Best Case Scenario: A review of Sibusiso by Perfect Giddimani

Roses. I'm not talking about the very first time that you hear a song from someone that you think is talented and has something about them that you want to hear and learn more of; but maybe after a few songs, a hit or even a full album from someone new to you, I tend to start projecting -- entirely incorrectly -- on just who they might turn out to be, musically. Almost immediately I'm thinking about them working with this artiste or that producer and going on some riddim from back in da' day. You can liken it to sports, where someone comes up and you start thinking of what they may do and, specifically, where they may end up or what they could do if paired with a certain team or coach. All of that stuff is going on in my mind, somewhere. Musicians are like the rest of us and many won't reach their full potential for one reason or another, some will and others still, will even "overachieve". While I don't think that I can make the case, fully, that today we're dealing with an overachiever (because he did show so much promise around his nascence but we're definitely going to look at someone who, as we examine it these days (or at any point over the past decade or so), has seemingly gotten every OUNCE out of his potential and capabilities. Keeping bona fide super stars out of the equation (because that's just too damn easy, isn't it?), I think of individuals who've charted similar courses with regards to their talents. The name, oddly enough, that immediately came to mind was Tiwony. Whether or not you've paid him much attention at all, at this point TIwony has had a FANTASTIC career. He's made some exceptional music and, at least in my opinion, has well established himself as one of the greats in all of modern Reggae music but on the French and FWI scene, specifically (and he's continuing. Check his new album, "Reggae Frequency"). Tiwony's was a name that came to mind especially because there hasn't been a point in his career since I've been following his work (twenty years now) where he has NOT demonstrated a high level of ability and though there may be levels of popularity that he will not touch, there is no one in Reggae today who enjoys a noticeable gap over him in terms of what they are capable of. Others such as Bugle and, of course, Lutan Fyah have CLEARLY made the most out of what they've been given, though each and every thing that they do may not have the widest reach (and the result of that is that you can HAPPILY find yourself going through their catalogues and finding EXCEPTIONAL work that you missed at released). 

Someone else who not only fits into that group and that I ABSOLUTELY LOVE writing about is the always compelling sitting King of the Chalice Palace, Perfect Giddimani. I've spent years describing Perfect as a kind of a volatile Roots Reggae chanter and I stand by that, still. What I mean by "volatile" is that he can be damn unpredictable in terms of what he's going to do with a song. You never really know what Perfect is going to do from verse to verse and he does have the aptitude to FLAME without notice and he is at least proficient with everything he tries. What results is an often thrilling brand of the genre and, even when he keeps thing toned down, still a very solid display of his skills. When you take that and put it with how I think most people probably initially came into contact with Perfect -- a little tune called 'Handcart Boy' from about two decades ago now -- I do not see how this gets much better on his end. Were you to have told me, back then, that I would be, in 2025, HAPPILY writing a review for album #whoknows (I really don't feel like counting). And while they haven't all been roses ("Karma" might just be THE worst album I have ever reviewed on this blog), Perfect has produced some BEAUTIFUL projects over the years and, apparently, the end of his reliability is not in sight. 

Remember this one???

Most recently was the lovely "Ah Mi Yard" from 2023. That set, surprisingly, came via the also ultra-reliable I Grade Records & Zion I Kings, but if you take a minute and go through the type of work that Perfect has done.... you run into gems and just SOLID pieces such as "Journey Of 1000 Miles" ["DON'T WORRY NOR PANIIIIIIIIIIIC"], "Back For The First Time", "French Connection", the debut, "Giddimani".... "Better Off Dread"... I could go on... "Over The Top"! One of the biggest and most satisfying products of writing reviews like this is that I have to do gather 'ammunition' to write them. I have to do some research and remind myself of certain things and, in doing so, I go back and listen through some of an artist's previous work and IT HAS BEEN SO MUCH DAMN FUN doing that in this case - refamiliarizing myself with some of Perfect's, perhaps, overlooked output (you'll find some DIAMONDS, buried on some random album from a dozen years ago ["RIDE OUT! RIDE OUT! Natty Dread ride out! With a big, fat, high-grade spliff inna mouth"]. Now, at the end of the first quarter of 2025, Perfect adds to his more than respectable lot with the latest addition to the catalogue, "Sibusiso [Blessings]". Like almost all of Perfect's recent work (in one way or another), "Sibusiso" comes via Giddimani Records, though production is handled by Sinky Beatz, with whom the chanter has been working extensively in recent times. Like much of the world with good sense, Sinky Beatz caught a  deadly case of Reggaemylitis ("it is incurable") (biggup Peter Tosh) and the Spanish born ace has made an outstanding contribution to the music, particularly finding a good level of chemistry with Perfect and, though I'm not sure about this at all, it would seem as if the plan was always to build towards releasing an album, given the amount of work they have done together over the last couple of years or so. Perfect has been afforded (and deservedly so) the opportunity to work with many of the finest in production in Reggae during his career but he has clearly struck a chord in working with Sinky Beatz. How do I know that? Let's talk about "Sibusiso".

Going through so many of those old albums in research for this review - and it occurred to me JUST HOW MUCH I've actually written about Perfect's music over the years. Off the top of my head, without reading some of those reviews, I don't even remember writing some of them (evidence of my senility??) but once I actually dive into the material, it gave me this BEAUTIFUL nostalgic experience, going through some of the classics. Perfect Giddimani now attempts (....he succeeds) in adding to that lot with his brand new release, "Sibusiso", which comes out swinging with a pair of its heaviest hitters. The first, 'Another Marcus Garvey', SOARS. I absolutely loved this tune because of the types of 'ground' it covers. It does things both specifically and broadly, using the umbrella-ing theme of Garvey to not only honour the man but also use his teachings and ideologies in ways which are applicable today. Perfect also places this in a GORGEOUS package (one which is forty-five seconds longer than any other on "Sibusiso"). The opener is just an all-around satisfying offering. It's probably been a minute since I've said this about an album, but the very next song, the second on the entire album, hits the highest mark altogether in my opinion as you will not find the equal of 'Africa Mother Land' on this album.

"Africa, bless Africa, mi Mother Land

A weh mi sister and mi brother from

Africa, bless Africa, mi Mother Land

Hail Emperor Selassie I, no other one

Africa, bless Africa, mi Mother Land

A weh mi great-great grandmother from

Africa, bless Africa, mi Mother Land

Never give away and continent

Babylon you invade Mama, with your English grammar

Trick many with cotton and silk

And then you took my ancestors on a ship named Jesus

And nuff a dem drowned or sink

And to make it through the middle passage, saltwater mi drink

Dem separate us, a eyewater mi blink 

NO MATTA WHAT NO SLAVEMASTER THINK:

MI CHOP OFF DI CHAIN, BUT MI NAH CUT DI AFRICAN LINK

A mi yard

For those at home and those of us abroad

No matter if you have a yellow or green card

America- dem ah dream hard

Now dem turn inna nightmare, watch dem ah bawl

So right ya now, ya back against di wall

Look from how long Africa ah call

Mi tired of di prejudice war

Every black man a star

But if you don't know where you from, you don't know who you are

Remember dung a Ghana, Senegal and Dakar

I man deh yah inna di west but mi travel from far because of slavemaster boy Caesar

DEM DRAIN DI SWAMP AND LEAK OUT DI RESEVOIR 

Police shoot mi bredda with an old slr

And di ghetto youths ah draw bad card"

Perfect does not put A TOE (forget about a foot, NOT A DAMN TOE!) wrong lyrically on this MAMMOTH track which if you are of African descent... of if there is even anything on the continent that you REMOTELY find enjoyable, is sure to give you a jolt of pride. 'Africa Mother Land' is one of the single finest songs that I have ever heard from Perfect. Period. 'Ethiopia Sunshine' is kinda/sorta what you might be expecting with such a title. Its presence helps to make an atmosphere on the album but it doesn't do much (it doesn't even try, really. I'd be surprised if there was much planning behind it. It sounds like a vibe for this beautiful riddim). It's just a nice way to spend a few minutes. We head back to the stars courtesy of previous single, the rocketing 'Selassie White Horse'. I'm going to say something further about this one a bit later but the riddim on 'Selassie White Horse' is BEAUTIFUL! It is otherworldly level material (it's literally perfect) and Perfect uses it to to deliver a message of imagery and perception of how we identify certain things IMMEDIATELY and more progressively ["Jah no dead... The Lion Of Judah is doing well"] on one of the finest moments "Sibusiso' has to offer. Again, the tune does something in its latter stages which we'll get into a bit later, but you will listen to this entire thing in the name of enjoying one of the most unforgettable recent selections from Perfect altogether. The wholly golden 'Worthy For Jah' might also be familiar to your ears as it released as a single a year ago or so. This one was just RIPE of discussion items but what I ultimately took from it was the idea of having standards (if not for yourself, then for The Almighty) and at least making the attempt to be a better person.  

"Finally

Clean up the temple inside of me

Jah loving is primary

Never put your trust in vanity"

In general, however, 'Worthy For Jah' is IMMENSE music. It is of extremely high level and at the risk of sounding redundant (...and you know I don't give a damn), it also ranks amongst the album's finest offerings. The first half of "Sibusiso" wraps up with a pair of solid pieces in 'High Grade Mi Love' and 'Automatic Sibusiso [Blessings]'. The first is the album's ganja tune [DUH] and although it most certainly is not great (Perfect has done much better on the subject which is one of his favourite), at this point I think Perfect might, literally, have to try to make a bad tune on the topic for it to be something subpar. 'High Grade Mi Love' is not such a crack. 'Automatic Sibusiso' also doesn't hit the highest levels here but what it does have going for it is it sound. It may not do much and it isn't the best written piece that Perfect has done but there is a charming... almost 1980's style R&B appeal to this one --somewhere in there-- which my ears heard in its midst and stuck to. What results, very subtly, may actually stand as a changeup for the project and just a nice touch, in any case.

While perhaps not as glaring as its antecedent, the album's second half does have quite a bit going for it including a pair of BIG combinations, featuring a two BIG names as well as some otherwise STELLAR efforts. 'Zion House' would have taken a bit of time to grow on me but I was glad that I didn't just pass on it as average or such because it is stronger than that. The sound here, at least in my opinion, is a little odd. The tune is quite skeletal (a term I used to often use to describe Vaughn Benjamin's music, meaning that there is a lot of SPACE in it) and while it doesn't do a great deal, what it does manage to accomplish is provide a nice vibes. 'Zion House' is a nice listen and I will mention it again, shortly, in celebration of something even stronger. Perfect nearly returns to set form of "Sibusiso" with the following 'Him Presence'. The chorus on 'Him Presence' sits alongside some of the most infectious and well done on the album and the rest of the song benefits greatly from the course that it sets. Built on somewhat of a biblical structure, this one has an air about it that might give it a feel slightly exceeding its actual quality, but it won me over, ultimately. 'Him Presence' is lovely. The well traveled first of two aforementioned combinations is in, 'Champion in Action', tapping increasingly oft Perfect collaborator, the great Lutan Fyah. This one is just a good time [!] with the two linking up in vivid celebration and exaltation of the Dancehall and Dancehall culture. Part of the attraction here is the atypical nature of things. You have two GRIZZLED, turban-clad Roots chanters doing this type of piece, showing that, in there somewhere, is a little kid dreaming about being the baddest in the Dancehall when they grow up. Later joining is superstar, Anthony B, for the more predictable but absolutely delightful 'Rescue Me' [biggup Original Nine Fingers, Xkaliba] (Xkaliba's best tune ever is called 'Jah Rescue Me'). I do wish there was a bit more of Anthony B through 'Rescue Me' (after the beginning, he's only really heard on the chorus) but in judging this one on what it is, it is sublime, reaching across a theme that is, again, predictable but no less potent and well presented here. The legendary Nesta does NOT make an appearance on "Sibusiso", but Perfect brings him in via another way, via tribute (not really) 'Bob Marley Reggae'. In a kinda/sorta way, this is the Roots side to the Dancehall that was 'Champion in Action' and it scores, arguably, even heavier.

"Everybody move, everybody get ready

This a Jamaican music wi call it Reggae

Remember Bob Marley - mek a sacrifice fi dis

That's why Giddimani nah stop fight fi dis

Rumour dem ah spread

Who ah tell lie bout Reggae dead?

Shut up yuh little crazy baldhead

A REGGAE PUT DI BUTTER PON GHETTO YOUTH BREAD"

Check the cool closer, 'Joburg', a loose ode to Johannesburg, South Africa. This is a track which just displays a very nice sound and does so with more of an easy foundation but it well finds a home on a set such as "Sibusiso", both in terms of sound and direction. Finally (until that other thing), 'Jah We Pray' is golden in more ways than one, as high sonic appeal and heavy message link up on common ground in the name of reminding the masses that no matter what or who may stand against you, living a good life ensures that you will always have someone in your corner. 

And then we have a [good] [VERY, VERY GOOD] problem. Two weeks following the release of "Sibusiso" (just two or three days ago by the time you read this), Giddimani Records sent out its dubbed out counterpart, "Sibusiso In Dub".... and you could make the case that "Sibusiso In Dub" is even stronger than "Sibusiso"! Featuring dubs for all fourteen tunes, it is an OUTSTANDING version of the album and if I didn't have an instrumental album on my plate to write a review for sometime in the next few weeks, I might've actually slapped a review on this one. Standouts are numerous but I'd tell you to pay a special attention, in particular, to the track that I alluded to, 'Selassie White Horse Dub'. EASILY it ranks as one of the finest of its kind that I've heard recently and, again, it is not alone here. Also riding high are the likes of 'Another Marcus Garvey Dub', the GHOSTLY 'Him Presence Dub' (THAT ONE is better than its vocal version. It isn't even up for debate in my opinion), 'Automatic Sibusiso Dub', 'Worthy For Jah Dub' and one that I was really looking forward to hearing that turned out even better than I thought it might, 'Joburg Dub'. However, with that being said, from beginning to end, "Sibusiso In Dub" is a significant winner and I would expect any fan of Dub music of any experience level to find ample material here worthy of their time. As I've said in the past (and recent cases includes albums from the likes of Norris Man, Akae Beka and Horace Andy), things like this REALLY show that the producers behind the music had a great deal of confidence in their work and wanted to put it in the spotlight. In this case, they were right to do so.

Overall, the fact that a dub version of "Sibusiso" does speak to a point that I didn't want to spend too much time on during the review because I could use that album's existence to express it more vividly: Sinky Beatz' work on this album is very high level. Musically, "Sibusiso" is one of the more impressive Roots album that I've heard over the past couple of years or so, without question. For his part, Perfect is in fine form, although he isn't as explosive as we've come to expect at times (which isn't a first). I do thoroughly enjoy the kind of 'freer' way that the album centers, directly, around Africa --and I know what you're thinking, they ALL kinda center around Africa-- but with tunes such as the title track and 'Joburg', the impression is definitely that Perfect had it in his mind to make Roots Reggae album about Africa: Mission accomplished. "Sibusiso" is another log on the burning fire that is Perfect Giddimani, one which has been scorching since it was ignited many years ago. 

Rated: 4.35/5

Giddimani Records

2025

New From Ancient King!

"Oath Of Akae" by Ancient King [Trinity Farm Music]

1. 'Oath Of Akae'

2. 'Kiddus Kiddus Kiddus'

3. 'The Earth is Egziabheer'

4. 'Tender Obedience'

5. 'Ak Who You'

6. 'Hites'

7. 'It's The Rain'

8. 'Permit The Child'

9. 'Make Someone Smile'

10. 'Brake All Chains'

11. 'Convenient Store Tree'

12. 'Peace Is Possible'

Okay so, a minute or two ago, we just told you about a new, forthcoming album from the Volcano Trumpet, Qshan Deya', "Reggae Ambassador", and as it turns out, the week prior to the return of Deya', another of our favourites is set to release his latest studio creation. Fiery Cruzan chanter, Ancient King, is back and back alongside a very familiar source - teaming up with Trinity Farm Music for "Oath Of Akae". 

The title of this album will SURELY catch quite a bit of attention amongst fans as Ancient King was a frequent spar of the legendary Vaughn Benjamin and when I first saw the name, I immediately took it to be some type of honour to Benjamin (and that's how I'm still taking it, at least in part). I've had the opportunity to listen to a bit of "Oath Of Akae" (because it's on that wonderful site with the "samples" which are basically entire songs if you've got the time to put them together) and I'm enjoying what I'm hearing. Early favourites include 'The Earth Is Egziabheer' (you can actually listen to that entire song because it was a previous single), DEFINITELY 'Ak Who You' & 'Brake All Chains', 'Peace Is Possible' and another tune, 'Make Someone Smile' has also began growing on me, just a bit. It doesn't seem very long ago that we dealt with Ancient King's most recent set, "Seh Selassie I", for Ras Elyment (it was like a year and half ago) and I'm already looking forward to digging into this one as well.

So are you! We'll both get what we want on the 2nd of May (literally the day after tomorrow at this point) when "Oath Of Akae", the new album by Ancient King on Trinity Farm Music reaches our brains... through our ears; but you probably knew all of that already. 

Qshan Deya' is the Reggae Ambassador

"Reggae Ambassador" by Qshan Deya' [House Of Riddim - 2025]

1. 'Thanks and Praise' 
2. 'Paradigm Shift'
3. 'Best Version'
4. 'Reggae Ambassador'
5. 'System Corrupt'
6. 'Wicked People'
7. 'Vatican'
8. 'Love and Harmony'
9. 'Saturday Night'
10. 'So In Love'
11. 'Close To Me'
12. 'Butterfly'
13. 'Weed'
14. 'Reggae'

Okay so, big news today as we are very close to the release of a brand new album from a somewhat reclusive longtime favourite of ours as the Volcano Trumpet, Qshan Deya', is soon to return with a big, brand new album courtesy of beloved 'vibes outfitter' (you cannot tell me that isn't a cool way of saying 'producer') House of Riddim from out of Austria, "Reggae Ambassador". Doing my weekly rounds of seeing what new had popped up, I was DAMN HAPPY to see this one in the offering as not only is "new Qshan Deya' album of massive interest to me but, again, pretty much anything the HOR lays their hands on will stand up on our radars and the fact that the two of them are at work together makes this a potentially HUGE deal. 

The last bit that I'd heard of Deya' was that the St. Vincy born singer had actually repatriated and had moved to Ghana (a quick bit of research seems to confirm that he is still living in Ghana and has been for a couple of years now) and now he's back with a new album, so named after a recent single. Listening through the clips of "Reggae Ambassador" - nothing at all has changed, musically, as you would expect as Deya touches on the usual topics in the usual manner that we've come to expect from him in his wonderful career to date.

Want to hear more?? Of course you do. Join me in doing just that on the 9th of May, when Qshan Deya' & House Of Riddim release "Reggae Ambassador". 

Hallowed Be Thy Name: A review of Guardian by Dezarie

Her. I think that history does a pretty good job of doing many things and, as technology advances, it will become even better at covering things that may have otherwise been lost to us and our descendants. The information and, increasingly, visuals that we have access to from years and years ago is amazing and that will only improve. With that being said, however, I think that one of the very few things that is difficult to convey through telling or even showing someone who wasn't around to be able to appreciate it in the moment, is EMOTION. If you watch footage of an old sporting event or a concert or whatever it may be, you may be able to appreciate the excitement and the passion of everyone involved at the time but the DRAMA of the moment is lost on you because you know that the result of what ultimately happened is only a few key strokes away. Try as you might (and you won't), you cannot actually put yourself in that moment (if you do, actually, you are a very strange one). You can enjoy viewing it, but it is gone. Music can be a bit different in that respect; as I'd like to think that the best of it will be around and being heard (and APPLIED) thousands and even millions of years from now. It will continue to go forth and create vibes and feelings within generations of people as, you would think, its creators had in mind while they were working. Its reception, however, or THE PERCEPTION of it during its release is gone and that can't be recreated, regardless of how many longwinded reviews you may come across about a particular piece. I got on to thinking about this because of learning about the new release of someone who I've long considered one of THE most fascinating artists in Reggae music today, Dezarie. MAYBE someone, living hundreds of years from now, could somewhat appreciate the level of reverence experienced by Akae Beka/Midnite during a large portion of his/their career; with the thinking being, perhaps, that such a level of prolificacy would not have been had there not been a rabid and sizable fan base waiting to listen to and support it. I don't think that the same astute individual from the year 2625 would have any chance at all in realizing in just how high esteem Dezarie was held in her day or anywhere near it.

When I first started listening to/hearing about Reggae music from out of the Virgin Islands there were a handful of names that were grabbing the majority of the attention. Of course, at the head was Vaughn Benjamin and Midnite at the time, there was Bambu Station, maybe Ras Army and Dezarie (there was also a healthy group of others that were footsteps away from receiving a big shine such as Pressure Busspipe, NiyoRah and Ras Batch). Surely, the case could be made that the spotlight that was being given to Midnite, at the time, had a kind of gravitational effect in terms of drawing fans to other artists (much in the same way that Bob Marley would have been indirectly responsible for helping to bring several of his peers to prominence), but that would not explain the subsequent and REMAINING levels of respect paid to Dezarie damn near a quarter of a century on.

2014

What would help to explain that is consistently producing music of an extremely high level... I think that might work. As is the case with Midnite to Akae Beka, I have encountered some of THE most passionate fans out of anyone in modern Reggae music for Dezarie (she seems to be wildly popular in South America, in particular). Now, when you take the level of adoration the masses have for her and take a look at the size of her body of work - I think I may be of the opinion that the spots of inactivity that Dezarie has experienced through her career have, perhaps, even added to her popularity. While she hasn't been super prolific, Dezaries has DEFINITELY made the most of the opportunities she has had to impress and to continue to carry and BUILD her fanbase. Vaughn Benjamin's way was different: He was far more like some of his Jamaican contemporaries, who were good for three -- and sometimes FOUR -- albums annually, in the not too distant past, but it's now early in the second third of 2025 and Dezarie had not released an album in over a decade; but the drought is over (although there was a Greatest Hits compilation, released just a few years ago)! In 2014, the Cruzan singer set forth the well received "Love In Your Meditation" (that album had a song on it called 'Download De Criminal' which was absolutely ridiculous! It's probably one of the.... 100-150 best song I have EVER heard) and now she is fully back with a brand new album, "Guardian". Though I had, delightfully, found myself more often bumping into her work over the past year or so, the notion that she might have an album in the offering did not pass my mind (which is odd for me). As it would turn out, some of the material was actually singles from what would eventually become "Guardian". The album comes through Dezarie's own label and is produced and everythingelsed by one Kardelle  "Mr. Pr3z" President, an incredibly talented young producer from out of the Virgin Islands who, I predict, is about to become very busy as people began laying their ears on his work on "Guardian". Someday, I would LOVE to hear Dezarie work extensively with I Grade Records and the Zion I Kings but I am most certainly not complaining with what is to be heard here. "Guardian" is outstanding and I'd just love to tell you about it if you have a few minutes.... or like an hour.

Dezarie's style, for the most part, can be fairly complex. She does "SING" in the typical usage of the term but she also spends much of her time in an almost hypnotic type of a chant. She's a very talented chanter and while her delivery may not be the most dramatic (although I may challenge that a little later), what you end up with -- in style, alone -- is a very compelling and fascinating artist, beyond this incredibly fascinating figure. That figure carries a heavy hand throughout her new album, which gets going with the tune for which it is named. 'Guardian' is a very elabourate intro and a prayer, setting the table for what is to come. It's also downright gorgeous, hearing Dezarie absolutely lose herself in the track. One of the heaviest hitters, 'Back To the Future', rolls in next and though a semi-electric vibe brings it in, you'll want to pay a closer attention to fully tune in the ideas here. What I took from 'Back To the Future' is that it is a warning of just how easy it can be to lose oneself in the changing of the times and within just how quickly the world is modifying in so many different ways ["Can't wait to get chips installed - in your body, like somebody else in control"]. It's all put together exquisitely, making for, as I said, one of the definitive highlights to be found on "Guardian". 'Criminal' immediately efforts to also put itself amongst the class of the tune ahead of it and it not only succeeds but it also, arguably, goes ahead.

"Attempted murder with intent to kill

Dem food ah want to slow poison

Dem kill more as dem shoot to kill

Vicious, voracious firing

Armed & dangerous shooting

Pointed shot, shooting

Hate pon babylon

Hit and run, genocide and gone

Hate homiciding-

DECIDING TO KILL JOY WITH PAIN

Get out and get practicing

ON INMATES EXPERIMENTING

So...

You got the right to remain silent"

Sometimes the actual criminal isn't the one behind the bars is the heart behind this MASSIVE set as Dezarie sets flames to a most specific brand of oppression. Musically, it should also be mentioned that 'Criminal' soars (it has a very nice feel around it and if you listen to it, you'll know exactly what I mean by that. It isn't just a song playing that you happen to be listening to) and if you wanted to call it the single best song on the whole of "Guardian", you'd get not much of an argument out of me against it at all. BEAUTIFUL song. The familiar 'Breathe In Strength' then comes in and.... PROBLEMS! 'Breathe In Strength' ["breathe out stress"] is downright destructive and it is the single finest moment that I hear on the whole of "Guardian". The tune goes through the matter of de-stressing and de-cluttering the masses from years and years of heinous and unhealthy treatment. She deals with things on both complicated ["Complex and complexity to make man uneasy"] and more simple ["Dem waan exit yuh oxygen from outta existence"] while never veering too far from the centralizing theme of BREATHING and drawing in life while some seek to either interrupt or completely STOP that process, altogether. It is lyrically spot-on throughout and, simply, one of the strongest pieces of music I have ever heard from Dezarie. Wrapping up the first half of the album is another big winner, the LOVELY 'Hold On'. Here, the singer preaches both patience and perseverance (among other things ["You must hold on to your faith, just you holding your phone"]) to stunning results. 'Hold On' is golden! It shines from the second you hear it and by the time you're on to the next tune, it still isn't done with you. Also, though it may go without saying, I do feel compelled to say to pay special attention to what Dezarie says there as she stands up with some GEMS of information and ideas that are the genuine star of this show.

...speaking of things that shine; the second half of "Guardian" is brimming with them as well as, ridiculously, you could probably make a strong argument that it is even stronger than the first. In full, I'll also say that the vibes of the latter half of the album CLEARLY set out to provide a bit more in the way of a BITE and some FIRE, so if you thought she'd let you out of the door this time without slapping you around slightly, you were woefully mistaken (she's not sending you on your way with bruises and cuts, just a bit extra on the brain to think about the next time you cross her path). I'll skip ahead to the final two selections which do reverse course back to more of the moods from the early stages of "Guardian" and do so excellently, 'Snake Charmer' & 'Who Is Who'. The latter is VERY interesting when you contrast what you immediately hear with what is actually said. Everything is very light and were someone not paying a great deal of attention and they were to come away thinking that 'Who Is Who', on its surface alone, was a love song, you couldn't blame them for it, BUT IT MOST CERTAINLY IS NOT. The track is actually quite challenging and, lyrically, even bordering on harsh at times ["Haters and traitors and instigators"] as Dezarie says that not everyone is who they appear to be. Not too dissimiliarly routed is 'Snake Charmer' which comes through with this damn near DIVINE bounce of a riddim, which Dezarie pushes to its full capacity. Although this one does have more light elements to its sound -- and maybe it's just me -- but there is something very strict about 'Snake Charmer' and in finding my way around has been one of the most rewarding experiences that I've had in listening to this album. 

On the other side of that are the three other songs that comprise the second lot of selections on "Guardian" which, as I said, definitely add some petrol to things. Check the first of them, the MAMMOTH 'Immortal Combat'.

"War 'gainst the woman melanin

Fight 'gainst fertility with sterilization

They bring drugs in the hood to bring down population

Guns in the hood to bring down population

Planned Parenthood to bring down population

Poison the food to bring down population

FREQUENCY TO CONTROL YOUR MOOD with dem babylon song

Men in prison to bring down population

Medical apartheid bring down population

MAKING MONEY DOING SO, AND GETTING DONATION

How much dem waan earn?

Several million

Plan already set in motion

GENETIC WEAPONRY FIGHTING GENEOLOGY

Like they want your penny and gone to pay a penalty

LOOK HOW DEM SCAM DI COLOUR OF SKIN OPENLY

Wi caan tek di energy, dem got no lobby

How wi looked and wi searched 

THEY WERE EMPTY

PLOTTING TO SHORTEN OTHERS LIFE TO MAKE THEIRS LENGTHY

And want to try life first to try extend theirs

One thing for certain: DNA cannibal hungry

Spiritual war like Battleship Galactica 

No afflection from none of the earth's afflictors"

The song is an older one that I've heard her perform in live settings once or twice so, as I was listening to it, it started to come back to me that I knew this tune from somewhere but this is almost certainly the first time that I've heard a studio version of 'Immortal Combat' and DAMN! Brilliantly put together as Dezarie drops several things (namely films) from popular culture ["Spiritual war like it is The Clash of Titans; as if dem waan mek di world a big boxing ring"] to make her point about this never ending war (people, literally, fighting over EVERYTHING) that we have been fighting and will likely continue to fight. I could happily sit here and keep talking about 'Immortal Combat' for hours but I think you'd also enjoy hearing about previous single 'Lion Is Lion' and its destructive chorus. It takes a second (more like around twenty), but when this thing really gets going, 'Lion Is Lion' is MASSIVE!

At its core is a huge sense of PRIDE instilled in the masses from all walks of life to the point where, should you NOT feel something from this tune, you're either living a REALLY FUCKED UP life or, I regret to inform you that you are actually deceased. Lastly is another one which is going to slap you around a little if you are not prepared, 'No Failure' (even if you are prepared, you might still catch a few).

"Who think wi soft and wi quiet make a mistake

When wi deh pon di battlefield, a kinda risk take

All who nuh down with depression, make a fist, make

Ganja is our vaccination weh wi inject

Judgment come snip-snip

Duppy dem get wings clipped

Devil is a liar, so wi bun a fyah quick-quick

Expect wi to sit with zipped lip

In injustice sit with-

On submission's guestlist

It's freedom and wi wish this!"

'No Failure' is another track that is trying to get you to get your pride together and, in this case with the words ESPECIALLY, you are certain to find something that brings something out of you if you are.... at least a halfway decent person. 

I do want to go back and elabourate just a second on something that I mentioned earlier in regards to Dezarie's style. While she will never been confused with being THE most expressive of vocalists, I don't want to make it seem as if her music is devoid of bereft of drama or a very basic level of entertainment because it is not. Dezarie's method of conveying that isn't through yelling or pushing her vocals a great deal (though she does have her moments); instead, what she does is to seemingly enter a very comforting place where it almost comes off as if she's in a trance. She's either sang these words SO often or they mean SO much to her that delivering them is almost instinctive. I find joy in that and CLEARLY I am not alone. 

Overall, though "Guardian" may not be the heaviest piece of music that we've encountered, coming in at just shy of forty minutes in total, it more than makes the most of its time. Like pretty much everything she does these days, I would expect the VAST majority of people who come into contact with this set to not only be more established fans of Reggae music, in general, I would think most of them are already going to be familiar with Dezarie's work. HOWEVER, if for some reason you are not either one (though I'm going to have a hard time completely believing that you aren't at least a fan of Reggae music to get this far into a review this long), "Guardian" is EXTREMELY digestible in my opinion. I think there is enough here for newer fans of both the music and Dezarie's to enjoy and, hopefully, open the door to the rest of her beautiful catalogue. It stands in line with everything that she has done to date and, with a legend as grounded as her's as, Dezarie digs her roots even deeper with another gem of an album... but you knew that already. OUTSTANDING.

Rated: 5/5

Dezarie

2025

Signatures Vol. VI: Bunji Garlin

It's Bunji Garlin. Soca Defender. Lyrical Genius. No intro. Let's go! 

{Next: Queen Omega & Cocoa Tea}

1. 'Differentology'

We ready. As is the norm on these features, we begin with what is likely Bunji Garlin's most recognizable tune to date, the now, ridiculously, over a dozen years old, 'Differentology'. This tune was all-conquering in its day and though I don't even think that I would rank it amongst the top five or so (maybe I would) of songs that you'll find on this list, it has a certain BRUTALLY infectious vibe to it which makes the attraction it garnered not the biggest surprise in the world. Produced by Keron Thompson, the song would also head what is, arguably [PROBABLY], Garlin's most well known album to date named after it and has aged particularly well, still being one of the genre's most popular records altogether.

2. 'Snake Oil'

In charge. Good luck to you getting the first entrant on this list, 'Snake Oil', out of your head anytime soon.... I've been working, unsuccessfully, for the better part of a couple of decades or so. 'Snake Oil' was seriously infectious and it's gone on to hold on to this delightful position within his catalogue. For those who've known it for any kind of time, it is revered not as this ALL TIME CLASSIC, but a sharpened and COOL song which, because of its kind of pulsing pace, is one of a kind from Garlin and an EXQUISITELY put together track.

3. 'Brave'

Fraid nuthin. Sometimes YOU must be the spark. That was the idea behind the explosive fifteen year old smash that was 'Brave'. It had a [VERY] specific core to Carnival and Soca but this one has big long legs. You could apply the sentiment behind 'Brave' to almost anything. It was about having courage and not being afraid to take a risk and not being afraid of failure and it was wrapped up in this high-powered package which remains some of Garlin's most impactful work ever in my opinion.

4. 'The Islands' featuring Patrice Roberts

EVERYDAY! I wish you all the luck in the world shaking this mess out of your head anytime soon (it's not going to happen for you. It just isn't). Prior to creating absolute carnage alongside Machel Montano and family (the single best tune of which was 'Rolling' and I dare you to disagree with me!) and striking gold with the CLASSIC 'Sugar Boy', Patrice Roberts would begin her push to prominence with this CANDY-like Mastamind produced tune alongside her Soca Daimyo cousin, Bunji Garlin (never used that word before, it was time to pull it out). 

5. 'Fiery'

BURNING, BURNING, BURNING! Back in 2008, Garlin would have a lot of fans 'in their feels ' (do people still say that?), when he dropped his big tune of the season, 'Fiery', in honour of fallen Calypsonian, Maestro. I have always had something of a "love hate" relationship with this tune because, although it was sensational (and it still is) what tends to stand out most vividly about it is Garlin would use it to BLATANTLY STEAL Soca Monarch from his own wife who would deliver one of the greatest performances anyone has ever laid eyes on with 'Get On', and still be denied by 'Fiery'! Yes. It still pisses me off on some level, but that doesn't take away from what 'Fiery' was. It was genius and, HOPEFULLY, somewhere Maestro was listening and he was appreciative.

6. 'No Super Hero'

High demand.

"Well I'm no super hero

I'm not demon

Di gyal dem have wi in high demand

Mi doh know if you agree man

Mi gyal named Fay-Ann Lyons 

So I am she man"

It was the ultra fun Soca Strings Riddim sitting behind Garlin's lyrically enthused 'No Super Hero' which headed his album by the name of "Global" from back in 2007. The tune, like several you'll find here, is a PRIME example of some supremely high level wordplay in the midst of absolute chaos. 'No Super Hero' was underrated genius and it was the type of song that you only come across in Soca. 

7. 'Yuh Mad Or Wah'

LAVA! Though, to be perfectly honest, its quality probably doesn't earn it its spot on its list, the PRESENCE and IMPACT of 'Yuh Mad Or Wah' DEFINITELY puts it on such a collection coming from me. The tune was a shot at the curator of lava ground, I Wayne, who had once referred to Soca as "devil music". To the surprise of absolutely no one, Bunji Garlin stood up for the genre and did it in a way which was both kind of brutal also very sensible. He spoke about all of the people that, FRANKLY, Soca music feeds. How it puts money into the pockets of people who might otherwise just not have it or not have it in a peaceful way and the large role it plays in Trinidad. Like I said, 'Yuh Mad Or Wah', from a strictly musical point of view, is no where near Garlin at his best, but when Soca required someone to stand up for it against a... very odd foe, it was Garlin who took up the mantle and dealt with it, as you'd expect him to.

8. 'Carnival Tabanca'

I have it. A rather hypnotic backing, courtesy of Sheriff, played a perfect dancemate with Garlin on 'Carnival Tabanca', which would prove to be a sizable hit for all involved. All the trucks have been packed up and the road has been cleared. Carnival is gone. What you're left with is a feeling similar to losing a good friend and although this friend will be back next year (whether or not you're still here remains to be seen), you still miss them. 'Carnival Tabanca', in a delightfully CHILLED way, perfectly covered that sentiment and, perhaps, has aged as well as any other tune you will find here. 

9. 'Famalay' featuring Machel Montano & Skinny Fabulous

Jumping up together. Along with being a legit hit which would not only net Bunji Garlin his first Road March victory ever AND see Skinny Fabulous secure a very rare Road March for a non Trini artist (and he'd only previously won once in his homeland, St. Vincent), 'Famalay' was still, in a very enthused genre such as Power Soca music, a MIGHTY kick in the ass. On top of that, it had substance of unity to go along with its jump and wave and has already gone down as some of the best work either three have ever done in all of their storied careers.

10. 'Follow Me'

Know me when you see me! 'Follow Me' is in the discussion for being my single favourite song by Garlin ever. It's one of the best songs that he's ever made and, though it isn't respected on that level and never has been, from the very first time I laid ears on this thing, I was hooked! There is something powerfully and aggressively GRIMEY about 'Follow Me'. It is Power Soca of a most intoxicating blend and one of THE greatest of its kind that I have ever heard. 

11. 'Carnival Contract'

Hard like nail. 

"ME AND CARNIVAL HAVE A CONTRACT

EVERY YEAR WE GO HARD LIKE NAIL

I ON THE ROAD WITH TRUCK BIGGA THAN HUMP-BACK WHALE"

The ridiculous KNOCK of the Banx & Ranx produced riddim named after it was a MASSIVE part of my interest in 'Carnival Contract', but still only half. Atop it, Bunji Garlin GLOWED (why isn't "glew" a word???) with an idea that he was CONTRACTUALLY OBLIGATED to Carnival, each and every year. WHAT! In 2024, Garlin would fulfill that obligation via one of the most hard to shake songs that he has ever done. 'Carnival Contract' was simply somewhere else. It was absolutely dazzling, it still is and, although Michael Teja would have other ideas imprinted on his DNA (biggup Michael Teja), for me 'Carnival Contract' was the runaway winner for the 2024 season.

12. 'King's Arrival'

I am viking. Quite possibly THE SINGLE COOLEST song that Bunji Garlin has ever done, the woefully under-remembered 'King's Arrival' from J-Vibe was both a lyrical and musical masterpiece on a very THICK vibe. It pillaged and plundered and looted its way into my favourites and did so in a way that, though I wholly doubt you'd see it present on many other lists like such, 'King's Arrival' was one of the very first tunes I had in mind when I began putting this thing together. It was spotless.

13. 'Hard Fete'

On a hill. I have been listening to this song, pretty much nonstop, for over two years. That is the biggest compliment that I can possibly pay to 'Hard Fete' which would net Garlin his first (and to date, only) solo Road March title in 2023. Though the competition is fierce, I would probably call it my absolute favourite tune that he has done, ever. 'Hard Fete' is an intoxicant.  It is a drug. It is an addictive substance and all that good stuff. With a HARSHNESS and.... downright ABUSIVE vibe to it, 'Hard Fete' does not care about your feelings. You can hate it. You can love it. That is unimportant to 'Hard Fete'. It will treat you rudely and you will not do a damn thing about it. 

14. 'Clear De Road'

IT BLOCKED. Finally, we end things on the road, drenched in sweat and rain, courtesy of the chaotic 'Clear De Road'. I had this tune and another ('Hold A Burn') in my mind and, intentionally, wanted to force myself to choose between the two. I landed on 'Clear De Road' because there is something entirely UNCOMFORTABLE about it and I mean that in a good way. You cannot sit still while listening to this tune. It is, fittingly, disturbing and aggravating and it would have made for a PERFECT Road March tune had Mrs. Garlin not met his father-in-law that same season.