone in a long time.

6. 'Hold On' featuring Anthony Que

Firm. Anthony Que did an album by the name of "Meditation Time" about a dozen years ago. It's excellent. It's a borderline Modern Classic and I enjoy it as much in 2025 as I ever have. "Meditation Time" contained a single featured guest and it just so happened be Queen Omega, joining in on, arguably, the album's single finest moment, 'Hold On'. I don't particularly know how this combination came to me (don't care either) but Que & Queen make for such a powerful pair, both in sound and in direction, that what resulted was such a delightful song to hear and one which definitely made its impact as well.

7. 'No Love'

Can't be denied. Two things: First of all 'No Love' from Little Lion Sound was downright MASTERFUL. It was absolutely brilliant and effortless at the same time. Like I said about 'Thunder Storm' it, too, can lay a substantial claim to being THE best song Queen Omega has ever done from a lyrical standpoint, specifically. The next very curious thing about 'No Love' is definitely its 'lifespan'. It's lead a very interesting life. If any song here can be described as having 'gone viral', this is definitely it as you can find many people (who aren't necessarily Reggae fans) reacting to the Dubplate version of it for LLS. It has proven to be quite surprisingly popular and has surely brought many new fans to the queendom. 

8. 'Me No Frighten'

No fraid a you. Maybe you remember a little album the Queen did wayyy back in 2008 by the name of "Servant Of Jah Army" for Mad Professor and Ariwa. If you do then, SURELY, you should be familiar with the SCATHING 'Me No Frighten'. I say that because, otherwise, you may actually find this tune to be quite obscure but... I mean... LISTEN  TO IT! 

"Mi no run

If a murderer, come with a gun

Fyah bun! 

Dem seh dem ah tek life fi fun

Under di sun, every man fi bless wid wisdom

Knowledge, overstanding - cause that coulda never dun

Every man must love & respect his woman

Never abuse her fi tek out yuh frustrations

She is the Mother of Creation

She bring forth your daughter; bring forth your son"

{Note: Notice the TRULY RIDICULOUS way she takes the chorus after the first verse and just... TURNS IT INTO MORE VERSE!}

9. 'Last Days'

Again and again. I had this song in my head, singing it, trying to figure out what it was because it simply had to be included here.

"I say it again and again"

Eventually, I came across 'Last Days' and:

"We're living in the last days

I SAY IT AGAIN AND AGAIN"

BOOM! Crafted by the same 149 Records who worked on 'Hold On' with Anthony Que across their GOLDEN Brighter Day Riddim, 'Last Days' was problems! Armed with more than just a hint of spite, the track featured a Queen who was equally concerned and caring. It wasn't the full smack to the face but a warning that, should you not heed it, such a shot had been deployed and was in your vicinity.

10. 'Uprising'

Get yourself prepared. Along with being EXCELLENT, 'Uprising' is also the answer to a very interesting trivia question. It was the very first song on Queen Omega's debut album and it would not only go on to set the tone of what was to follow on the subsequent seventeen tracks but also for the next quarter-century or so. 'Uprising' would have likely been the very first tune that a lot of fans had EVER heard from the songstress and not only does it carry a nostalgic type of weight but it was strong as well. A LOVELY song and it's no surprise that we're still listening, all these years later. 

11. 'Big Up Papa'

PAPA! PAPA! PAPA! I gotta question for you: You probably know of hundreds of Roots Reggae songs which give [a most deserved] honour to the mothers of world; but how many do you know doing the same for the righteous, hard working dad's out there??? Probably not too many, if any at all. That being said, I've always respected the Queen for this turn, 'Big Up Papa', which found her not only giving thanks for THE Father (again, hundr.... THOUSANDS of those songs) but for her own, earthly sire for stepping up, taking care of his family and providing a strong, proper example in her life.

"Give thanks for my heavenly Father for making you my earthly father"

12. 'Don't Call Me Local'

I'm international. The great aforementioned Capleton once did a tune by the name of 'My Ting Tun Up Everywhere' which Queen Omega's 'Don't Call Me Local' has always, directionally at least, reminded me of. Both songs would go on to be fairly sizable hits in their day and the Queen's side of the sentiment easily earns its place on a list like this from me. Featuring the handiwork of the always entertaining Manudigital, 'Don't Call Me Local' was just a VIBE! It was a fun time of a song and a display of a towering level of skill and not a talent just from and for Trinidad, but the whole of Reggae music.

13. 'I Believe In Love'

It's the healing of the nation. THE standout from Queen Omega's somewhat forgotten (and damn difficult to find) sophomore set, "Pure Love", 'I Believe In Love' just may be the most BEAUTIFUL song that she's ever made. I listen back to this one these days (more than twenty years on now) and I hear such a delightfully youthful Queen. It's in her voice and I'd be willing to bet that when she sang 'I Believe In Love', she was having a really good day and it comes across to the listener. It's one of the best songs she's ever made and if it is your absolute favourite, you have very good taste, my friend.  

14, 'Selassie I Know'

Selassie I, love you. I mentioned another tune here, 'Don't Call Me Local', as having always reminded me of a Capleton song and here we have another one which does the same, only far more directly. 

"Queen Omega want yuh realize and overstand

Full time fi bun out dem confusion

Full time fi bun out dem frustration

Longtime wi ah bun out di disillusion

Now time fi bun out miseducation

Now time fi bun out dem temptation

Full time wi ah bun out paganism

Come people bun out favouritism"

Hmmmm. Now what does that sound like to you???

15. 'Away From Babylon'

Closer to Mount Zion! Lastly, 'Away From Babylon' is both the title and signature track from an album that we've declared a Modern Classic around here (same album carried 'Ganja Baby'. It was LOADED) and it... casually strides it's way onto this list and the same should be the case for any collection of Queen Omega's greatest works. 'Away From Babylon' was a celebration, it was wise, it was cool and it was just a BEAUTIFUL song and so it remains. Probably still my single favourite song that she has ever done, Queen Omega announced to all seeking her out where exactly where you could find her... or exactly where you CANNOT.