UNDERSTOOD!: A review of Upliftment by Derrick Sound

Convinced. Back in da day such an occurrence was all the more frequent. You'd have a very Reggae-centric situation where you'd have twenty artists jump on one riddim and some of them would get lost in the proverbial cracks IMMEDIATELY and then you'd do some sifting of your own, whether you realized it or not. My delightfully nostalgic point of reference takes me through names such as Hollow Point, Jagwa, Zumjay, Calico, Desperado.... Alley Cat... Icecold [!] and a number of others who'd have songs on tracks which would go consistently overlooked. They weren't amongst the biggest names in the genre and, barring the occasional hit, you might not pay much attention to their work. Still, they were popular to a certain degree (and most of them are probably still at it) and, obviously, favourited by producers of a certain era of Dancehall. There was also some serious talents in there as well. Desperado had a very interesting LOUD quality to him and, at his best, Hollow Point was literally off the charts with what he was capable of (and he still is). So, who knows what we may've missed out on (some of those people should have been much bigger stars than they were... but that's a different discussion that I'm sure I'll have one day) through not paying as much attention as we probably should have been. The point here is that, regardless of how good something (or someone) may be, even if you are attentive and are proactive to go out outside of your usual patterns, you can't keep up with EVERYONE. It may take some impetus to help you get started in giving someone a chance and for everyone that I named, I could name others who you did give a shot. The vouching of someone by someone who you respect can go a long way. Baby Cham, for example, had the backing of an actual GENIUS in Dave Kelly driving his career and was able to develop on some of the finest production the genre has ever seen. Vybz Kartel had a similar run across Don Corleon's riddims and maybe Spragga Benz lifting up Assassin gave him a solid basis to start out on (and I bring up those instances, specifically, to stick with the times that I had previously started into with my initial examples). Were those not the cases, who know! Maybe we'd be looking at Baby Cham or Sasco as talented underachievers (I don't think so, but it's possible). There are any number of things that can get you to open that door for the first time and MAYBE never closing it.

Maybe even an album would do it.... but then again, maybe not (it might take two of them). Today we're going to take a look at someone who just, all of a sudden, one day seemed to pop up and whose music I've written about, fairly consistently, without truly digging into what they were actually up to. Perhaps (no way), we may even get into addressing WHO THE HELL IS DERRICK SOUND? Again, I can search these pages and find myself writing about them, directly, as far back as a couple of years ago now in regards to working with longtime favourite of ours, Cali P. HOWEVER, a bit of research reveals that the players at work behind Derrick Sound, Mr. Nico & Inspecta Derrick are the same ones behind the ULTRA familiar Evidence Music from out of Geneva, Switzerland, whose releases I've been writing about for about a dozen years (dating all the way back to the Dancing Machine Riddim) and that shine you see coming from this page is the lightbulb going off over my head (... and don't even get me started on Little Lion.... who knew!).

2024

"THIS CHANGES EVERYTHING!". "MIND BLOWN!". Evidence Music has pretty much worked with everyone. Along with a few of the wonderful people we're going to talk about shortly, they've also done work with the likes of the incomparable Queen Omega, Tiwony, Micah Shemaiah, Addis Pablo, Skarra Mucci and a mightily impressive line of others. They've had their hands in many pots over the years and continue to these days. Why I'd never known the specifics is probably because I was content to enjoy the music of Derrick Sound in the fairly frequent times that it popped up on my radars and I had yet to actually review one of their projects. This was due to POOR planning as, in early 2024, they gave me a RIPE opportunity to do so via what stood as one of the year's strongest compilations by its end, The Fight Again Riddim. As I said, I'm going reserve the heaviest of my ammo for this new project but the Fight Again was CRUCIAL and carried contributions from Cali P, Shemaiah, Tiwony, LMK [BOOM!], even Hollow Point (remember him??) alongside Chico and it was just a GORGEOUS composition with a very light sound but strong core to it. The Fight Again got up everyday and did its crunches! Derrick Sound made it nice and easy for me and I should have reviewed the Fight Again Riddim album (and its beautiful cover) but I didn't... because I'm old as hell and tired but they're giving me another shot! 2025 now brings us another compilation which I cannot keep my eyes off of, "Upliftment". When I saw the tracklist for this one and saw what else they had forthcoming (more on that in a second), Evidence suddenly got my WHOLE, ENTIRE attention for the last part of the year. ON PAPER, we had what amounted to a potential compilation of the year contender and just a DAMN RIDICULOUS collection of vocal talent aboard "Upliftment". The compilation appears to be built with tracks from, primarily, 2025, although I did find one or two which date back to last year or year before (which is just fine) and it stands a powerful display and catcher-upper to exactly what Derrick Sound has been up to. Let's take a look! 

I have to say something about that cover (I am contractually obligated to do so). When I first saw it, I thought it VERY cool in a lovely, nostalgic, old school kinda way and I was delighted to see in the press notes that it read: 

"With Upliftment, Derrick Sound delivers a true homage to the reggae of the late 1990s and early 2000s, a pivotal period that also marked their beginnings as DJs. The project recreates the energy and atmosphere of those years, drawing inspiration from legendary producers such as Fatis Burrell and Bobby Digital"

They absolutely NAILED it with that cover and its early 90's feel. It goes on to talk about paying homage to the golden age of Reggae music and, when you get into it, they're doing SWEET on the musical end as well. Perhaps none are sweeter than the opener and title track which brings together a favourite of Evidence's, Bugle, and the brilliant aforementioned Agent Sasco. 

"Nuttin no negative, so wi no deal wid minus

Wi blessed and multiply, so they cannot divide us

Oh yes, wi give thanks to di blessings dem weh Jah provide us

Whoi! Dem cannot stop wi cause a Jah ah guide us

AND YOU CAAN DRAIN WI ENERGY, GO DRAIN YUH SINUS

You no si - badmind ah get dem, yes, dem catch di virus

Di crab dem inna di barrell, dem no waan you climb up

MI POSITIVE OF DI FACT NEGATIVITY TIME UP"

I can recall when "Assassin" was coming up and it was him and Vybz Kartel being compared to one another, they were 'classmates', in terms of time. Kartel was a martian. He had lyrics from outer space and he had so much HYPE based on his skill that it was reminiscent of very few people the Dancehall had ever seen prior to him (thinking of someone like Papa San) (Papa San can probably still just rhyme ALL DAY LONG if he wanted to). Assassin was different. He was far more straight-forward and there was more of a... development to him. He didn't start from so far along but what this man has become lyrically is ABSOLUTELY STUNNING and he puts nary a damn syllable out of place on 'Upliftment'; destroying his initial verse, only to return later and say some shit like:

"Yeah di massive, ah si positive

POSITIVE INNA WI NOUNS, WI VERBS AND WI ADJECTIVES

REAL & GENUINE SO NO PRESERVATIVES, NO ADDITIVES"

HUH?! WHAT?! Not to overlook Bugle's contributions to the finest tune you'll hear on the album named after it but Agent Sasco absolutely burns the place to ash in the name of positive with a simply PERFECT performance. Given the most unenviable task of following the opener is someone who is up for and capable of the task, as the highly skilled Lutan Fyah makes the first of his two HUGE appearances on "Upliftment" with 'Blessings'. If you want to  hear a song that does absolutely NOTHING in the way of breaking new ground and is pure and simple, straightforward Roots music but is EXCITING and thrilling to listen to, hear 'Blessings'! The Fyah is joyous for what he's received in his life and for the opportunity he has to praise His Majesty and I won't write them out because I just did it on the previous song but he drops some BEAUTIFUL lyrical gems here, as is his norm... like this one.

"Late at night, before I rest, Jah is my company 

SELASSIE I. NOT PERHAPS OR PROBABLY!"

BOOM! That being said, perhaps you could make the case that Lutan Fyah goes even harder on his second track on the album, 'Bla Bla Bla', his cut of the previoulsy mentioned Fight Again Riddim. It was one of the best songs on that riddim and it's one of the best songs on "Upliftment" as well. Lutan Fyah is tired of hearing the bullshit and 'the company line' over and over again and he's found a SWEET way of making that known. As one of two artists to appear here twice, Lutan makes the most of both opportunities with powerful displays of his considerable skills. Speaking of "considerable skills", if everyone on this album were at their absolute best, I think the CONSIDERABLEST is the star of 'Jah Is Always Near', Sizzla Kalonji. He hasn't been in a fine form over the past few years, however, which makes it all the more interesting and noteworthy when I do hear something good from him and his offering here, though not on even the same planet as his best, is decent. The song is done in that kind of odd wailing that Sizzla used to get dual criticism and praise for. I've never felt much for it either way but it works on this song which is, obviously, a praise. There're other points where he changes things up (like a really nice one at around 2:20 in) and moments like that helped this song grow on me. Also of note is the beautiful riddim underpinning 'Jah Is Always Near', which is allowed to shine on its own at times as well, making for a very well done complete musical display (and I just finished writing that at the exact same time the tune ends!). Have some more! Chezidek is also here with a tune I know quite well from earlier this year, the GORGEOUS 'Jah Is In Charge', which finds the singer relying on the Highest strength in existence ["All mi troubles and mi fears, Jah Jah cancel. Obstacles inna mi way ah get  trampled"] when he needs a helping hand. There is something SO appealing about the way 'Jah Is In Charge' is sung. Chezidek has an unusal voice and that's often the focus when you listen to him but have you ever notice how VERSATILE his delivery can be?? He can pull it back slightly or tone it down more and when he does you get GEMS like this one, delightfully registering somewhere between singing and chanting - and excellent on both fronts. A huge tune. Let's have a quick conversation about a guy named Turbulence. Many years ago, Turbulence seemed to make shift where he found joy and some success making love songs and since then (literally, like the last TWENTY years!) he's been far too focused on them.... and they aren't very good for the most part, in my opinion; and it's kinda pissed me off to be honest. Turbulence's combination of legit TOP FLIGHT singing voice with several different styles of impressive chanting can make for outstanding Roots (and even Dancehall, at times) and who knows what we've missed out on over the years with him pursuing his obsession with love songs (check a recent piece of Roots, from a few weeks ago, called 'Who Are We'. It's outstanding). HOWEVER, given the fact that I've been critical (heavily sometimes) of him for making love songs, then I should be the first one to give him credit when the planets align just perfectly and..... Turbulence makes a love song that is actually good!

'Knock Knock' caught me with my hands down, chin in the air and off-balance. I'm used to these things. I've been here probably hundreds of times at his point (and will probably be there a hundred more) but it rarely (if ever) sounds like this. It doesn't SOUND like it at all but in terms of how its written, 'Knock Knock' is somewhat similar to Junior Kelly's classic 'Love So Nice' where Turbulence is addressing an ungrateful former flame. The chorus is lovely and infectious and will glue itself to some part of your memory, it's beautifully sung and it has a point to it. You can't ask for more than that and I have no problem at all calling it amongst the greatest of its kind that Turbulence has EVER done. 

coming soon

Okay and now let's talk about another guy, named Eesah, who is the other artist featured on "Upliftment", along with Lutan Fyah, to have more than one tune.... and he also has something else going on with Evidence Music in a few weeks. His first is the poignant social commentary 'Change We Want', going exactly where you think it is. Take a deep listen to 'Change We Want' and you'll notice how well it goes as it reaches a point, at its second verse, where it levels up. It becomes even stronger (after a start that isn't bad either) and blooms into something kind of explosive at times.

"You haffi give up the good fi the great

A wise man will change his mind

And a fool will never si di sign

Look like seh di government blind

So wi, seek knowledge and break dem chains

Until yeah, wi start si change

Eternally fyah gwan blaze

Try fi open yuh ears

Let's si Reggae music free di mind of di people 

Evidence nah go deliver dem evil

Have a voice so wi speak to di people

Step forward: In the ground

Or take ten steps back, into safety

Every four year wid di same plan and trick politician dem come to play wi"

Grrrr. Eesah's second tune is also the album's second and final combination. 'Badda We Badda' features UK stalwart, Brother Culture in a very open and just COOL style. With that being said, however, the main attraction here is the sickening chorus. It is "sickening" in the same way that eating too much candy is sickening... meaning it will make you feel bad for enjoying it so damn much. For example: I was writing this review and had 'Badda We Badda' on repeat. I took a break to wash some dishes and what was going on in my head the entire time I was doing the dishes? Yep! The chorus for this song. 'Badda We Badda' is catchy as hell and it will plant a flag in your brain that you will not be able to remove, no matter how far you dig in there. In other news, Eesah and Evidence Music have other works in the pipeline as his sophomore album, "Success" is set to release in just a few weeks from writing this review. Both 'Badda We /Badda' and 'Change We Want' are included on an the album that MIGHT prove to be the final big Reggae album of 2025.

The remaining list of names present on "Upliftment" represent a tremendous run of names and top talents. The album's oldest tune (I THINK), comes from the late Peetah Morgan as his cut of the Indian Casino Riddim, 'Can't Break Our Souls' is here. We lost Morgan in early 2024 to a rare disease but he, along with the rest of the members of the famed Morgan Heritage, left a powerful legacy. 'Can't Break Our Souls' is a beautiful track from 2014 where Peetah speaks to the indomitability of the children of His Majesty. This song, probably even if you don't care much for it, is going to make you smile and feel good! It brought a smile to my face and it also has points where it sounds like Peetah Morgan is smiling while he's singing (if that makes any sense. Sometimes you can actually hear a smile) which is always a fascinating sound on a tune. Biggup Peetah Morgan and biggup Derrick Sound for including him here. Given the description from the press materials that I quoted for "Upliftment", I'm going to presume that Derrick Sound got ALL they wanted and more from the legendary Luciano when he blessed them (and the rest of us too) with 'Old School Rule'. The Messenjah pays homage to those who came before on the tune and teaches all to follow course in not only honouring those individuals but the ideas and methodology of the times as well. This version of the tune is billed as the 'Extended Mix' which comes with an ending where the clean riddim is featured and allowed to do its thing. As I've said in the past, I think this can be a very nice touch to add on and it was a really good notion had in this instance because this riddim, for as simple as it most certainly is, is also a DIAMOND and we get it for nearly a minute and a half completely sans vocals. CAPLETON (I told you the lineup on this album was crazy) is all fed up and also tired of the bullshit on his 'Tired Of The Drama'. Supposedly, Capleton was set to launch a new album in 2025 (would have been his first in a century or two), "Heights Of Fire". Coincidentally, that album is/was also an Evidence Music release so hopefully we get that in the new year but until then, the King of Fire is building... and he's building with very strong material such as the common sense saturated 'Tired Of The Drama'. Jah Mason EASILY has one of the strongest offerings on "Upliftment" with his scathing 'Rumours Of War'.

"Nuclear weapons are deployed

And dem ready fi destroy

Wid dem weapons of destruction

Get yuhself employed, whether girl or boy

Dem ready fi go start up di action

Who will survive?

Tell dem a di fittest of di fittest

Set up yuh grounds, mek sure that you legit

Sorry for those who just can't resist

LIVING INNA ZONE WHERE DEM DON'T HAVE NO LIMIT

Mi nah know how it start, so how it ahgo finish?

Should be making that paper

Stocking up yuh spinach

If a war dem come wid, a no my image

NO, DEM CAAN GET MI TIMID!"

The Mason absolute scorches on this anti-violence set. Hopefully it does not go overlooked on this album because 'Rumours Of War', is also one of his best tunes in recent times in my opinion. "Upliftment" also ends on a very high not in the form of Fantan Mojah's 'Double Standard'. Mojah poses the question, "Why is there a place for you but not for me?" to the powers that be in the midst of serving up a lyrically impressive social commentary and SIZABLE ending to this album. I also have to mention the riddim on 'Double Standard'. It is SO GOOD! The version on "Upliftment" is the 'Horns Cut' and you hear the horn come in initially right before the three minute mark and just generally enhance what was already a fantastic piece of music.

The only critique I have of "Upliftment" is that I wish Derrick Sound would have gotten a tune from Queen Omega... or any other female.

Overall, EXCELLENT. As i said, when I first took a look at just who was involved with "Upliftment" my expectations of what I was about to hear went square through the proverbial roof. In an era long gone, even if I were to see such a lineup on some random riddim it would have been very impressive (at such a time where it happened at least semi-regularly) and i is even more the case in a format such as this one. Also, a big, full credit goes to the producers and players of instrument who work their magic so finely. When you have a more typical compilation such as this one (meaning one without the same riddim on every song), you have an opportunity (when you do it well) to really impress musical, particularly when put in the hand of such gifted vocalists. "Upliftment" is FUN Roots music that sacrifices nothing in the way of hitting its marks, ideologically, in the name of boosting the entertainment value. So, while it may've taken me an embarrassingly long ass time to make the connections of exactly who Derrick Sound was, with what I hear on "Upliftment", there isn't a chance that I'm going to forget anytime soon. THE BEST REGGAE COMPILATION OF 2025. 

Rated: 4.75/5

Evidence Music

2025

New From Anthony B

Anthony B continues his fine run of form (from... literally like three or four years now) with the GORGEOUS 'Rude Bwoy'. Maybe he finds something bigger to slap this on in the new year. Until then, ENJOY! 

"Unity a strength, so wi need equality

Stop fight each other, that a dutty mentality"

Dread and TERRIBLE: A review of Exile by Chronixx

Wandering. Though I may have one in mind, I don't think that I have ever reviewed an album from someone who was almost entirely devoid of talent. Maybe a particular release isn't something that I enjoy but there is something within all of them (almost beyond a matter of opinion, you could argue) that puts them on a level that is worthy of our appreciation. This is true even amongst just songs. You take a 'one-hit wonder' who may've climbed the mountain once and then, seemingly, lost their boots (and their ability to walk altogether in some cases) and even that individual has demonstrated themselves to be of a certain class, despite their inability to replicate it (or, maybe, our inability to see it again). This is important at its most basic of levels because it begins to build several other things; with some of the most important being a measure of prominence -- they have to pay the bills after all -- and a legacy. Who knows where your music can end up? You can inspire a literally endless line of followers who will someday grow up and attempt to do what you did having been inspired by your music along the way (I am WAITING for the day when I read some random interview with an artist who said that they grew up a massive fan of someone like Reemah... because you know they're coming). Another interesting thing that is birthed by the demonstration of talent is EXPECTATION and while this won't be the main topic of this review (I still haven't figured out what this thing is going to be about since this album is SO DAMN difficult for me to write about for some reason) (actually, the fact that is so difficult to write is probably going to be the theme for this one, in a sorta/kinda way), for those who have, even further, managed to distinguish themselves from an already gifted pack with their abilities, expectations can be downright ridiculous at times. Personally, I have a very strong and reliable group of individuals from whom I expect greatness because they've shown themselves capable of producing such quality with a certain amount of consistency (not going to name any names, because I always do.... but you know I want to). Of course I'm always open to add more names to that lot and I'm just as open to removing names when it's been shown that they're no longer as dependable; though I looooooooong for the days when I can re-add them to that batch (biggup Siz... I said I wouldn't name any names). With great ability comes great responsibilities. 

On top of that, the argument could well be made that we look towards the bona fide stars of any given musical era to do special things. That responsibility isn't solely theirs and theirs alone (if you have a time that doesn't produce its fair share of 'one hit wonders', you have a problem... whether you want to admit or not, they're kind of a healthy sign) but it is heightened for them and you're sooner to hear whispers of "fell off" when someone achieves a level of stardom and isn't necessarily the quickest to follow up on it or, if they dare to demonstrate that they are human beings, and take some time off. These days, in my opinion at least, Reggae music is not only pretty healthy on multiple levels but we're also fortunate to have a line of extremely gifted and GENUINE stars in the genre. 

2014

Let's take, for example... oh, I don't know, let's just take a look at someone like Chronixx for a minute. I can remember some of the very early press concerning Chronixx; literally, labelling him as "the next Bob Marley" (which isn't as horrible as it seems because that same ridiculous distinction has probably been given to a few dozen or so individuals at this point) (wouldn't be surprised if there's even been one or two females in there). This goes to show a couple of things, the first being music of a very high quality and a definite amount of popularity and within some of his earlier hits, people were hailing an actual generational shift, partially powered by Chronixx. Together with a very talented group of his peers such as the brilliant Jah9, lyrics torch Kabaka Pyramid, Protoje, Koffee and a handful of others, Chronixx would help to usher in a new age of Roots Reggae music, one which was going back to and gluing itself to more traditional Roots values but in a very fresh, neo style. Personally, while I haven't spent much time talking about Chronixx over the years (largely due to our hiatus) that man had some early songs in him, such as 'Odd Ras', which were just genius. 'Odd Ras', in particular, where he presented himself as being proudly 'strange' for adhering to very basic principles (like wearing a belt) in a criticism of the state of the times was off the charts level brain work in my opinion. Some of the work from that era (oddly, excluding 'Odd Ras') would compile his GORGEOUS "Dread & Terrible" EP (not an album) from 2014. Chronixx' style, at his best, is one which is both lyrically deep and challenging and also it just SOUNDS GOOD which, I think, has a great deal to do with just how widely he is appreciated. I think Roots music is often looked at as being kind of rigid and stuck in its ways, that's not what Chronixx' music is. As I've said, I'm going to refrain from naming certain individuals for the sake of comparison (because that's what I always do) but Chronixx was looked upon as taking over the lead from several names who mention around here quite frequently. Following "Dread & Terrible" was 2017's Grammy nominated "Chronology", his legitmate debut album, and that was his last album to date. I can recall, as recently as 2024, reading an article where people were critical of the Spanish Town native for inactivity to which he, essentially, responded that creativity was not a thing to be rushed and that his next musical move would be ready when it was ready! He had canceled another album back in 2022 or so and was enjoying being a new father with, seemingly, nothing new in the works. All of that changes in the latter portions of 2025 with the release of his loooooooooooooong anticipated and expected sophomore set, 'Exile". 2025 has been pretty good to us as far as Reggae albums go and wouldn't a BIG new album from Chronixx only go to make it better???

Yeah it would... unfortunately that isn't what we have here. Well, it is "NEW" but there is nothing AT ALL "big" about "Exile". Typically, when I write a review of an album that is somewhat popular, I try to avoid taking in too much in the way of the opinions of others, so I won't just follow along (and, actually, it has been a reason why I've avoided writing some reviews for really popular albums in the past). I will take a brief scan to see what the general reaction is but I won't really focus on details. In this case, however, because I WAS SO DAMN CURIOUS if I were the only one hearing what i thought I was, I wanted to see what others were thinking and I WAS ABSOLUTELY FUCKING SHOCKED! I've seen "album of the year" types of praise heaped onto it and... I don't get it. I alluded to Chronixx taking a break and saying, effectively, that he was allowing the creative process to do occur organically and I get into this album and what I hear sounds like someone just decided to make an album. It was time to make one (the album's official release date is Chronixx' thirty-third birthday) and it just sounds rushed and.... bad. "Exile" is a bad album in my opinion. YOU almost certainly disagree with me, and that's fine, but I'm going to attempt to tell you why I feel that way, while also attempting (unsuccessfully. I'm not going to be able to do that. Nope) to ignore the fact that someone so ridiculously gifted should be doing better than this, in general. 

The best thing I can possibly say about 'Exile" is that it's music, it's instrumentation is solid for the most part. It never quite rises to the point of  being what I would call exceptional but a credit does go to producer Inflo for what he does for the backing of the album (as well as to Chronixx, himself, who plays a number of instruments here). An example of that would be the very first and title track on "Exile", which, rather easily, ranks amongst its very best, 'Exile'. I would imagine Chronixx hearing the riddim for the song and seriously enjoying what he heard to the point where he didn't really want to.... hinder it much and he... doesn't. Far and away the star of the show for the title track is the music with Chronixx' bits being more skeletal and/or an aide for the song. And I don't want to be too hard on it because it is, inherently, the type of song that I would give credit for, were it on better album. There's nothing wrong with it at all. Next up is something that definitely caught my attention with its more old school delivery and sound, 'Market'. It combines a Dancehall style of delivery from yesteryear (think Supercat) with a... an almost kind of Jazzy type of feel to the vibe. This song goes in so many different directions that it would be difficult to believe that it isn't a vibe. Clearly it's something that came arose organically, which is fine, but it's unexceptional BUT still one of the undeniable highlights from "Exile" (and it's probably the type of tune that'll work better in a live setting). 'Sweet Argument', on the other hand, is most certainly not a highlight from "Exile" or anywhere else you might bump into it in the future. The kind of golden aged Lover's Rock piece (it's almost 'doo-woppish', which isn't necessarily a bad thing) never really goes anywhere or makes an impact for me and, while Chronixx isn't Jah Cure (Jah Cure probably wishes he wasn't Jah Cure these days) in terms of voice (and no one is), he has much better vocals than what you'll hear here (at his best, Chronixx sounds a little like Jah Nyne (Jah NYNE, not Jah9)). Go and listen to... virtually any other song (from 'Skankin Sweet' to a WICKED tune by the name of 'Champion') and you'll get a finer singing voice from him. 'Survivor' serves up another fine piece of instrumentation, via the 1970's. This song has a zenith -- right near the middle -- where the chorus seems to click and it gets very lively... but then the second half gets crazy, perhaps attempting to make up for its kind of odd nascence. What results, ultimately, is pretty uneven and.... then it just drops you off after nearly five and half minutes. 'Family First' is very pleasant, it's nice to listen to and probably one of the best songs on this album but it is entirely average. Again, it is the type of song that would... You know what? I was about to say that it would have more of a place on a better album, but I don't even think that's the case. If you stuck it on the back of "Dread & Terrible", it wouldn't be a standout and we probably wouldn't pay much attention to it. I said a similar thing in regards to the title track but I stand by it in that case because on a better album, it would be that nice changeup tune. That is not the case with 'Family First'. 

Let's talk about 'Genesis'. If you look down the tracklist of "Exile" (at least one with times on it), 'Genesis' will definitely stick out due to its length - it's nine and a half minutes long. I heard this song and something very strange crossed my mind (and it actually got me to thinking about some of the other selections on the album): I thought about Ninjaman. Yup. Ninjaman. Why on earth did I think of Ninjaman when listening to 'Genesis'? I'll tell you why. Ninjaman has a talent which is virtually useless when recorded. You make random riddim and put Ninjaman on it, you'll have to search high and low for lesser talents to ensure that his tune won't be the absolute WORST on the riddim. HOWEVER, were you to take the Ninja's trash tune and put it in the scope of a live performance, then it would absolutely glow. He'd change it in some clever way and, suddenly, the worst song would become the far and away champion. That's what I thought about 'Genesis'. It does very little for me in this capacity but I could see this song destroying in front of an audience (more on that in a minute but you can see where this is going). Despite its length, you pretty much don't hear a thing from Chronixx after the third minute or so and 'Genesis' becomes this musical experience which I would suggest, again, is probably best appreciated in a performance. The musicianship, the backing singer/s and the VIBE are all top notch and, although it doesn't hit me in such a way, I could see people being lost in this song given the right set of circumstances. And I listen to it and I... see lights and people socializing and such things, it doesn't translate the best in this format though. There's the woefully unfortunately timely 'Hurricane' which is a chant and it's harmless. I've actually grown a bit in respect for this one since first hearing it but I still look at it as fairly average though, I will keep working on it. There's a spiraling sound found on 'I Know What You Feelin' which confuses my brain into ENDLESSLY thinking that Bob's 'Waiting In Vain' is about to jump in (I'm sure someone, somewhere has already made that mix happen). This song is almost invisible. It just isn't there. There is a brief verse but maybe 90% of the lyrics of it are:

"I know what you feelin"

And that's it. The music is on the minimal side but just fine, the vocals aren't great but they aren't terrible either and that's about it. I'll push to 'Keep On Rising', briefly, because it's somewhat similar to 'I Know What You Feelin' (although slightly better, in my opinion). It just doesn't make an impact on me at all. It sounds fine, not exceptional (sound familiar?), and it's written, largely, by piecing together banalities and the song's title. 

"Keep on rising to the top now

Keep on rising to the top 

Keep on rising to the top now

Keep on rising to the top 

Keep on rising to the top now

Keep on rising to the top

There's a burning fire in your heart, yeah

Fight with everything you've got

They know they're afraid of us

There's levels to greatness

When you feel you're in darkness

You just remember Jah light is shining"

That's why I say 'Exile" feels rushed and hurried along and almost feels like Chronixx is going through the motions at times because this man is INFINITELY better than what you hear on this song and... pretty much ALL of this record. The very straightforward riddim on the back of 'Saviour' was candy to my ears when I heard it, initially and while it still is to some degree, it did become concerning to me when it dawned on me that, about a minute into the three and a half minute selection, it pretty much hadn't moved at all. THANKFULLY, 'Saviour' does pick up and though I don't love it (more on that in a second), I might go as far as to call it my favourite song on the whole of 'Exile'. I also don't have much of a problem with 'Don't Be Afraid', which does come in with a nice old school Roots type of a vibes to it (there's some old riddim this one well reminds me of but I cannot think of the name of it and I'm tired of looking for it) and does blossom some. It does end up being a strong display of music (the end of it is, literally, Dub) but not a GREAT song in my opinion. There's also 'I And I' which isn't quite as strong as 'Don't Be Afraid' but does have a pleasant vibes to it. These are all ('Saviour', 'Don't Be Afraid' & 'I And I') tunes that you would have just expected more from out of Chronixx. They're fine. I don't dislike either of them but they're just kind of there. There's nothing remarkable about them at all and when I've exhausted this album I probably won't remember any of them (and remember, I just called 'Saviour' THE best song on this album). 

The album's final quintet of offerings do not serve up a single shout in the way of anything of significance in my opinion and it's really too bad because you do hear nice things that either never quite fully flesh out OR, in one case, they stick so closely to something else you hear within the group that it doesn't distinguish itself at all. FOR EXAMPLE, first you have a remastered version of a tune from a few years ago or so, 'Never Give Up' (biggup Jah Mason), which is chased by the lover's-ish 'Pain in Your Heart'. The latter is in a tough spot because it follows a song that is not only better than it is but is also somewhat similar in terms of sound. 'Pain In Your Heart' also isn't sung very well and it's just... kind of flat. My favourite aspect of the song  is its backing singing which isn't anything special but is very timely in for the vibes of the song. For its part, 'Never Give Up' is EASILY the best of the final five and one of the best of the entire release but it's average. It's an OKAY song and though the melody was stuck somewhere in the back of my head and I thought I recognized a piece of it, I wasn't totally sure. Not quite reaching the nine minute mark like the aforementioned 'Genesis', the acoustic 'Resilient' does check in at a very hefty seven minutes and twenty seconds with there being, essentially, two halfs of the song. I actually prefer the first which is just Chronixx alone (and I'll make the point that I do not like this song and the vocals are not great but you can take this song as an example of Chronixx' vocals being at least slightly better than on some of the other offerings on "Exile"). The second half of 'Resilient' is damn near BRUTAL! There is a stretch of about FORTY-FIVE seconds where NOTHING happens. It's the exact same chant (from ~4:50-5:35) over and over again. Eventually it develops into chaos (which isn't a bad thing and is, in fact, MUCH better than what comes ahead of it) but 'Resilient', shockingly, I know, just isn't for me. 'Scheming', by comparison (and only by comparison), is considerably better than 'Resilient' but it is pedestrian in every single way. Also quite healthy at six and a quarter minutes, 'Scheming' is ordinary and would be fine were it shorter by three minutes or so but listening to it THAT much definitely wears on you after awhile. I hesitate to call its latter portions 'ANNOYING' but it is headed in that direction looooooooong before it actually ends with Chronixx, himself, being constant but never really adding anything to the song after awhile. FINALLY, 'Love Is On The Mountain' is about as fine of a ending as I could have hoped for. The song does have some SPICE to it (a good thing) but it doesn't glide us home with the last minute or so being the same thing -- the title of the song -- being said over and over and over again basically...

Okay, I have a few things on my mind that I have to mention before I wrap this up, some of which I alluded to along the way. The first is how I think "Exile", potentially, would be best appreciated. There're several songs carried here that I think would definitely work in a visual medium. I listen to this and I can see Chronixx just loving the music and enjoying himself, even in the studio. I'm sure you've seen that happen either in concert or on video where a performer will lose themselves in a moment (you've seen a rapturous Bob Marley on stage struggling to sing his song and maybe even Vaughn Benjamin in a trance in the middle of a tune). THAT most certainly is exciting but pretty much none of it, in this instance, translates well to a medium that is strictly audio. LISTENING to "Exile", as much as I hate to say it, is kind of boring. I'm not someone who needs to be punched in the face in order to be entertained (although go right ahead if that's your way) (...biggup Soca) but the 'subtleties' presented by "Exile" are just not for me. Another thing that really stands out in regards to this album is just how poorly it is written. I'm someone who, happily (for the most part), combs through lyrics. You'll find some of them in here but I usually do much more in my reviews. The two examples in this review were only used to point out how little is being said and I don't recall hearing ANYTHING done in a clever way. Everything is very plain and straightforward and, again, for someone who, just last year, said that they couldn't rush creativity, it sounds like maybe that particular aspect was rushed in order to complete this album and that is so damn unfortunate because Chronixx' talent is in the stars somewhere. In a live performance/visual medium you can overcome such a thing without great difficulty and I'll be shocked if MANY people don't enjoy hearing him perform these songs but just LISTENING to them, at least for me, is tough work. 

Overall, while I'm sure my opinion is in the minority, after putting a reviewer's ear to "Exile" I'm even firmer in it. The absolute best material that the album has to offer is somewhere in the range of mediocrity. That's a problem for anyone and it is magnified when you consider the immense power of its star. I also found listening to it to be quite frustrating at times because you do hear potential in some of these songs with some of the instrumentation and, were Chronixx in a finer form, you could have really had something here and, even if it didn't turn out to be GREAT, "Exile" could have been a very fun and interesting listen. This isn't fun; it isn't colourful and, ultimately, "Exile" shows a version of Chronixx, one of the genre's reigning world champions, punching at a level WELL BELOW what he is capable of. 

Rated: 1.75/5

Forever Living Originals

2025

Destra & Happy People

Feeling down today?? Let the queen cheer you up!

"Monday could fall on Friday

[WI DOH CARE]

Wi goh bring out wi cooler in a hurricane

The things people cry about, we laughing

Cause when Soca hits, wi feel no pain

Wi don't want to hear about no problems everyday

All wi want to go is a fete when wi get pay

Lawd

They seh dung yah wi living nice, wi doh struggle

And what wi call HOME, you calling paradise"

Da Grammys 2026!

I don't feel like writing an intro. They announced the nominees for the 2026 Grammy Awards. They have a Reggae category. Let us take a quick look at them and make a bad prediction for the winner. BOOM! 

"Heart & Soul" by Vybz Kartel [Vybz Kartel Music + Greedy Lion]

Vybz Kartel was nominated last year for "Party With Me", if he releases an album next year (and he most surely will), it will also be nominated. This year, he was back with "Heart & Soul" which, for whatever it's worth, is clearly stronger than "Party With Me", at least in my opinion. I am working on a tribute to Kartel (called Signatures) but it's full of MUCH older work because it's been quite awhile since he made my type of music, though i am in the minority there. You'd figure that, with such regularity, he'll likely take home a Grammy one of these years and it wouldn't be surprising at all if 2026 was his.

"No Place Like Home" by Jesse Royal [Easy Star Records]

As was the case for Kartel, 2026 represents the second nomination for Jesse Royal as, a few years back, he was tipped for "Royal". His effort for 2025, "No Place Like Home", isn't quite as strong in my opinion but it did have a number of big tunes (the biggest of which probably being 'Hope', alongside Romain Virgo). Also in its favour would be the fact that "No Place Like Home" features a Marley [Yohan Marley], which can only help your chances and 2023's Reggae Grammy winner, Kabaka Pyramid also makes an appearance. Take that and combine it with relatively recent voter familiarity and Jesse Royal could go home with the prize next year. 

"Blxxd & Fyah" by Keznamdi [Keznamdi Music Group]

First-time nominee, Keznamdi, gets a nod this year for his "Blxxd & Fyah" set which reached not very long at all (it was August, doesn't seem like THAT long ago, still) and though I think it's difficult to see him actually winning, he does have a very appealing and OPEN style that I think Grammy voters will enjoy, going forward. This would be an excellent introduction for many of them and, in a few years (or even next year), maybe the roots have been laid for him to win it all. Another thing about Keznamdi is that his album is excellent. "Blxxd & Fyah" is one of the best album's here, it might even crack my top ten list for the year; so what it may lack in star power (it does) it more than makes up for in overall quality.

"Treasure Self Love" by Lila Iké [Ineffable Records]

We're about to wrap a bow around the year that was 2025 and the ridiculously interesting Lila Iké is kind of a big deal and, to go with it, here is her first Grammy nomination for her "Treasure Self Love" release. This album at least seemed to be all over the place but it never truly stepped too far from center and what resulted was an extremely well-received and appreciated project which has led us here. I actually think Iké's chances here are quite good. If voters have paid the slightest bit of attention, this isn't their introduction to her wonderful music (and damn interesting background) and you could make the case that, in any circle, "Treasure Self Love" was one of Reggae's biggest releases of the year (I should probably try to review this thing in the next few weeks).

"From Within" by Mortimer [Overstand Entertainment]

Though it missed the cut-off for this year's awards, Mortimer's 2024 offering, "From Within", did do a considerable amount of damage last year as it was carried on several 'best of' lists at year's end. Perhaps (not likely), that's a fact that has given him a head-start for Grammy voters who've been keen on it for over twelve months at this point. Three other things it has going for it: Mortimer has been very consistently performing at a high level in recent times, it has a very open and easy to appreciate vibes to it as well and between Damian Marley and the aforementioned Pyramid, "From Within" featured two previous Grammy winners (Lila Iké also appeared). It doesn't seem likely but were you looking for anything resembling a 'dark horse' this year - look no further (you couldn't look any further anyway, this is the last nominee). 

AND THE WINNER IZZZZZZZZZZ

ZZZZZZZZZZZ

ZZZZZZZZZZZZZZ

ZZZZZZZZZZZZZ

"Treasure Self Love" by Lila Iké

In the absence of a true hammer this year ("hammer" being a Marley or a previous winner), I think it's largely a two horse race, with Kartel & Lila Iké leading the way. I'm towards "Treasure Self Love" because I think (it is) the better of the two, in general, and also think that if/when Vybz Kartel does win a Grammy, it will be with something more substantial. The next time he puts his proverbial foot down on an album --with respect to the competition of course-- I think he takes it but that isn't "Heart & Soul" (despite its name) (and next year it should be pretty good. You'll have Chronixx, probably Buju and I'd be surprised if we don't get something from the Marley clan). I think if voters do their research on the background of Lila Iké, they'll really enjoy her uniqueness and  listen through "Treasure Self Love" will net her the victory, joining Koffee in 2020 as the only females to ever win the award. So, with that being said you can learn who does win it all on Sunday, the 1st of February, 2026 when we give congratulations to Keznamdi for winning the 2026 Grammy Award for Best Reggae Album. I'm going to get something to eat.