Spiritual War by Queen Omega!

"MAN NUH HAVE NO MERCY

MAN IS TOO BLOODTHIRSTY

MAN NOT TRUSTWORTHY

MAMA HAFFI PURGE WI"

biggup Tiwony. Making the cameo

What I'm Listening To: Zigging

'Head Up' by Ziggi Recado [Nayamari Music - 2026]

Not too long ago at all, we told you about the new EP release from Statian star, Ziggi Recado, "Elevation" from Oneness Records; a couple of months on, and he's already back at work with a brand new tune for his own label, Nayamari Music, 'Head Up'. Let me just say, first of all, that the riddim on this tune is ABSOLUTELY SUBLIME! THIS THING IS GOLD! A quick glance through the credits reveals a pair of familiar names which would well explain the quality of the musicianship here as both Jah David [Zion High Productions] & Tippy I [I Grade Records] are amongst the players of instruments behind 'Head Up' - giving it at least a baseline of expectations (and results). To his credit, Ziggi doesn't waste the moment and continues his winning run of form with another impressive track. This one speaking to keeping focused (and HAPPY) in the face of outside factors trying to steer your decision away. 

"Caan mess wid mi mind, dem nuh able

Walk mi own road, mi nuh follow dem fable

Mi destiny set, it written pon di cable

Dem chat plenty but di works nuh stable"

Can't imagine it's happening this year (though I'd take it if it is) but HOPEFULLY 2027 brings us a new full project from Ziggi Recado as it appears he's hitting his stride once again. 

"Brightside" by Ziggy Marley [Tuff Gong - 2026]

I've never been the biggest fan of legit Reggae star, Ziggy Marley, and his latest set, "Brightside", most certainly isn't going to change that. I did give it an honest shot but, unfortunately, "Brightside"appears to embody what I don't like about his work. There's a certain... Folk-ishness or Country-ishness about his sound that just doesn't vibe with me for some reason or another and I hear it (whatever IT may be) all over this one. That being said, I'd be pretty damn surprised if "Brightside" isn't nominated for a Grammy next year and it will be amongst the favourites to take home the trophy once again for Ziggy Marley (he'll probably win). 

"Love And Energy" by Ky-Mani Marley [Konfrontation Muzik + DubShot Records]

I've also never been the biggest fan of Ziggy's brother, Ky-Mani, though he has made music over the years that I have enjoyed (namely an album from a century or two ago, "Many More Roads") (also had a song called 'Royal Vibes' that I really liked; think it was on the "Radio" album) and he's also back with a brand new album of his own for 2026, "Love And Energy". Though I'm not really a fan and SURELY because of its length, there're things that I've enjoyed on "Love And Energy" as opposed to "Brightside". Standouts include both the openers, the title track and  'New Creature', as well as 'One Family' and 'War Inna Babylon'. Ky-Mani calls in the heavy artillery as "L&A" features a helping hand by the likes of Anthony B, Gyptian, Sizzla Kalonji, Agent Sasco, Lutan Fyah and others. I'm not going to blow it up and say IT'S FANTASTIC [it's not] (I would've reviewed if it were) but I have had a little fun with "Love And Energy" and you'll probably like this one (another damn near lock of a Grammy nominee) more than I do. 

Bomboclxxt Now Riddim [Misik Muzik - 2026]

I most certainly AM a fan of Suku from Ward 21 and his latest creation, the Bomboclxxt Now Riddim has not done a damn thing to dampen that... at least not as far as a creation. Strictly in terms of the actual riddim, itself - the Bomboclxxt Now is a winner. It is the aggressive, legit, hardcore Dancehall that you've come to expect from Suku after all of these years. What happens on it when turned over to even some very talented vocalists, however, is largely a different story. Most... MOST of the tunes on this riddim just don't work for me and, again, that isn't just from some random up and comer struggling in the moment (although there're a number of those as well). The likes of Spragga Benz, Delly Ranks, Lexxus, Kiprich, Craigy T, Bling Dawg and others all turn up with relatively flat performances across something that you would think would be right up their proverbial alleys.... but not everyone misses the mark. 

Reigning supreme is Sean Paul with the sickening 'Steal Machine', also scoring well are both Wayne Wonder and Wayne Wonder's alter ego, Supriz (Supriz actually does a little better, in my opinion) as well as Jah Izrehl who absolutely scorches with the very clever 'Seh No'. The Bomboclxxt Now also has a version 2.0, featuring some (many... like 20 of them) of the lesser known artists on the riddim, as well as Digital Riley. Actually, though you may not know most (or any at all) of their names, 2.0 is better between the two. Here, Uncle Finch, Andre Blackx, Crazy G, I-Jah Yout, Cute Axe (who!), Kwanele and others still turn up with solid offerings. 

 

"Higher Meditation" by Anthony B [Greensleeves Records - 2007]

Obviously I've found my way back to the [hard-to-believe] now NINTEEN YEARS OLD "Higher Meditation" via Anthony B's latest creation, the lovely "World Of Love". Regardless of the reason that brought me here... I'm here and "Higher Meditation" IS an excellent album, especially when you haven't heard it in awhile. The set was another product of a very powerful union between Anthony B and Frenchie & all of the fine people at Maximum Sound and was the direct descendant of the even stronger "Black History" album from a couple of years prior (before that was the SOLID "Powers Of Creation" project as well) ["Stand guard, nuh let dem hurt you!"]. These albums, in my opinion, are highlighted by HEAVY but INFECTIOUS Roots Reggae music (with a little Dancehall mixed in). It's the genuine article but it is very catchy and that's the signature Maximum Sound (if there exists such a thing) for me. That is exactly what "Higher Meditation" was. These days, a tune called 'Hold On', that I didn't remember AT ALL, is absolutely killing me ["Dutty babylon, mi nah need yuh ointment!"] along with the typical highlights, 'Just Can't Live That Way', the title track, 'One Chalice' ["ALL WHEN MI OLD AND GREY, MI STILL AH SMOKE THE HERBS EVERYDAY!"], 'Jahx5' (that song is literally called 'Jah, Jah, Jah, Jah, Jah') and of course its pair of combinations, 'Real Wariors' and 'Honour To Marcus', with Turbulence and Natty King, respectively. I'm presuming that ship has sailed but, DAMN wouldn't it be nice if Anthony B & Maximum Sound linked up again for another set! 

It's Still Burning: A review of World Of Love by Anthony B

Specifics. After a particular artist has been around long enough and established themselves at a certain level, we, as fans, begin to do certain things with their music outside of just enjoying it. It is the source of both discussions and arguments alike where the topic goes to things such as biggest hits and prime years and such. It can be interesting as hell and it's been fun analyzing in certain reviews and articles I've written through the years as well. Today, I'm going to not do either but, instead, jump somewhere in between because when I first laid ears on the album for today, I began hearing certain things that reminded me of certain others and I got a REALLY good feeling heading into it. When you talk about Anthony B, he most certainly has reached a place in his career where that conversation has long begun; to the point where I did consider doing a feature on him about my favourite tunes (and I may still someday) but ultimately talked myself out of it because I thought that the idea of 'Anthony B's Greatest Hits' has kind of been worn a little. Such things are not hard to find. What I want to look at today, in particular, however, are albums. Like his equally legendary peer, Sizzla Kalonji, Anthony B has been incredibly prodigious in putting out albums during his career. Though things have slowed in recent years (for everyone), once upon a time not long ago, he could be counted on deliver multiple sets every year for multiple producers and multiple labels and a brief look back into his catalogue can reveal certain things about Anthony B when he's in form. One of my personal favourite releases that he had which probably didn't get the respect that it deserved was a BEAUTIFUL album from over twenty years ago by the name of "My Hope". I bring that set up not just because I absolutely love it and I'm still trying to get the word out that it was excellent but, again, it went through my mind when I really began to take in Anthony B's latest creation that we're going to talk about today and it got me to thinking about exactly what works for Anthony B during the best of his album releases. He most certainly is not perfect (neither am I) (neither are You) and a trip through his vault will reveal an album or two that aren't the greatest (like "Untouchable") (and "Rasta Love") but when that man is ON, there is a certain, infectious BOUNCE to his music. It is an exciting, freeing brand of Roots music which manages to deliver the more 'standard' and cursory elements of the genre at the same time. "World Of Love" is that type of an album. 

What type, exactly??? What I really want to say about Anthony B at his best is that HE SOUNDS LIKE HE'S HAVING A REALLY GOOD TIME. Even if you go into tunes like 'the classics' in 'Fire Pon Rome', 'Raid Di Barn', 'Waan Back' and others, that's a quality that's present there as well. The man is having fun while slaying oppressors and chanting for The Almighty and that isn't a trait that is always present in everyone (I wouldn't necessarily say that is AT ALL the case for Sizzla at his best, for example) so it stands out to me when I do hear it. It also seems as if he, purposely, makes the type of music in the studio that he would enjoy performing in a live capacity. I hesitate to say it because he does touch some very serious topics but Anthony B almost has a 'playfulness' to his sound at its best ["What dat dem ah do? What dat dem ah does? Nowhere dem come from, no know where dem was"] and, obviously, I mean that as a compliment (and "playfulness" probably isn't the best word (but I'm sticking to it) easiness or effortlessness are likely more fitting). Fortunately, it seems as if the actual process of making music and not just singing songs (although that too) is a grind that Anthony B enjoys because a number of his albums and MOST of the good ones feature a version of the Trelawny native who is not only in a good form but seemingly a good mood as well. "My Hope" was a great demonstration of this, as were the likes of "Black Star", "Higher Meditation" and "Life Over Death" to not go too far back.

2023

Another snapshot of a fun-having Anthony B would come on his most recent release, 2023's stellar "Bread & Butter". For me, that album stands as a culmination of a string of excellent work for the chanter. The time just prior to its release (and including the actual material that would appear on it, if I recall correctly) featured some really excellent output and it put Anthony B's name near the head of a list of someone who I was REALLY looking forward to making a new full release. What resulted most certainly did not disappoint as "B&B" stood up as one of his finest bodies of work in yea... probably a decade at that point if you really think about it (looking at a it... it might be his best album from the aforementioned "Higher Meditation" from way back in 2007) ("Life Over Death" hasn't aged very well in my opinion but even at a depleted level, it'd still be good enough to be in that conversation as well). I want to say that it was maybe late last yearish... October or so, that I first heard that Anthony B would possibly have an album forthcoming. The roll that he was on just ahead of "B&B" has continued for the most part and I'd been well paying attention to the fact that, virtually every single time, he had something new, it was excellent. Because of that, he would be featured (literally first) on our "Most Wanted 2026" list and I was all in. If Anthony B were to have an album this year, I though it'd be a legit contender for Album Of The Year and look what we have here! "World Of Love" arises from the same background as its immediate predecessor - via union of his label with Ineffable Records and features a whole heap of interesting names in front of and behind the scenes. In production, of particular note are the likes of Jazzwad and J-Vibe; while I'll get into it more in just a second but on the vocal end, Anthony B and co. CLEARLY spared no expense as far as whom they brought in. Unsurprisingly, I can also liken the end sound of "World Of Love" to "B&B". As you would suspect, they definitely share more in common than just a strong version of their star (I should say that some of the tunes he was doing back then had me questioning whether or not a then damn-near fifty year old Anthony B (just hit half a century earlier this year) was still in his ascendancy) and, just like its elder sibling, "World Of Love" proves to be a delightful and SOLID set that most certainly will appear on a few 'best of' lists at year's end. Let's talk about it.

There is a proverbial elephant in the room of this album that I absolutely have to address and you'll agree with me: The title of the album is horrible. It's cliched and... just lame. It's a bad title and you know what else is bad? The cover! Neither one are any good but FORTUNATELY, this is about music and you cannot listen to an album title or a cover and that is the worst thing I have to say about this one, by far. While you cannot listen to an album title, you can listen to a song with the same name as the album and that song, 'World Of Love' gets the album named after it off to a very strong start. As I mentioned, Anthony B really brings in the talent to work alongside him and, arguably, the biggest star he does pull in is German star, Gentleman for the title track. This song is as BEAUTIFUL as it is entirely SIMPLE. Ultra-straightforward in just about every way on Anthony B's side; Gentleman does 'complicate' things a bit (not really) with his outstanding verse. The two have previously worked together, years ago, on an excellent tune called 'Face Off' ["Like a siren, you just ah waaah waaah waaah"], which would appear on an album... by the name of "My Hope". 'World Of Love' isn't far behind those levels at all and biggup Gentleman who has his own new album out, "Gratitude" (review coming soon). 'Rude Bwoy' was an all kinds of fun single from late last year or so that I loved from the first time I heard it and still love, nearly a year on. Anthony B absolutely TORCHES this song. He puts it to the sword!

"Rudeboy protect wi health as young, youths and baby

PROTECT WI COMMUNITY, NO ABUSE WI LADY

No violence pon di corner, yuh crazy?

Nobody can out Rasta fyah when wi blaze it

Wi no preach hate, wi preach love and duality

Bun babylon cah dem nuh show partiality

Memba - Rasta teach principality

Bun out illusion, let's face reality

Unity is strength, so wi need equality

Stop fight each other, dat a dutty mentality

Remember - everything ruled by gravity

So stop promote hypocrisy"

BOOM! You listen to certain tunes and get the feeling that the artist just sort of vibed it. They had a feeling and it, rather quickly, turned into a finished product on their side. That is not the case with 'Rude Bwoy'. This thing is immaculate! It is absolutely exquisitely modern Roots Reggae done by one of its greatest champions and if I had any common sense -- any at all -- I'd be declaring it the best moment from "World Of Love".... but I don't (more on that later). If you were familiar with 'Rube Bwoy', chances may be decent that your listening travels also took you in the vicinity of 'Good Music' which was another single from around that same timeframe. It is highly unlikely but maybe something from one of the first two songs didn't quite work for you. Maybe you aren't a Gentleman fan (shame on you) or maybe 'Rube Bwoy' was a little abrasive for you and that's fine. We all have different tastes. With that being said, however, I'm gonna have a very difficult time in listening to any complaint of 'Good Music' AT ALL. Along with being what its title says it is, it's just so damn joyful and wholesome (besides that "sex, weed and money" part, of course) and EASY that it'll take a Herculean effort to dislike, in my opinion. I didn't feel like putting in that type of work and, instead, I loved it. Sandwiched in there is a younger single from just earlier this year, 'Big City' which features Anthony B alongside talented Hawaiian, Fia, whose name was unknown to me prior to it. I do not know what type of music Fia typically makes (and I don't feel like looking it up) but if it's something other than Reggae, he may want to think about a career shift because what he does here is very impressive. The song is kind of a loose social commentary/observation and it is another fairly straightforward one but, again, it works so well and is so pleasing to listen to along with the substance it surely offers. 

I had a lot of [GOOD] problems on my hands when I SAW that Anthony B had a new tune with a favourite of mine, the incomparable Queen Omega, 'Made From Love'. Many, MANY years ago (almost twenty-five of 'em) Anthony B appeared on 'I Realize' which was the closer on Queen Omega's self-titled debut album, so she's come to return the favour (she's also on Gentleman's album "Gratitude") (did I already say review coming soon??) and the Trini Queen does not disappoint. She never does. She's incapable. Anthony B and the Queen are on a mission to spread love everywhere it is needed. You get love! Love for her and love for him too! Done at a nearly CRAWLING pace, it may take a few spins to really attach itself to you, I would tell you not to pass an early judgment and pay especially close attention on Queen Omega's offering. Taken as a whole, 'Made From Love' is SWEET stuff addition to "World Of Love". Later on, Anthony B taps overlooked well armed and unusually gifted Frenchie (biggup Frenchie), Mo' Kalamity for 'Little Cottage'. Let me say something about Kalamity because I don't think I've ever mentioned her around here but I've definitely spent a bit of time listening to her work (she had a song a long ass time ago called 'Me Say' that used to ANNIHILATE ME) (I love that tune). She has such an interesting voice and approach. When she starts singing, it sounds like her voice kind of limps out of her mouth.... and then it IMMEDIATELY starts sprinting. That gives her sound, whether you like the music or not, an inherent point of interest. On 'Little Cottage' she and Anthony B both lament the struggles of living in hardship and embrace the simplicity of a more natural lifestyle. One of these days I should probably get around to reviewing one of Mo'Kalamity's album but until then, join me in taking a visit to her and Anthony B's 'Little Cottage'... "somewhere by the sea". Anthony B is a veteran in this, he know that when you make a Reggae album, you have to give respect to The Queen so, along with bringing in a pair of them, he also gives you the obligatory Mamma song, fittingly called 'Mamma'. 'Mamma' exists to cover the basics (literally) (she covers the basics and sends you out to bump your head in the world) and that's exactly what it does. Nothing here will change your life or give you a new perspective but 'Mamma' is delightful and biggup my Mamma, Anthony B's and yours too! I couldn't fairly or accurately call 'The Best' a "love song" because it would be giving you an incorrect outlook on the tune: It isn't.... 'oh baby baby I love you'; it's more of an APPRECIATION song. 'The Best' has a riddim that, when it gets going, oddly reminds me (and maybe ONLY me) of the one that backs Sizzla's classic, 'Taking Over'. Where Kalonji used it to inspire each and every one who laid ears on it, Anthony B uses it to give a massive credit to the woman in his life ["This lion is a king and a strong one. Still you give I a shoulder to lean on. You help me to release the tension. Everyday with you is like a vacation"] in a very nice way.

The track behind 'Lonely' which features a helping hand from big voiced Shuga (who I should probably be calling a veteran by now; she's been around a few minutes) sounds a lot like that thing behind Shaggy's giant hit, 'Angel' from a hundred years ago. This isn't a favourite of mine from "World Of Love" but it does have a nice sound to it, especially as it progresses and it also gives me an opportunity to talk about something else in regards to Anthony B being in this current stage and form in his career. He is SO GOOD at the moment that he can save just about any thing! There's nothing that he's going to be doing that I'm going to say is just trash and suggest that when you get to it, you skip on by. EVERY SINGLE THING that he's doing these days has a certain quality level to it 'Lonely' is organized very interestingly (I actually think I hear an even older song, from the 60s, in there as well, called 'Mr. Lonely'), it has nice vibes to it and the more I keep talking about it... I think I'm really starting to like it. Let's move on! Another example of what his talents can do when they aren't necessarily in the best situation would be both 'Bubbling' and 'Bring Me Joy'. The former is my least favourite tune on the entire album and comes dangerously close to falling into being just too damn sappy due to the chorus but it is ultimately saved with the verses which don't lay too heavy on the LOVE/MUSHY stuff and, instead, casts a much wider net. It comes off less of such a track and almost seems like Anthony B is relaying a day: Like he had a hard day and he's going home and wants to hang out with his woman and just relax but... like I said, this is a close one. 'Bring Me Joy, on the other hand, is probably me stretching it because it, while certainly not the best here by any means, is pretty good, actually. Beginning with that riddim which can lay claim to being amongst the album's finest, Anthony B charts a course not too dissimilar from that on 'Bubbling' where he present his love as a shelter from the hardships of everyday life ["There is so much things to bother me: The government , the war, the economy. But your love come and set me free, so I'm so happy that you honour me"]. Again, I'm probably being too harsh on 'Bring Me Joy' by placing it in this context with 'Bubbling' (but I thought that the similarities between the two warranted it) but, regardless, it is a track where Anthony B's talents get the absolute most out of it as possible. I mentioned that were I to have more common sense that I would named 'Rude Bwoy' as the best song on "World Of Love" but, FORTUNATELY, you'll find very little of that 'round these parts because the song that reigns supreme for me on this album is, WITHOUT QUESTION, 'Jet Ski'. 

"Mi mek gal change colour just like iguana

Gal ah rush wi from Jamdown to Ghana

Every man want a hot gal pon di cornah

Uptown, downtown gal - or foreignah

Any boy nah love woman, dem ah get lava"

Do you hear this song?? Here! I'll give it to you again. Pay attention this time.

Atop the absolutely absurdly delicious Hill & Gully Riddim, Anthony B puts forth a silly effort that will probably require a massive concussion or two to get out of your head and it's not worth it! JUST ENJOY! WHAT A TUNE! 

CLEARLY Anthony B, Jazzwad & co. knew what they had on their hands with 'Jet Ski' because they offer up the similarly vibed (not really) 'Move U Body' a song that, TRUST ME, is a better than its dreadful title (and its opening) would indicate. I'm not saying that it's a great song -- it most certainly is not -- but, again, you get into the middle of it and 'Move U Body' (...ugh!) does have its moments. 'Wake Up' has even more of those moments and it finds Anthony B giving thanks for pretty much everything that he can. While decent on the lyrical side, the biggest appeal of 'Wake Up' is the entire song, as a whole. With its big and vibrant sound that never threatens to overwhelm, 'Wake Up' is a song that you can leave on repeat endlessly. It almost comes off as a vibe. I wouldn't be surprised if Anthony B heard the riddim and came up with something, fairly quickly, because he enjoyed it so much. Regardless of its origins, however, 'Wake Up' is a winner. You know what else is a winner? 'Winner'! I used the word "playfulness" to describe a certain quality to Anthony B's music and it was for tunes such as 'Winner'. While the subject matter of it isn't super-serious, he has a way of saying things that maybe aren't done jokingly but definitely are light and very clever. 

"Got no time fi pose like statue

Is a good friend, alone, got you

Mi bredda, Fabian, seh him dream last night and get di winning number fi di lotto

I'm a winner!

I'm a winner, born as a winner

Mi no inna losing thing

I was born to win"

Also, much like was the case with 'Wake Up', 'Winner' is positively LOVELY. It's just such a nice and pleasing vibes to listen to and a mightily attractive tune! Closing things out on "World Of Love" is another of its biggest highlights, the prayerful 'Oh Jah'. A VERY solid praiser, 'Oh Jah' serves as an excellent way to end matters on the album and, in the process, Anthony B provides us with a very proper punchline:

"Oh Jah, you give I strength and always walk before me" 

And he also says a bunch of other cool stuff like:

"Rasta got one thing they can never take away-

It's the fire and wi keep it burning everyday 

To how you live, to how you work - that's how you'll get yuh pay

Bun di wicked, bun di evil, Rastafari seh

You haffi have a clean heart to go a Zion! 

NO GOAT CAN BE KING OVER THE LION!

No put yuh trust in politics and religion 

A NATION PERISH WITHOUT VISION"

BOOM!

Overall, throw another log on the fire that's been 2026 and that's been Anthony B's career as of late. I really wanted to drive home the point that the bottom of "World Of Love" really isn't THAT bad, which is a great sign of someone in good form. No. Not every single tune here is stellar but I don't have a problem with any of it, really. On the complete opposite end would be the fact that we also are treated to some truly impressive work and, in full, this one stands well with what we've been eating as of late as Reggae fans. If you stick around long enough, you'll get to a point in your life where age will start to take many things from you. WONDERFULLY and APPARENTLY, whenever that time is for Anthony B, musically, still seems to be quite far off. "World Of Love" is a more than solid set from someone who seems to be absolutely enjoying himself and his work these days. 

Rated: 4.2/5

Anthony B + Ineffable Records

2026

Respect. FULLY: A review of Power Shift by Dezarie

Rotation. Respect can be a very interesting thing to consider for and endless number of reasons. Something I find most captivating about the concept is the fact that, though it is entirely immeasurable and subjective, it can also be very easy to spot as well. You may see a tiger on a very hot day walk up to a little lake and, very carefully, take a drink and go about her day. Why not just go into the water? Because alligators live in that lake and she doesn't want those kind of problems. Maybe she has her cubs with her as well - she has just taught them that RESPECT can be as powerful and as clear as the stifling heat they're seeking relief from. Specifying things, let's take a look at respect within Reggae music. You know a guy named Moses and you know another one named Rodney. Moses is, universally, more well know. He's more popular. It's a matter of fact and not opinion: More people know BEENIE MAN, than BOUNTY KILLER. Who is more respected can be another case entirely but, if we're talking about more hardened fans and people who actually produce this stuff, the answer is probably Bounty as evidenced by the countless names of artists who came after him (those who made strides in music and those who did not) crediting him as being a major influence in their careers. Bounty Killer was a bad ass. When you were a kid, that's the guy you wanted to be. Getting even more specific, I can recall a time... maybe a quarter of a century ago at this point, when I knew the name Midnite but I wasn't much of a fan. I've talked about it quite a bit in the past (and will certainly do it again in the future) so I won't delve into it too much but "MIDNITE" was something I didn't particularly understand. What was crystal-clear, however, was their appeal. By comparison, they were nowhere near as POPULAR as some of their Jamaican peers like Sizzla and Capleton but the Virgin Islands outfit enjoyed such a powerfully dedicated, loyal and FAITHFUL fanbase. To me -- at the time and still today, looking back at it -- that was a sign of RESPECT. That the Benjamin bros. and company, in their ascension had, perhaps in a way that we had never seen before or since, gone from the 'underground' to being something very difficult to ignore... even for a young, naive 19-20 year old like myself. And I can actually recall later hearing from some of their Jamaican peers (like Lutan Fyah, for example, if I recall correctly) how their work had traveled and just how appreciated Midnite had become. That is a DEEP level of respect and admiration. 

2025

And Midnite came bearing gifts. Along with indirectly opening doors for forthcoming talents from out of the Virgin Islands (and directly via putting some of them on their songs and live shows), including Pressure Busspipe, Midnite DIRECTLY had a hand in introducing a downright monstrous talent by the name of Dezarie to the foreground as well and her rise to prominence IMMEDIATELY resembled their own. You could very well make the case that the level of esteem that Midnite had earned by the early 2000s had put Dezarie in a fine position to succeed as they began to lift her up and that would be more than fair but that wouldn't explain why we're STILL talking about her today. Having a hand in producing and/or releasing much of her early work such as the "Fya" and "Gracious Mama Africa" sets were strong introductions but the work that she did on her end and, CLEARLY, the work she's still doing has allowed the Queen of VI Reggae to maintain her most unusual and distinguished.

like 15 minutes ago

So it's kinda awesome how we're talking about her in 2026. I haven't finished it yet but the mini-review is coming where I'll tell you about her most recent release (well... not anymore), "7th Heaven", a BEAUTIFUL EP release courtesy of Tikur Anbessa Records. Something that was quite remarkable about that release, even prior to listening to the music that was actually on it, was the fact that it even existed in the timeframe that did. If you have been following along, you probably know that Dezarie isn't the most active of artists (I think I've probably called her "reclusive" at some point). It takes her a little while to get her thoughts together and bring a release forward but that was not the case with "7th Heaven" as, JUST LAST YEAR, she had a full album in the absolutely SUBLIME "Guardian". That album was fantastic and took #2 on our Best of 2025 list back in January. So the very fact that Dezarie had something to contribute to 2026 was icing on the cake... but apparently she was not done. The official release date for "7th Heaven" was the 30th of July; on the 4th of September -- which my magic calculator tells me is thirty-six days later -- she now... returns, SHOCKINGLY, with a brand new album, "Power Shift". I was completely surprised to see this one as, though I had heard what turned out to be an initial single for "Power Shift", I didn't know of/make the connection to it being anything related to a fuller project as it was somewhat odd (more on that in just a minute) and definitely seemed more like a one-off. "Power Shift" comes through a Goddess Frequency imprint (I could make some assumptions given its name but I'm not going to but you probably know what I'm thinking about a label called "GODDESS FREQUENCY" in regards to a Dezarie album) with production being handled by ZionLab. I've always known Dezarie to have a fairly large following in South America particularly and ZionLab has its roots in Brazil. Dezarie is releasing a Brazilian produced album in 2026 (...or in any other year at all)?? GIMME! I'll take two! The album not only continues a suddenly prolific run for Dezarie but also a TORRID release schedule for Reggae music in 2026 as a whole; coming the exact same day as a new album from the great Anthony B as well. Respect is like a muscle. It must be exercised and it must be fed. Is Dezarie still fit during this "Power Shift"?

Of course she is. Part of the attraction to Dezarie, I think, has to do with her very interesting style. She alternates between using a more straightforward (and beautiful) singing voice and an often strange kind of... hypnotic chanting. She literally sounds like she's in entranced at times. She also possesses a more straight forward type of chant which often hits more on the aggressive side. If you require an artist to be able to do something - Dezarie does it and does it well. FOR EXAMPLE, check the first tune and title track from her brand new album, "Power Shift" from ZionLab. The song finds Dezarie, literally, putting her best foot forward as 'Power Shift', by the slimmest of margins, is the single best tune on the album named for it, in my opinion. It is just BRILLIANT! 

"DELUSION COME TO A CONCLUSION"

'No one gets to stay on top forever' is the sentiment behind 'Power Shift' and Dezarie is noticing some slow (and some not so slow) changes in the world. She spends much of the track somewhere between the hypnotic and aggressive chants that I just told you about and utilizes them both to a DESTRUCTIVE effect: The best on this album and one of the best in recent memory from her catalogue, altogether ["Genes of Gods & Goddess - lasting. OUTLASTING CONTRADICTIONS, CONTRACEPTIVES"]. And it should go without saying (and yet, here I am saying it anyway) that you'll lose a great wealth of information should you choose not to really tune 'Power Shift' in, lyrically and you can keep that thought for the next eleven songs that I'm going to tell you about as well; though it is especially true on the unrelenting opener. I suppose that, directionally, 'Rise Higher' sticks fairly close to the title track as it's also talking about a change in power as one rises and one falls ["Di uprising stepping up, so they're capsizing"]. There's a giant issue with 'Rise Higher' and it comes during its second verse. Dezarie ABSOLUTELY LOSES IT! She goes somewhere else. She leaves the studio both (or wherever she recorded and goes somewhere else) ["Basement of the basement - relocate"]. Thankfully we're there to hear it and she SCORCHES 'Rise Higher'. Afterwards, the song catches up to here and ascends as well with a slightly more open sound that she continues to disturb. Entirely, 'Rise Higher' is this beautiful, almost Persian sounding offering and, strictly from a sonic point of view, is not to be missed. When you add the drama that unfolds atop it, you get something pretty damn special! The duty of maintaining the high opening of "Power Drift" falls to 'Run Dem' and... if you want to call it even stronger than the first pair of songs, you go right ahead. You won't get much of a fight out of me as Dezarie IMMEDIATELY comes out torching everything within her reach specifically those who keep one foot in the church, while the other is.... somewhere else. 

"You a dirt, a inequity worker

AT NIGHT, HOW YOU SLEEP ON YUH SERTA?

Cah you hurt young boys, never nurture

Preacher impose indecent exposure

You inviting di devil make a churcha-

To increase yuh membas and yuh stacha [stature]

You got di sheep caught up inna yuh rapcha-

Of lost, predatory nacha

DISGUST, monster behaviour

How you coveting di wife of yuh neighbour

You don't practice what you preaching neither"

"Man a condemn a faker

All-star perpetuator

Disaster leech, dem a preacher

Inferior preach be like Issa

Ministers being sinister

Reverend reverence di dollar

Di shops be shopping for power

MELCHEZIDEK ORDER, WI RATHER

Superior age and ulterior

THE MOST HIGH IN OUR INTERIOR"

The song instantly reminded of both Jah9's vicious 'Preacher Man' and 'Inna Dem Purse' by Reemah (Reemah is a damn genius. I just listened to that song for the first time in awhile... PROBLEMS!) and it is on the level of both as Dezarie continues her EXHAUSTING start to "Power Shift". I've got bad news for you if you were hoping for a rest with the next tune, 'With The Enemy', as it offers no such respite. Apparently we are undeserving of a breather. Were "Power Shift" a movie (there is no way there isn't a movie with that title), 'With The Enemy' would be one of its action scenes. From the second it drops in, it provides an urgent feeling as well as one that sounds very important. You might get a little nervous as the beginning of this one! In this fight for power, unfortunately, we have certain ones who will cross from side-to-side and they've grabbed Dezarie's attention and she is not letting them off easy ["HUGGING, SNUGGLING WID NEGATIVITY. HOLD HANDS AND CARESS WID CALAMITY"]. I don't want to start transcribing lyrics on every single song on "Power Shift" but, TRUST ME, when I say that you REALLY NEED to pay attention to what Dezarie does with this song, lyrically. Doing so offers the listener one of the greatest rewards available on this album. BOOM! I've previously alluded to 'Petty' as it was the song that I heard before even knowing that Dezarie had, yet another, new album forthcoming. I also called it "odd" as it just so happens to be a combination and.... Dezarie just doesn't do too many of those. In fact, I'm sure I'm missing SOMETHING but 'Petty' may just be the very first combination that she's done on an album, altogether! The song features her working alongside big Trini star, Kushite (and there's another "Trini star" that, someday, I would LOVE Dezarie to make a song with) (biggup Queen Omega, of course) and I was very curious as to how it would all turn out. SURPRISINGLY (not at all), it works very well. If you took Kushite off of 'Petty' and just kept Dezarie's portions (which is almost all of it anyway), you'd have a STUNNING tune. 'Petty' is really nice. However, with her kind of delightful ruggedness, Kushite adds another texture to it and takes it from this kind of airy vibes and gives it an edge that the subject matter would deem most appropriate. I'm not surprised it was chosen as a single, it is attractive on paper but the actual song also stands amongst the album's finest. If 'Petty' is the very first combination to appear on one of Dezarie's albums, #2 is also on "Power Shift" as the Cruzan empress also links with another VI standout, Tizzlah, on 'Hater'. Like Kushite, Tizzlah is also slightly more on the aggressive side which makes for a nice contrast with Dezarie who, again, varies her work on 'Hater'. The two enjoy more interaction than on 'Petty', directly marking their sound differences as, just as Midnite helped Dezarie along her way, she returns the favour, to Tizzlah, introducing him, SURELY, to his biggest listening audience via appearing on this album. 

I usually save this for just ahead of closing but I'll take care of it right now. "Power Shift" is twelve tracks long, spanning across fifty-two minutes. By my [surely incorrect] math, that means the average song length is A LOVELY four minutes and twenty seconds. There is a six minute + long piece which makes up for the difference made by the TIMELY 'Leave In A Rush'. If your actions are not positive and if you intents are not righteous, Dezarie has no time for you at all (SHE CANNOT SPARE THREE MINUTES FOR YOU!), so the fact that 'Leave In A Rush' is so brief, is perfect for it ["Shoo! Shoo, fly, don't bodda wi"]. Check 'Won't Kill Joy' with its fun and inviting sound (almost here like... a mix of old school soul music and maybe a Spanish guitar??).

"Cool, calm, collected, keeping an upful perspective

Foes ah come round like detective

Mind people prerogative, meditate

WOLF AN SNAKE UNIT WILL BE SOLO

WHEREVER THEY GO, WE'RE A NO-SHOW

Dem frequency low" 

I woke up in a good mood today. Therefore, I don't give a damn how negative you are or how much you try to bring me down, you're not doing it! And you know what? You're not doing it tomorrow either! 'Won't Kill My Joy' has a very practical point to it. I think everyone knows a really negative person or two who never has anything nice to say and just carry bad vibes, in general, most times. There is a MUTE button for people like this and Dezarie wants us all to attempt to use it just a bit more. On the other side of that, maybe YOU ARE THAT PERSON. I can't imagine such an individual would be interested in reading so much of a review like this one but, in case you are that one, you are not dead and gone. You have time to change your ways. Listen to "Power Shift" - maybe it'll cheer your ass up. 

I do want to skip ahead to the album's closer, 'ToGether' because it's very interesting and I've spent quite a bit of time listening to it. What you'll notice about it first is that it's a song on which Dezarie employs her BEAUTIFUL singing voice almost exclusively. She uses that sweet (and maybe somewhat underused) voice to push a unity anthem which is anchored in love. Yes. I made it sound it not so good but 'ToGether' is much better than my descriptors here are ["They don't want me to love you. They don't want you to love me"]. The vibes are nice and serene and it is a lovely way to end matters on "Power Shift". The penultimate effort, 'No Love' is even better than the song behind it. It's also what I was previously alluding to when I mentioned that this album carried a song over six minutes long and the anti-war set makes proper usage of every single second. You  get a standard song in the first four minutes or so and then the final third of 'No More' becomes a lovely display of pretty much everything including, most notably, a speech from Dezarie before things wrap up in an instrumental style. Prior to that, she does everything you might expect on such a song but what really stands out here is just how SPECIFIC 'No More' is at times. She names names! She hits places and situations ["Police vicious when dun gun down protesters. Brutal against melanite dem pull over"]. Anywhere you may be promoting war in the world -- currently or historically - Dezarie has something to get off her chest regarding your nastiness.

Finally, Dezarie serves up a cleansing fire with a couple or literal burners, 'Playing With Fyah' and 'Fiery'. While the latter is probably the slight stronger of the two, 'Playing With Fyah' is really strong as well. The tune is a call to caution and safety when dealing matters of SUPREME importance. In typical Dezarie fashion, the way we arrive at that point is nowhere near a typical road. This drive has many twists and turns in it and we must know our limits within it ["Some Judas calling demself Judah. Chamelon calling demself Lion, dem lyah"]. For its part, 'Fiery' is pretty much flawless  from beginning to end. 

"Some ah tek bribe to bring bad vibe

Fulltime being found to fault

Yuh money to man-ipulate man mind

And success will regress lives"

A GOLDEN musical display (there should be a teeny-tiny paragraph beneath this one getting into that a little more), 'Fiery', again, is quite detailed as it deals with negative things people do to put food on their table. Some of it just ain't worth it and but listening through "Power Shift" is WELL WORTH your time.

Full, beautiful credits to ZionLab. with the work they do here, musically. I'm going to make a larger statement about the entire album in closing but, just in terms of the riddim tracks on this album, "Power Shift" is EASILY one of the best of its kind that I've heard this year. The players of instruments, whomever they may be, really provided Dezarie with a big platform for her work and she, in turn, provided them with a GEM! Also credit goes to the artiste who did the cover. I can guess who it may be but to him/her, WELL DONE! 

Overall, yes. "Power Shift" is excellent and I probably didn't need to listen to much of it to be able to say that with any confidence at all. I cannot imagine that this sudden explosion of prolificacy by Dezarie will continue but we're REALLY enjoying it while it lasts (that's NINETEEN new Dezarie songs in one year!) (WHAT!) (oh and by "in one year", I mean like five weeks). I will say that I think it's a bit more OPEN than some of her other releases. Not that the music leaps much outside of the genre -- it does not -- but I think that music is SO good that if you are someone who hasn't typically found something in Dezarie's output that has been for you, this album is would be a great starting point in my opinion. For the rest of You: While you may have opened the door to the music of Dezarie initially at Midnite, FULL DECADES later and in broad daylight, she's now living in a mansion and still earning it. "Power Drift" is THE best album I've heard in 2026 so far. Period. 

Rated: 4.7/5

Goddess Frequency

2026

Haile Dependable: A review of Rebel Music - The Lyrics Tape by Kabaka Pyramid

Trustworthy. I don't know how long this review is going to be but I know it's going to be much longer than necessary. I could SURELY cut out quite a bit of it and still get my point across but, of course, I won't. I've started doing smaller reviews for smaller releases and I will continue to do those but, most likely, even those are too long as well. That's me and if you frequent these pages to any degree (shame on you!), you know it and you probably expect it. I'm the guy that writes really long reviews and have for... well over twenty years at this point. When people send us material, it's what they expect from me as well (on that side, if your album is really, I would imagine it probably makes you feel quite nice to see someone talk THIS much about how wonderful of a job you've done) and I do my best. It's the little thing that sets me apart and I think, in that at least, I'm fairly reliable. I rely on others as well. When I have a feeling for something that music can do for me, I go looking for certain people, in particular. Maybe I'm working out and I need something really aggressive to help get me through, Bounty Killer has decades worth of tunes for just that situation. It encourages really digging deep and Bounty's the kind of guy, at his best, who will kill you and make fun of you for dying and I can't speak for anyone else but sometimes I NEED THAT during a hard workout... especially at my age. If I want to lose my mind with my kids, there's Bunji, Machel, Destra, Skinny Fabulous, Fay-Ann Lyons and a long line of others capable of providing the fam with an astounding level of beautiful delirium. Other times, still, I need to feed my brain. I'm an overthinker (which is why these reviews are the way they are) and I require SUBSTANCE. I need to be challenged, I need to hear someone who can do certain things with words that provoke thought. This is tricky because there're so many talented writers in and around Reggae music that have talents that can reach you in a very different manner. I think of someone like Jah 9, for example. Jah 9 is a poet (and a genius) and her words almost always seem to have a destination. She's headed somewhere and it's going to take some effort on the part of the listener if they're interested in going with her. Contrast that with someone like Vaughn Benjamin. That man provides information. He educates and if you've failed to arrive at least at a certain level, you will be COMPLETELY lost. Let's talk about Sizzla Kalonji in his prime. At his best, he put forth a level of both education and entertainment that, arguably, remains unmatched in the genre's history. Some of the things he put together were just JARRING! I'll also go to Lutan Fyah who comes off as this extremely hard working and diligent writer who can push material as vividly about a single emotion as he can relating some particular event. OTHERS STILL, such as Aidonia and our old friend Saik have an almost theatrical aspect to their work (Bunji Garlin gets in there as well) as they are capable of using words in a excitingly tongue-twisting way that forces you to be at your sharpest, just to keep up. Today we're going to take a look at someone who, in certain ways, contains aspects of them ALL; truly a lyricist whose attention to detail and SKILL is downright staggering.

2011

Kabaka Pyramid is a VERY interesting musician for several reasons. Already having a relatively surprising Grammy win to his credit (that album (more on it in a second) WAS the best from that year in my opinion but the Grammy award has, until recently, seemed to be something of a popularity contest. After Kabaka Pyramid and, most recently, Keznamdi, maybe times are a'changing), the Kingston native does something that I don't think I've seen in Reggae for a very long time: He revels in his SKILL. The most immediate comparison I can think of would take us back to the nascence of Vybz Kartel and even he didn't seem to do what Kabaka Pyramid does. Kartel was ridiculously gifted -- like Aidonia coming after him -- and though he clearly was aware of it, the celebration of his talents came more so through his fans.US. Kabaka Pyramid, on the other hand, has honed his craft to a deadly sting, he KNOWS it and if you do not, he's about to give you a GIANT opportunity to become good and acquainted. 

2022

I'll go back to what I said about Vaughn Benjamin; in that his music is best enjoyed when you come with a certain level of knowledge, education (formal & informal) ('book smarts' & 'street smarts') and life-experience prior to listening (old Kalonji was also like that). The same goes for Kabaka Pyramid. If you don't have that background that you'll probably find yourself either all over Google while listening, or sitting there with a dictionary, encyclopaedia and a thesaurus ["Focus on di acronym fi open up mi chakra dem"] just to get through! Also, if you've been following along with his career, then MAYBE you'll have a memory of what he did in 2011, when the Pyramid dropped the "Rebel Music" EP. If you did THAT, then maybe what he's doing, a decade and a half later, with "Rebel Music - The Lyrics Tape" will carry even more weight with you that the already HEFTY "new Kabaka Pyramid album" thing that it has going for it, inherently. If you've been here for awhile, you might also be familiar with the previously alluded to "The Kalling", his most recent set prior to this one which reached in 2022 and would net the Pyramid that Grammy I was telling you about a minute ago (and there was also the compilation for the Pon Di Island Riddim last year). Like "The Kalling", "Rebel Music - The Lyrics Tape" comes to fruition via a union between the Pyramid's Bebble Rock Music imprint, and the Marleys' Ghetto Youths International. "The Kalling" was absolutely excellent and was as strong of a piece of evidence of his towering skill that exists. I don't think I've ever had a situation where my personal favourite album also registers as a Grammy winner (my favourites probably hardly ever even get nominated in the first place) but CLEARLY, we were all in agreement as to who was the real champion for that year. Given the immense level of competition in 2026, it'll be curious who eventually takes top honours for this year, however, I can assure that an undeniable, legit contender has just entered the arena. Let's get into it. 

Have I mentioned just how completely ABSURD 2026 has been? On the very same day that Kabaka Pyramid released his new album, German star, Gentleman did the same with his first album in a long time, as did Ky-Mani Marley (who is a Marley); not to mention the line of big names we've seen with releases in Reggae throughout this year (see more here) Kabaka Pyramid throws his name in as well with "Rebel Music - The Lyrics Tape" which begins with one of its biggest shots, 'Stand Firm'. Featuring another fine lyricist, a favourite of ours and good friend of the Pyramid's, Pressure Busspipe, as well as the voice of the legendary Stepping Razor, Peter Tosh, 'Stand Firm' sets a mighty tone for what is to come after it. There are stretches of this tune, particularly early on, which are just.. explosive. 

"Take up unuh head out yuh phones and device

Take a look around and ask, are wi really satisfied?

How many likkle girls ahgo dead before wi rise up?-

And expose di false leaders inna di disguise

Mi sticking to di task and mi nah apologize

If dem inna genocide, wi ah string dem up alive

DEM CANCEL MI SHOWS BUT MI SIT BACK AND REJOICE

AH SO MI GET FI KNOW THAT MI DID AH DO SOMETHING RIGHT!"

'Stand Firm' covers a lot of ground but, as you can see, it does so fairly specifically... which is just ODD! Again, however, Kabaka Pyramid hits points here which are of extremely rare air, lyrically, and what results is downright dazzling. Did I mention Pressure was on this tune as well?? I was going to say something like "Pressure steps up his game", or something like that, but that's inaccurate. Pressure's almost always on fire and he's steadily blazing on 'Stand Firm' which, EASILY sits amongst the finest tunes on "The Lyrics Tape". I talked a bit, earlier, about how you have all of these talented wordsmiths and, in some ways, Kabaka Pyramid has certain aspects of his styles which resembles all of what they do best and while that's true, he also has a style of his own: You play a riddim, he attacks it. What happens on the second tune on this album, 'From Weh Day' is just... kinda disturbing. 

"Biggup every veteran weh ah support young artiste

GONGZILLA FLY DI GATE SO, LOYALTY, WI NAH SWITCH

A dem yah kinda ting a weh Jamaica start miss

Reggae music it left behind and it ah mek mi heart start twist

Mi just ah do mi part fi keep di fyah chanting

Rastafari governance, ah It mi walk wid

Some worry dem ah si 

Chris Ellis, Black AM I and Ghetto Youths mi par wid

Mi fly across di world, every flipping continent

Then mi land back a Jamaica and it's not so prominent

Pure folly just ah gwan and it's not an accident

WI HAFFI REPAVE DI ROAD AND LAY DOWN SOME BLACK CEMENT"

WHAT?! What the hell is that?! The Pyramid breaks all sorts of laws and shit and commits atrocities  against mankind that should probably get him locked up and I LOVE every single moment of it! That IS the single best tune on the album and one of the standouts from Kabaka Pyramid's entire career. Things slow down a bit on 'Rebel Music [I'm Back]' but the quality doesn't miss a step and although it's kind of Hip Hoppish, which isn't a favourite of mine, it's a nice change of pace in my opinion. 

"Bebble pon mi chestplate

I put my life in these records so just press play

Mi go deep inna di levels like an x-ray

Wah mi read woulda put pressure pon yuh head space

Dem a dead-weight

MI HAVE DI WEIGHT OF DI WORLD ON MY SHOULDERS SO EVERYDAY A LEG DAY"

"Many are called but di chosen are few

Haffi close - who yuh holding on to

Some a dem a vampire, yah soul dem waan use

Drain yuh like battery

Blow you like fuse

DON'T KNOW DEMSELF, MI SURE DEM CONFUSED

DI MORE DEM CONSUME, DI MORE DEM UNTRUE"

You could say the same (hopefully you've caught on with what I'm doing for EVERY SINGLE TRACK on this album by now) (thought I'd try something, fittingly, different this time) with the old school Dancehallish 'We Dem Wah', breezing itself to near the head of this lyrical masterclass. 

"A which natty dat, just ah chat a buncha ting

A siddung pon di riddim, like a lizard pon di limb

Ah grab di microphone, a bagga lyrics him ah fling

And slew Goliath just like a David wid a sling

DI PEOPLE DEM AH LISTEN AND YOU COULDA DROP A PIN

AND GRANNY MESMERIZED AND SHE NUH KNOW WHAT HAPPEN

Style weh mi gi her have her waistline ah spin

Lockdown Jamaica and mi lockdown foreign

Fly cross di stage, a bagga lyrics man ah bring

Retro style but di style genuine

Flow dem precise like a needle or a pin

WI NO SIDEKICK LIKE BATMAN NOR ROBIN

SUPERMAN AH TEST MI AND HIM STILL NEVA WIN

Give him two high foot and just go kick off him chin"

Kabaka Pyramid puts nary a damn TOE in a wrong position during the entire duration of 'We Dem Wah'. It's the type of song I would have LOVED to take back thirty or forty years ago and put it in the age of its riddim, just to see how fans from back then (my parents' age) would have reacted to it. In 2026, it's flames. No site of the fires outing on 'Cyaa Cool Di Fyah', AT ALL and DIRECTLY. 

"Wi light a fyah pon dem depopulation plan

Tell dem seh wi dem caan hide no information from

Bill Gates and him vaccines are di greatest scam

So dem create dem disease fi get dem paycheques stamped

Dem have di money fi end world poverty

BUT DEM AH FLY, GO A MOON AGAINST THE EARTH'S GRAVITY"

"The Lyrics Tape" wraps up its first half with another of its definitive highlights. I hope you've been paying attention, taking notes (there may be a quiz at some point) and let us proceed!

"Jah Jah shine yuh light inna di darkness

Know seh mi nuh perfect, mi nah faultless

Still mi just ah work and trust di process

Protect mi from di demons dem weh heartless

Mi name might not be trending still, regardless

DEM NAH GO SI NO ENDING TO MY PROGRESS

Wid certain type of energy, mi nah flex

Dem lef mi out dem plans but still mi nah vex

Mi just ah do mi ting, ya know

Work pon mi vocals; mi well waan fi sing, ya know

Nuff nah no hope and wi dem si win, ya know

So you can achieve anything once yuh skilled enough

Caan be delusional all if yuh know yah great

NUFF LOST IN DELUSION AND SEH DEM AH RUN DI PLACE

RASTA A NO RAT, MI NAH GO RUN INNA DEM RACE

No time - lava splash inna dem face"

You really could have named the whole damn album "Higher Learning" and have been just fine because that's what it is. This tune, I'll get into just a little bit more because I really like its direction and although it kind of spirals to make that point (and that's a good thing), 'Higher Learning' is DEFINITELY one of the most direct on this album. The song is just about progressing and improving -- whatever that may mean for you -- and you put that in the context of "learning". You can also say "thriving" or "winning" or even "trying" and maybe even "failing" (sometimes you must go back in order to go forward) and the Pyramid acknowledges all of that. 'Higher Learning' is BRILLIANT. Most of the songs on this album sorta/kinda are or are in at least spurts and bits and pieces but I have to stress in this instance because that umbrella-ing theme really ties in well with the actual music. 'My Baby' is your changeup and it's probably precisely what you're thinking: It's a love song. 

"And she loves mi and I love her

Spend time with me while I'm on earth

YOUR STYLE BRINGS PEACE, I know your worth

A diamond piece; the finest pearls

Yuh style and grace is clear to si

Just know your place is here with mi

I si your face everywhere I be

I keep you safe, you're the air I breathe

Who dem waan fi trick, dem caan fool mi

Girl you a di only one mi si that really knew mi

So much compassion, you're patiently rooted

ALLA MY FLAWS, I JUST TRY TO IMPROVE IT

Still she love mi and still she nuh judge mi

And when I was struggling, she put no one above mi

And now we mek it out and we're living in luxury

But di only ting that matters - when yuh kiss and yuh hug mi"

Love songs are tough. They can be kind of sappy and just... too damn mushy at times and I'm not going to exaggerate the quality of 'My Baby' (that doesn't sound right but you know what I mean). It does NOT rank amongst the best on "The Lyrics Tape" but READ IT! Is it one of the best WRITTEN love songs of its kind that I've heard??? Yeah. Yeah. Probably! It's very good, very SMOOTH and just styling as the obligatory love song and leaving it as such will prevent you from hearing some truly impressing wordplay - even in this capacity that you RARELY think of for such displays (it is super unusual because love songs usually win with a SOUND. This sound isn't amazing but what is said, on the other hand, is a different matter altogether. Maybe 'My Baby' did work for you but didn't necessarily get you moving at all. If that's the case (and even if it isn't), check one of the goodest (HUH) times to be had, 'Rotation'. 

"They don't want to si us unite

Wid Reggae music, we'll be alright

Just gimme more roots and mi heritage

Music is where it is

It help mi pick and choose all di truths from di heresy 

Fat piece a riddim, mek I use up di leverage

FLOWING LIKE DI JUICE AND DI BEVERAGE" 

'Rotation' also serves a purpose and a damn delightful one. Listen to this beautiful sound and let it do whatever it does for you... then pass it on. Play it for someone else. Let them hear it and love it and maybe they'll pass it on as well. Love the riddim there as well. It isn't THE GREATEST THING I'VE EVER HEAR but it works well for that tune. Something about the early days of 'Roll Up' REALLY caught my attention and I did think I was about to hear something special and, in spurts, I suppose, I did. 

"Sometime it's hard

When everything ah stress mi out, mi need a draw

Di only thing weh get mi out this prison wall

MI FIND OUT FROM MI SMALL - SEH DI HERB AH LIFT MI UP WHEN TIME MI FALL

Mi no really waan depend pon dis, but mi haffi mention this-

More time mi waan fi travel to a next dimension quick

Mi nuh waan fi use nothin weh psychedelic

Cause mi dun psyche already

And this anxiety a kinda heavy

I just wanna roll up and set my mind at ease

I just wanna roll up and smoke some high grade trees"

The kind of easy nature (it's.... calm but there is a underlying sternness to it, I should say) to 'Roll Up', when bubbling around the topic, gives this one a unique feel to it. The beginning (right when it first kicks in), however, is downright EPIC as everything starts to develop with this beautiful drumming. Lastly I the very HEAVY 'Action', which I had heard prior to the album's release and while it isn't another remake of the tune of the same name by Nadine Sutherland, Terror Fabulous and about sixteen other dudes, it is a nice way to end "The Lyrics Tape". 

"Mi nuh dweet fi di likes

Mi nuh dweet fi di comments

Just ah do mi best wid my God-given talents" 

Like several of the tunes here, 'Action' is really just a statement. It's poetic and it has a musical aspect (it is a song) but Kabaka Pyramid had something to say, he found a way to say it and 'Action' was what come of it. 

There're a few tunes on "Rebel Music - The Lyrics Tape" that don't really follow the expected course of having a chorus and bridges and things like that. They're literally comprised of Kabaka Pyramid just getting things off his chest or displaying his "God-given talents" and that's just fine. I also want to say something of the music on this album. It most certainly is not the main attraction but, for the most part, it's just fine and it never threatens to take the show away from the actual star, which're the words being spoken. 

Overall, I do hope that we appreciate Kabaka Pyramid and the others that I've mentioned and others still - like REEMAH, Jr. Gong (who is an executive producer for this release through Ghetto Youths International) and CAPLETON) - for such a powerful talent that they possess because it's something that, again, doesn't tend to be stressed so much in Reggae the way it does in other genres, particularly Hip Hop. In saying that, the Pyramid has clearly been influenced by Hip Hop so that maybe explains his immediate confidence in his lyrical ability, especially. Confidence can be misguided or just flat out wrong, however, and we've seen examples of that in the past. This is not one of those cases. In an arena of talented gifted writers, on "Rebel Music - The Lyrics Tape" Kabaka Pyramid explicitly states his case for PERHAPS having the single sharpest pen of them all. Excellent. 

Rated: 4.45/5

Bebble Rock Music + Ghetto Youths International

2026