Long legs. If you watch the replay of a sporting event, no matter how amazing it may've been originally, it loses a bit of its attraction. When you can ask Google who won and for a play-by-play, even the greatest of spectacles lose a bit of drama and lustre. Similarly, when you watch a great movie, the first time is, far and away, the greatest. It is the only time you'll see it and not know what's going on and be subject to all of its twists and turns. You may love it. It may hit you in emotions that no other movie approaches but after that initial viewing, it will NEVER be that good again. For the sake of comparison, think of your favourite song (or your ten favourite songs, even). Unless you've recently changed your mind, you probably cannot recall the very first time that you heard it. It holds no distinction directly or indirectly -- because you probably can't even tell me what you felt the first time you heard it -- because WHATEVER it is that you love about it is potentially replicated each and every time that you listen to it. Music is one of the very few types of entertainment that our species engage in that is immune to time. Sure, you can have certain things at work such as quality and technology may go a far way in dealing with such things (with how much producers of music love to remaster things) (and I'm not complaining. I recently heard what I believe to be a remaster of the title track of the album I'm currently reviewing) but even certain things in recordings that aren't necessarily perfect can be looked upon as adding to one's appreciation and affection of a particular song. You hear it today and you love it.... nearly thirty years from now you may still love it and for the very same reasons, regardless of where you may be in your life at the time (and how ridiculously different it may be from where you were the first time you heard it). We deal with Reggae around here, so while I never spend too much time speaking about a guy named Bob, I do think that it is worth mentioning that though Bob has physically been gone for nearly forty-five years, his greatest hits album, "Legend", continues to dominate the genre in sales as Billboard recently announced it was the best selling Reggae album in 2025... its SIXTH consecutive time taking top honours. Fifty years from now, I'm not surprised if the case is the same, as his music continues to find new audiences (if such a thing is even possible at this point) while maintaining the interest of his older ones despite the fact that the songs are the same. When you make genuinely high quality music, it hits like absolutely nothing else and it can, potentially, hit FOREVER.
If you do not like this song, leave and never come back
So does that will explain while I'm slapping a full review on a relatively random and obscure nearly thirty year old album from someone who definitely does not register amongst the biggest stars of Reggae music? Yep. It does. A few months ago, I stumbled upon a song from 1997 by the name of 'Rocky Foundation'. It was produced by the mighty Kariang and it CAUGHT ME. For some reason I cannot describe, this very random tune has remained on my players for the better part of the final quarter of 2025 or so. Ostensibly, there's very little remarkable about it; it is just A BEAUTIFUL SONG. The song was done a singer by the name of Daweh Congo who I have talked a bit about in the past but, as I look over to the tags on this page, he doesn't have one and because he was in the process of DESTROYING me with 'Rocky Foundation', I decided it was time to do something about it and it just so happened that Congo had an album at around the same time 'Rocky Foundation' was about and, listening to it these days, that album had also aged incredibly well.
"Militancy" was an album which received a decent bit of attention in its day (1997) and the years around it, if I recall correctly. Though somewhat obscure, it had secured a fairly decent following for Congo and these days is kind of regarded as more of an underappreciated gem of a set (did all I could to avoid using the word "underground" in there). It was, in fact, the debut album of the Kingston born Daweh Congo who, as the son of 70's Reggae singer, the late Leo Graham, would have had a bit of natural attention on him in the early stages of his career. The album came via the all kinds of interesting RUNNetherlands imprint who had a pretty decent run in their time as, along with "Militancy", they also worked with the likes of Tanya Stephens, Macka B, Prezident Brown, Panache Culture and others (like ET Webster) and really made a very nice contribution to Reggae music throughout the 1990's. "Militancy" remains perhaps their most well known release but RUNN did a more than respectable tour of duty in their day. The album was guided by the venerable Barry O'Hare and really went to establish a borderline (or a 'floor') level of quality for Daweh Congo which persists to this day (he has a tune coming in a few weeks by the name of 'Amharic Verse' which is EXCELLENT) ["Sing Amharic verse now. Hail Selassie First now"]. This man does not make bad music. He never has. Though he doesn't receive the attention in 2025 that he may've in... 2000 or so, that isn't his fault at all. Over the years, Congo has done some considerable work whether you realize it or not. Back in 2008, he released what I consider to be his greatest piece of work to date still in "Ghetto Skyline" (featuring the wholly damaging 'Blue Moon') (DO NOT -- I REPEAT, DO NOT -- LISTEN TO THAT SONG) (do so and you will never know peace again) but listening to "Militancy" these days... it isn't lagging very far behind at all and for those who did catch on in its earlier years, I can clearly see (hear) what would have been the attraction. When this album is at its pinnacle, there's a very BIG and inviting presence that it has. It isn't in the same way that I would say about the last album that I reviewed, "Andromeda: Sign of The Times" by Sydney Salmon & The Imperial Majestic Band but there is definitely something inherently attractive and damn near special about the way in which this album comes through to the listener AND I should also note (in this entirely too long sentence) that "Militancy" doesn't have any era. Though approaching its twenty-ninth birthday, it sounds modern, old school and everywhere in between. Let's get into it.
Daweh Congo's voice has always been somewhat similar to Burning Spear's to my opinion and I've heard others say that as well. When you place that in a more modern context (and I don't necessarily mean that in terms of time. I'm saying "modern" in respect to activity as you don't associate The Spear with jumping on someone's riddim), the results can be downright hypnotic (there was once a tune called 'Blue Mo.... nevermind. You don't need to know that) and in an unusual way. Congo's style can be therapeutic and challenging at the same time but it works to the tune of a largely undeniably high level of consistency. The first part of "Militancy" is somewhere in the stars and the very first part of the first part, 'Travel East', may just be the best part of all the parts (that's a lot of parts).
"From the old captured land, backra plantation
Lionheart hold a meditation
CHANTING FOR COUNTLESS REPARATION
From the wicked, from the wicked system
Inna far away land, I remembered Zion
INNA DESOLATE PLACE, JAH SHOWED ME HIS FACE"
Checking in HEALTHY, nearing five and a half minutes, 'Travel East' affords Congo all the time he needs to settle down and get comfortable on that SWEET riddim and what you end up with is such an impressive vibes and one which well puts you in the mind to hear what is to come after it. His voice, inherently, may not be the most emotive but you hear everything in this one. I hear Daweh Congo completely losing himself in singing this tune and it comes roaring through on this MAMMOTH opener. Charged with and up to the task of following 'Travel East' is the album's obligatory ganja tune, the downright stunning 'Coconut Chalice'. In a very basic level of quality - you just don't make ganja songs that sound THIS good to any type of frequency. 'Coconut Chalice' is SPECTACULAR as Daweh Congo approaches the 'topic' in a very broad way, covering virtually every single conceivable aspect in a gorgeous way. Next up is Congo's cut of Bob's Heathen Riddim, 'No Peace'. Congo finds his comfort and his harmony at home ["No peace is in foreign. My sistren, dem ah send greeting but no peace is foreign"]. Again, portions of this one, particularly the ending, are rapturous in a hypnotic type of way. He so much appears to lose himself in the vibes and, for the astute and curious listener, it is such a damn attractive quality to the work of Daweh Congo. 'Study Garvey' has probably gone on to become the most recognizable track on the whole of "Militancy" and it also ranks highly in its quality. I mentioned that I compare Congo's vocals to those of the legendary Winston Rodney and 'Study Garvey' is definitely something that you would find in the bag of the Burning Spear who idolized and celebrated the great Marcus Garvey like no other. Congo is up to the task as well.
"I man would like to reflect on the message that Marcus left
Cause if you look around, some no know self-reliance yet, not yet
So gather your thoughts and come along
Children, this is a chance for your freedom
If you're willing to be free - free from slavery
Come follow dem yah teachings of Marcus Garvey
Mek wi study Garvey, come mek wi study Garvey
Know yuh history and wi destiny
Mek wi study Garvey, come mek wi study Garvey
Know your history, further wi destiny
So why they teach about Columbus?
They don't teach Mosiah Garvey in school, in school
A propaganda dem spreading!
I wonder who dem tink dem ah fool, dem ah fool
Black man, I know something is wrong
You see, wi have been down for very long
But there's upful livity in strength & unity
Cause such is the teaching of old Mosiah Garvey"
The song is both exalting and tangible (as you would think Garvey, himself, would prefer) (he'd probably prefer 100% tangible, actually) - there is MUCH substance in this one. So, while you enjoy that beautiful sound (courtesy of the legendary Kette Drum Riddim) be sure to give ample attention to the words that you're hearing as well; failure to do so is failing to FULLY appreciate 'Study Garvey', at least in my opinion. I think that the vocals get a little too loose, at times (the chorus), on 'In America' but not enough to spoil the tune altogether. A social commentary about.... America, this one touches on things such as violence and governmental malfeasance. I'm damn curious as to what drove Congo (or whoever it was) to write this tune. It does have its moments but it, ultimately, does come off as somewhat awkward; and, given its length (it is the only other song besides the opener that is north of five minutes on "Militancy"), although not BAD, 'In America' is probably my least favourite tune on this album. If the ship needed righting (and it didn't), the semi-jovial 'Together Thing' takes care of that. This multi-faceted celebration (he literally celebrates EVERYTHING that comes to his mind) certainly isn't a GREAT song but it holds the place it has on "Militancy" as a positive addition to the vibes. Particularly, it shines musically. You can appreciate/enjoy this one on a very easy level and the message supporting it (albeit likely spread too thin) carries weight as well. I also feel inclined to mention the album's love song here, 'Love Is Real'. It isn't great but it isn't hindering either. It's just a kind of bouncing love song which is surely cursory but, to its credit, as 'Love Is Real' progresses, it does develop and, by its end, at least musically speaking, it's a fine bit of instrumentation.
The second half of "Militancy" begins in the same way that the first did with a very big tune, 'Jah Call Them' (again, biggup Burning Spear), which reaches atop the Drum Song Riddim ["Just mek dem secure!"]. Daweh Congo is prepared to answer HIS call and he suggests that the rest of us do as well when the time comes ["I CALL JAH UPON MY BLOOD CELL PHONE!"] because no such protection and guidance exists anywhere else. 'Jah Call Them' is just gorgeous and I have to say something about this... kind of subtle but entertaining amount of spontaneity that you get in the latter stages of it. It isn't the only time (or the first time) on the album but just listen to the ending of this tune and how much FUN it sounds like Congo is having while bringing it altogether. That's something that definitely adds to the listening experience for the listener - knowing how much it meant to the artist (or maybe that's just me being a nerd). Without question, 'Let Them Fight It' ranks as one of the project's finest offerings and it just may be its single best written piece.
"How many empty buckets broke in Standpipe?
How many homeless people?
How many sleepless nights?
When will those who have nothing pay the price for services the system never provide?
Politics is a trick, so systematic
A no poor no benefit, only rich get rich!
I can see the economical frigidness
Oh my advice is this: Don't put your life at risk"
"Some should go to trial and get a sentence
They are the ones who provoke the youths to violence
And then again, youth, you better watch yourself
No more politically motivated offense
Politics is a trick, so systematic
And in your jailhouse stint, there is no justice
When they give you firestick, do not accept
Oh my advice is this: Dem a terrorist!"
Congo dazzles during portions (pretty much all of it, actually) of 'Let Them Fight It' with his words and when you add in the fact that song also SOUNDS so damn good, you have a substantial piece of music on your hands from this album and the whole of his catalogue also. Congo pays a thick homage to the wonderful music that he and his peers make on 'Rythm Track'. You hear songs like this one and maybe you don't pay them much mind because you think they're just kind of... THERE and have no significance but that isn't the case with 'Rhythm Track' to my opinion (and, just generally speaking, I enjoy songs from this perspective). Congo deals with the power of the vibes and how they make people feel ["If you're happy and you love it, I say shout 'Forward!'"] and their importance in the world, while dealing with the behind the scenes matters as well. The Swing Easy Riddim plays the backdrop for another of the more recognizable tracks from "Militancy", 'Golden Text'. Find a book and get to work is the sentiment behind 'Golden Text'. You could take this one in a more educational direction, perhaps, but Congo's focus, unsurprisingly, is on text of a spiritual kind ["Study the golden text. Meditate now and retrospect"]. Between this song, however, and 'Study Garvey', you can see that such things are very important to Daweh Congo throughout "Militancy" - awareness, education, humility. And 'Golden Text' is just a nice vibe as well. It's very pleasing to listen to. Lastly, we FINALLY get to the title track where Congo is looking for a few fit and capable soldiers on behalf of His Majesty. It isn't a full-on physical war that he's recruiting for (although that may be involved at some points) it's more of a mental and spiritual group of warriors that he's searching for and doing so with a recruitment anthem that is divine. 'Militancy' is a very curious choice for this album's title in my opinion but the actual tune is FLAWLESS. It is such a beautiful vibe and it stands out on prominently on the album named after it. You could sorta/kinda call it a praising piece although that might not capture it entirely but that is surely a part of it. What I ultimately took from the closer is that Daweh Congo, again, is trying to put a bit of pride in the masses, while also challenging us to live more upful lives. MISSION ACCOMPLISHED, SIR.
Two things stood out for me that I want to circle back to briefly before I put a bow on this review: The first is something I alluded to more than once and told myself, intentionally, that I would stop mentioning; and that is just how many of these songs PICK UP as they go along. It came back to mind as I was listening to 'Militancy', because when you get three-ish minutes into it, there's a quick point where the music gets to BREATHE a little (it's closer to 3:16 if you're looking for it) and it seems to intensify (at least for me and maybe only me) after that. It is such a subtly powerful moment and it really just adds to the quality here and it makes me want to listen to this album more. The other thing I wanted to mention is completely ridiculous. I just wanted to take another opportunity to say just HOW DAMN GOOD 'TRAVEL EAST IS'.
"IN A DESOLATE PLACE, JAH SHOWED ME HIS FACE"
I WAS LOST! I WAS ON MY LAST LEGS AND HAD NOTHING GOING FOR ME AND HIS MAJESTY SHOWED ME THAT HE WAS STILL WITH ME! WHAT A SONG! WHAT A BEAUTIFUL SONG!
Overall, yes, I will continue to drool all over 'Travel East' and a few others here and you should join me. We often look at Roots music as being of a certain type of sound, where it is built on all of these certain themes and ideas and while that is certainly true and "Militancy" is no different, it's also VERY ENTERTAINING. I don't know if newer fans will appreciate it in the same way that more familiar heads DEFINITELY will... but I'm of the opinion that even if this is your very first interaction with the genre, that you can enjoy the MUSIC that you will hear on this album. It is of such a quality level that I think it can cross that bridge to some extent. For me, however, it's golden. "Militancy" is an impressive early career collection from an artist in Daweh Congo who, although he may have not (he hasn't) gone onto reach a level of superstardom in Reggae music, has established himself as a tremendously capable and consistent vocalist. If you need an example, check "Militancy" (and pretty much anything else he's made since): A random, nearly three decade old album that I just decided to review one day.
VIBES. In terms of 'supporting' and 'fleshing out' this wonderful music that we listen to, one of the things that I think often goes overlooked is the amount of different but IMPRESSIVE styles that we come across. Music -- and most things -- is often categorized under one umbrella, "genre" in this case, but when you dig into it and wring out that umbrella, what you find, specifically, can be damn different than something else within the same category. Dancehall, for example, may be quite simple on the surface but if you think about.... Elephant Man scoring a hit with the... seemingly endless number of dance tunes he used to make back in da day (and probably still does, it's been a minute since I've caught up with Ele's music) was "Dancehall" (literally); but so was Bounty Killer declaring a full on war with almost every significant and semi-significant peer he had (male, female, violent, peaceful, he didn't give a damn). If that doesn't make sense, you can go even broader, beneath an even larger umbrella, this one called "REGGAE" and, tracing it back a little, you might arrive at a man named Robert (if you don't get there, you've SURELY made a wrong turn somewhere) and, yes, Ele's 'Willie Bounce' and Bounty's 'Mi Nuh Business' were TECHNICALLY the same as what Bob did... if you can explain that. That is one end of the spectrum, on the complete opposite would be Roots Reggae, music which isn't regarded as being nearly as diverse but does have a few disparate facets which're definitely worth taking a look at. What got me into thinking about this is when I heard the material that we're dealing with today, it brought to my mind, fairly quickly, a favourite of mine - Ancient King. There is an undeniably beautifully GRIMY approach to making Roots Reggae. In the hands of someone such as Ancient King or a Jah Rubal, Roots music is... scattered. It's unkempt. It isn't neat. The food is a little burnt and no one's cut the grass in a very long time but it definitely has its appeal and I consider myself to be fortunate because I'm capable of enjoying that type of vibe (trust me, not everyone is). Now, if you go there, and you maybe mop the floor and do a little dusting (not too much though), you end up at Ambush or Jalifa ["Rastafari means Head Creator"]. Mow the lawn, plant some FLOWERS (and I do mean flowers because you know exactly what is growing at Ancient King's house) and now you're on holy ground, you're at Vaughn Benjamin's. Do a bit more and maybe you end up at Norris Man's...
Now, you can tidy up ENTIRELY. You can paint, mow the lawn (and then keep it mowed), get all of that shit out of the garage port so you can actually fit a car in there (biggup my wife) and just de-clutter in general. You can make that piece of land SO NICE that people stop on the road to take pictures of it. In that spectrum, you're talking about the likes of Tarrus Riley, Etana (when she's in form), Chonixx (when he's in form) and I'd even put Mark Wonder in there. These are individuals who making downright GLORIOUS sounding Roots music. It is... immediate (meaning that you instantly know what you're dealing with when you hear it) and it's also 'transferable', to my opinion (more on that later). You could definitely add a few others to that list and I have one, in particular, in mind.
2022
Back in April, we did a vault review ("vault reviews" are of any piece of work that is from before the previous year) of an album from 2022 by the name of "The Ultimate Challenge" by Sydney Salmon & The Imperial Majestic Band. Salmon had a most interesting back story: Having been born in Kingston, where he also began his career as a musician and his later travels would see him to New York City and, later (and currently, still), he would find his way to Ethiopia. You've heard dozens -- if not hundreds -- of Reggae songs speaking about the process of repatriation? Sydney Salmon actually did it (and biggup the Volcano Trumpet, Qshan Deya. Born in St. Vincent, now living and thriving in Ghana) and by the time he got there he had evolved into something well worth listening. "The Ultimate Challenge" was GORGEOUS! It is absolutely lovely and FULL Roots Reggae music which captures elements of both an era gone by also as a more modern sound. In either case, what you hear is this VIBRANT and ALIVE vibes and it was all sorts of captivating throughout "The Ultimate Challenge". A funny thing happened after I wrote that review: We got a message from an ooooooooooold friend of ours, James 'Dr. Seuss' Lord from Irie Sounds International who, himself, had also packed up and moved to Ethiopia and was well aware of Sydney Salmon and co (I'm almost certain that I knew that the good Doctor had moved from a few years ago). Fast-forward to the end of the year and Dr. Seuss got back in touch to tell us of the forthcoming "Andromeda: Sign Of The Times", from Sydney Salmon & The IMB. This time, he was directly involved in the "co-production", with the album coming through on Irie Sounds (and he brings in some HEAVY hitters as well, with the likes of Dean Fraser and Computer Paul, amongst talented others working here) as well as on Imperial Majestic Productions. On top of that, the Irie Sounds Band is actually given a credit on six of the album's thirteen tracks, so Dr. Seuss well has his hands all over this project. "Andromeda" really came as a nice surprise for me at the end of the year. There was another release that I was really looking forward to that released a week on from it (might tell you about that one next week... it ain't good) but when this set popped up, I IMMEDIATELY became interested, particularly given what came before it. You throw Irie Sounds in the mix and, Sydney Salmon - you now have my full attention, what will you do with it??
You will shine. I used the word (perhaps poorly but I'm sticking with it) "transferable" in an attempt to describe what I hear when I listen to music like this and what I meant, specifically, was that I think what you're going to hear on this album works for.... pretty much everyone. More entrenched, longtime fans of the genre only need to be informed of its existence but I can see someone entirely new to Roots music having an appreciation for what they hear here. It's just SO open and very well done and we don't typically apply terms like 'crossover' to Roots Reggae (and I'm not about to now) but while I know that SOMEWHERE out there must be some awful soul who just detests everything Reggae -- minus that poor soul -- virtually everyone else is almost guaranteed to hear something on "Andromeda: Signs Of The Times" that will work for them in some way. If you needed an example, just try the album's first tune, the LOVELY previous single 'My Banner'. I'm thinking that I probably ran into this tune, initially, through doing background for the review for the review for "The Ultimate Challenge" because as soon as I heard it, I recognized it and began humming along with it. This is a beautiful song about pride and Sydney Salmon touches on a variety of different things that he has pride in and that represent very significant things in his life. On top of all of that, THIS SONG WILL MAKE YOU SMILE. If you feel bad, IT WILL CHEER YOU UP! There's a powerful vibe behind 'My Banner' that pulls you in and to the credit of this album and its creators, it isn't the only such tune here. 'Organize & Centralize' is of an different type but it is MAMMOTH and firmly within the conversation of the absolute best that "Andromeda" has to offer altogether.
This tune caught me! I was listening to it and it hits a moment, relatively early on, where the music TOTALLY comes together and what you get is this.... damn near EXPLOSIVE, golden presentation which highlight The Imperial Majestic Band, arguably, even more than Sydney Salmon, himself! Salmon does more than hold his own with a message centering around the adage of 'if you fail to plan then you plan to fail' ["But some love the silver and some love the gold; and some, them own birthright, dem already sold"] and you HAVE to stick around here because the music on this song does so many wonderful things that is has to be experienced. BOOM! ["Now the truth is before their eyes"] The opener puts a smile on your face. The second song gets you moving a bit. The album's third track, 'Good Life' (biggup Cocoa Tea), is going to glue itself to your memory and long after you're on to the next (and the next one after that), you'll be singing:
"Have a good life!"
Along with its sonic appeal, 'Good Life' does have some substance to it also. The song is a very clever one about UNITY. It's about doing the best you can for yourself and making sure that you do the same for others and allow them the room to do what they want and pursue what they want in their lives. For me that means something as simple as.... not complaining ALLLL the damn time. Having something nice to say to someone ["kind words and good emanation frequency"] (biggup Vaughn Benjamin) and bringing some tiny piece of joy to their day. That can be really powerful stuff and that's something that I felt from 'Good Life': Helping yourself to the good life and others also! Next up is the SWEET 'Africans Alive'. You listen to the nascence of this one and how it begins with this BEAUTIFULLY scattered horn sound before it ascends even higher into the sugary African delight and praise. Salmon reaches on a broad level but also takes things very specifically ["A peculiar people we are yet we never started no war"] at times. He puts things under a spiritual umbrella, thanking The Almighty for what WE, as children of Africa, have been through to arrive where we are today (still here despite.....). There isn't even a hint of aggression in this, until the end of matters (and even then it's in a joyous way) but there's something to 'Africans Alive', despite its 'easiness'. This song has a BACKBONE. It's strong! It's precisely what you would expect the vibes to have at least a sprinkling of on such an offering. The first of two title tracks (I think that may be a first for me), 'Sign Of the Times', taps a classic riddim whose official name I don't feel like looking up (so we're going to call it the Hello Mama Africa Riddim because that's the most well known tune on it) (biggup Garnet Silk) (...of course I looked it up anyway, because I'm a nerd, it's the Smile Riddim) and Salmon well makes the most of it with a beautiful social commentary. This song is SPOTLESS. You know how you have some old piece of clothing that may have a hole in it or a blotch of paint or something that you can never quite wash off but you just love it for some reason? That is not this song. You could wash this one every day and the colour will look exactly like it did when you bought it. It will not fade at all! The riddim here is perfect for Salmon and what results is one of the nicest listens on the entire album. 'Andromeda', the other title track, is something special. This thing is ALIVE!
"The Andromeda is the great constellation
From the beginning of a civilization
To I & I is just a sweet inspiration
Mama Ethiopia: The origination of I & I"
Salmon and the IMB head to the stars and return with a MASSIVE tune which, by the slimmest of margins, is the album's single greatest offering in my opinion. I'm going to save most of this point for closing (even though I've already started building it) but the presence of this tune is really something special. It's almost a live performance in a medium that is COMPLETELY audio. You can't see a damn thing listening to it but it almost feels like you can as they put on a performance befitting The Almighty, Whom it honours. And I might as well mention it here: The song in the unenviable position of having to directly follow 'Andromeda', the curiously familiar 'I'm On A Roll' (I think I know this song from somewhere), gets on like it doesn't even care. 'I'm On A Roll' is... top four-ish on this release. It is SO NICE! What I took from it is that it is a celebration of self but not in an arrogant way. You go through life, you have your proverbial (and actual 'ups and downs') and we lament and cry about it when things aren't going our way, so maybe we should a song when we're feeling good for a stretch of time. It won't last so all the more reason to lift it up and, should you have the talent to make something like this (and you don't) (neither do I), you're able to not only celebrate YOU but maybe pick the rest of us up there as well. 'I'm On A Roll', is delightfully infectious and, again, you won't find much on this album better than it.
Sydney Salmon & The IMB pay a LOVELY tribute to the current (I THINK) president of Burkina Faso on 'Ibrahim Traore'. I really liked this one, in its idea, because Traore is still a relatively young man and it goes to both honour someone who is still with us but also to make others aware of him and the esteem in which Salmon and co. hold him. The song is so SIMPLE in its approach, initially, but as you continue to listen, this thing DEVELOPS into a freight train of a song... whether you realize it or not. There is a stretch of pure instrumentals right in the middle of 'Ibrahim Traore'; when the vocals return, it's leveled up! There are more sounds (you hear a piano) and things have intensified just a touch. What you end up with is a spectacular display of music and with a significant purpose. HOPEFULLY Ibrahim Traore, himself, gets to hear it one day. Maybe he could listen to the entire album. Doing so would also allow him to hear 'Blessed' which is another strong selection. This song almost sounds like a 'vibe' to my ears. I would think it didn't entail much planning and, instead, came about more organically (and I saw that ONLY in comparison to the other work on "Andromeda", which often comes off as being an incredibly meticulous project). 'Blessed' is more scattered and I would think a very good tune to SEE performed as well as, especially in its latter portions, it sounds like everyone is having a very good time. Chasing 'Blessed' is.... an absolute MONSTER of a song in 'Come Away'.
"The Father is calling us
For us to come home
Leave babylon alone
Rastafari calling us
For us to be free
To live in love and inity"
Now, doesn't Sydney Salmon have a very unique perspective on a song about repatriation?! The man speaks from personal experience! This isn't someone talking about the ideal or something that someone else is preaching. It is something he, HIMSELF, has done and he can provide an perspective like so few of his peers are able to. Furthermore, LISTEN TO THIS THING! 'Come Away' sounds like a march right down the middle of the biggest road in your town ["a no stick shift, a strictly automatic"] and it soars! By its end, I'm hearing a flute and beautiful drums making for, arguably, the finest composition in this galaxy of an album. Given that unique perspective that Salmon has, I think it's nice that he has something that is just as distinctly Ethiopian and he offers a couple of such selections in 'Ethiopia Zelalem' and 'Giramawi'. The former is a sterling tribute to Ethiopia (Google tells me that "zelalem" translates into "forever"). featuring Helen Legesse who, I believe, is a member of the IMB; and has a significant part in 'Ethiopia Zelalem'. She has vocals which're downright hypnotic and times and, along with paying homage to the country, Salmon also weaves a more generally socially aware amount of messaging in this one. He is seemingly lifting up Ethiopia while accepting that there remains work to be done ["Take me back to Ethiopia! THERE WAS A TIME WHEN THE PEOPLE WERE PURE NOT POOR"]. 'Giramawi' (which might mean 'Majesty') (you can guess what this is about), may be entirely in Amharic, is delightful! The Ska-fused track well provides the album with a great deal of colour and, again, I can imagine having all sorts of fun seeing a performance of 'Giramawi' as Salmon and the band seem to have had such a great time in recording it. I will make a direct criticism here: 'Giramawi' is the shortest song on this album BY FAR (literally, by more than a minute) and I think it would have been a great touch to just let the riddim play on. I'm not saying you had to give me seven minutes of it (though I wouldn't have complained about it if you did) but just a bit more time to enjoy would have been lovely. Lastly, "Andromeda" continues to churn out surprises with its concluding piece, 'Make A Change [Jah Jah People]'. The vocals here come from a Misganaye Salmon (given her name, you would confidently presume she is of some type of relation to Sydney) and I think that she is going to make a lot of fans with her efforts. With a title like 'Make A Change', you probably know what this song is about ["Jah Jah people stand up and tell babylon 'we're going to take no more"] but only a listen will tell just how nice it is. Misganaye's voice is more on the relaxed end for the most part but she does push it slightly at song's end but for the kind of rumbling riddim behind it, what she does is nearly perfect. It works for what she is saying and the full vibes of the album's closer and the next time Sydney Salmon makes an album, I hope to hear from her again.
There're a couple of things I want to stress here before closing, very briefly. The first is to give a similar credit to Sydney Salmon that I just gave to Misganaye: His voice is EXCELLENT. It works flawlessly for the type of music that he makes and, just in general, he's PLEASANT TO LISTEN TO. I enjoy what he says and I enjoy the way he says it. You will also. The next thing I want to mention is something that I've alluded to a few times in this review: This album sounds spectacular. Just from a purely sonic-appealing point of view - It's gold and it is that house that people stop on the road to take pictures of when they're driving (and not only that but, RIGHT NOW as I write this, I was listening to 'I'm On A Roll' and when it ended 'Africa Arising' from "The Ultimate Challenge" started... LISTEN TO THAT SONG) and it is the type of Roots music, in my opinion, that has a definite chance of drawing in fans who're not typically into the genre. Its PRESENTATION is fantastic and when you see just how much credit the band gets here, it sounds like you'd hope that it would. It sounds like an audio presentation of a live sound, not just artist in studio... on random riddim. Andddd, the artwork here kind of makes you long for the days when physical media for music was actually a thing. Clearly someone has put a lot of time and money into making this set what it is and it was worth it.
Overall, I have a hard time NOT recommending "Andromeda" to... pretty much anyone. Along with being more open for the newer listeners, it is fairly THICK as well. So if you enjoy your Roots heavy on the revolution with a side of spite, you'll be happy too. I do see Sydney Salmon's name pop up occasionally but I am under the belief that, when he's releasing music, an album (somewhere out there) is the goal. Maybe it's still a year or two away but that is where they will end up. I say that because "Andromeda" is seamless. Everything flows so nicely together, including the end where the changeups come in. They sound like they belong here and you're happy they are as well. 2025 has been a very interesting year for Reggae music and a very healthy one on the album side, in my opinion. I had a big, late-year project disappoint me recently (might tell you about that one next week) but "Andromeda: Sign Of The Times" has stepped in its place. At a time of the year where we're all sitting around, thinking about things like 'best of the year' lists, Sydney Salmon & The Imperial Majestic Band have just locked down a spot for themselves. GORGEOUS!
Rated: 4.7/5
Imperial Majestic Productions + Irie Sounds International
Heavier. As is the case with virtually anything else, when it comes to music, respect is a thing that is earned, first and foremost. Whether or not it is lasting in any particular case is another question but when you receive the respect and the deference and the adoration of fans and your peers, you have to be doing something right. On one scale, we could look at the status of a 'one hit wonder' who could, conceivably, attain a level of immortality via one big tune (and you could probably think of songs from... fifty years ago now, which are eternally linked to the name of one individual). That is a type of respect: You made a giant song and it made a lot of people feel good - THANK YOU! Going beyond that, we can look at individuals who, while they aren't amongst the absolute biggest of stars in any certain genre, they have achieved a level of acclaim and distinction which, again, has made them unforgettable in the eyes of many. Not too long ago, we did a Signatures feature on Jah Mason and he's a pretty good example of that. I was prompted to write that feature in reaction to seeing someone refer to the Mason as a one hit wonder (insanity) but when you really get into the rest of his career, you realize that he's been SO MUCH MORE than just one massive tune and his been a very consistent soldier of Reggae music for a very long time. I look at several of Jah Mason's Roots geared peers such as Bushman, CHUCK FENDA, the late Determine and others in the same light. These are long-tenured artists who have given us endless enjoyment through the years and while they have peers whose names are more widely known, their contributions are not to go overlooked or underappreciated. As I have discussed in the past, on a personal level, there are those who, for one reason or another, have charted a very high level of appreciation and reverence for me and not just on the strength of their music (though primarily) and another, still, whose names just carry a lot of weight with me. Aside from the lot that you're expecting (i.e. Mark Wonder, Norrisman, Queen Omega...), I'm thinking of people such as the fantastic General Degree, Mad Cobra, Ras Batch and I've come to realize that Spragga Benz is definitely amongst these.
2019
These're artists who may not be very active for the most part (in the case of Degree and Batch, not hearing a single thing from them over the course of an entire year is not a rarity at all) and that surely helps; but I find myself so damn interested in hearing what they're up to when they do finally reach with something. Their names carry such a weight with me and I'm just HAPPY to see them attached to some project. Gone are the days when the Dancehall heads amongst them would hop on any riddim (I don't know how old Batch is but Degree, Cobra and Spragga are all sixty within the next four or five years) and, of course, the genre has changed to a large degree in that aspect; so I appreciate when they're out and contributing. On top of that, as you might expect, I don't get to write about any of them very often, so I also stay looking for opportunities to do so in order to celebrate what they've given us previously but are also still currently up to.
2020
Taking a look at these specific cases: I THINK the last time Batch made an album remains 2017's "Rootz & Kulcha" (need to do something about that), I haven't a clue when the General's last studio project released (I THINK there was an EP maybe a year or two ago) and Mad Cobra's last album is probably STILL be "Snypa Way" which is damn near twenty years old at this point and was likely one of the first reviews I ever did on this blog (and it was not completely new even then). Spragga Benz, on the other hand, has been downright prolific, by comparison. Spragga's most recent album release was 'just' five years ago in 2000's very well received "The Journey Chosen". That set, though very varied (what!) was SOLID, fun and featured guest spots from the likes of Kymani Marley, Konshens and Wayne Wonder. The year prior to that was "Chillagon" which was even more diverse and though less of an album than "The Journey Chosen", was an okay set and did a decent job of showcasing Spragga's talents, albeit in spurts. What is Spragga Benz good at and how did he earn his stripes over the years?? I'd make the case that what really draws me to his style is just how FREE it is when he's at his best, with this LARGE, beautiful voice. Spragga has this way of... doing damn near anything that he wants, lyrically, without falling too far away from the subject at hand. It's very loose. For contrast, take General Degree. He's very SHARP and to the point and CLEAN (Degree's music is awesome. It's just so damn fun to listen to), and I would also include people like Beenie Man, Buju Banton and the likes who, if ever there was a school of delivery, they attended and were the top scholars. Someone else who would fit in there BUT has a hint of something else is Agent Sasco who took a grand amount of inspiration from his mentor, Spragga Benz and, at least for me, Assassin is one of THE most gifted lights the Dancehall has ever produced. PERIOD. You do hear that kind of spontaneous and rough-around-the-edges approach from Sasco though on occasion and I owe that to Spragga. If you remember Mega Banton and how BRILLIANT that an could be but it never sounded too well situated or planned out, that's always where I've put Spragga Benz. Whatever it is, it's worked for him, historically, and it's still working for him as 2025 sees him on a new project, "Endeavors". The album comes via Red Square Productions [DUH!] as well as Lamar Reynolds who handles production via his LMR PRO Productions outfit. As has been his norm in recent times, "Endeavors" is a blend of several different styles and had I written this review a month or so ago, it probably wouldn't have been this positive. As it is, while I do not LOVE everything I hear, it does prove to be a compelling and colourful piece by its end. Not doing anything at the moment?? I'd love to tell you about it.
Along with being well respected amongst fans, Spragga Benz has also made a name for himself with his peers and he's able to pull in three huge ones to feature on "Endeavors", including one VERY special guest.... so we might as well start there! There is an all kinds of interesting tune here by the name of 'Shoot Down That Drone' which features the late, great Calvin Scott, bka Cocoa Tea who we lost earlier this year. The tune has been billed as the final recording of Cocoa Tea and I've even seen it suggested that the tune may've been done via AI. Cocoa Tea doesn't sound his typical self in the vocals (I've also read that it may've been recorded (or at least partially) from his deathbed), Spragga, on the other hand, is absolutely dominant in one of the finest displays on the whole of "Endeavors".
"Countering system weh wi call Drone Killa
Wi need some dung a Tivoli and need some up a Villa
And send some fi mi thugs a Trinidad & Anguilla
So wi disrupt every signal weh dem fly ova di hill yah
Haffi link up Raggamuffin, haffi link up Gongzilla
Cause di ting is like a little monkey vs a gorilla"
The anti-surveillance (or is it pro-privacy???) track stands as a legitimate highlight here not only for its background circumstances but also for its quality as 'Shoot Down That Drone' makes a heavy impact in its brief time. On the very next tune up, the very THICK praiser 'Teach Them', things go even higher as joining Spragga this time is Sizzla Kalonji. BOOM! You may recall a couple of albums from a year that I don't feel like looking (had to be almost twenty years by now) up, by a label called Drop Di Bass (didn't have to look that up) - "Prototype" & "Addicted". I think they were both released on or around the same day and they were full albums from Spragga Benz and Sizzla Kalonji, respectively ("Prototype" was average and "Addicted" was horrible, if I recall correctly. "Addicted" is probably THE worst album Sizzla has ever done in my opinion, even still). Both of those albums featured two or three combinations between the two and none of them were noteworthy and they've had at least one other song together and you've surely seen them on stage more than once as well; so, obviously, they're very good friends. 'Teach Them' is the best song they have together in my opinion and, by the slimmest of margins, it's also the best song "Endeavors" has as well. While Spragga remains on top of his game ["And when mi use mi weapon Jah Jah gimme a reward. But dat weapon yah no kill you, but it help. DI WEAPON YAH CAN MEK YOU FIND DI GOD INNA YUHSELF"], Kalonji also shows flashes of the brilliance that you know is still somewhere in there (just wish he'd bother digging it up more often than he does these days) ["Judge mi by my character and that is all. Cause me and the devil ain't no friend at all. This can't be duplicated, I'm not easily manipulated. Rastafari you're the greatest, we ever stand tall. And mi seh now would be the right time: Turn from evil, change yuh lifestyle. Stop hurting people when a night time. Praise Rastafari with a bright smile! Don't you sell your soul, you've got an option. And don't you go mix inna corruption. Better stand firm at the junction, cause babylon system ah malfunction"] making for a GORGEOUS display and one which well draws you in to this release. A lot happens in what turns out to be a relatively short time at just south of three minutes. The star power continues on the lovely 'Believe In You' where Spragga taps Tarrus Riley to beautify the vibes and, of course, he serves that purpose to near perfection. Perhaps it's getting redundant to say how well Spragga performs here (BOOM!) but both reach similar grounds (high, WAYYYY up in the hills) on the inspirational/praising offering. Along with pushing names like the Rileys, Sizzlas and Cocoa Teas, of the world, Spragga also shines some light on some names that, perhaps, you should begin to get better acquainted with, such as that of the sweet singing Lucian, Ashley Skerritt. Skerritt has a VERY interesting voice it's... hypnotic... it's Sade-esque. She's very chilled but has an excellent way of conveying emotion in her tones and is just SO nice to listen to. She leands her infectious talents to a song which is a bit stronger than I originally gave it credit for being, 'You And I'. You already know what this one is about and in what direction it goes and I'm not going to blow it up and say that it's amazing and one of the album's best but don't just run through it thinking that there's nothing to see there because it's better than you're probably thinking. The other combination aboard "Endeavors" finds Spragga linking with a couple of his own artists, Bittah Sosicka & loooooooong time spar (who I THINK might be related to Spragga, actually) the talented Briggy Benz who all come together on a very intense (and clever) social commentary, 'Monsters On The Run'. You typically hear these songs in a done which is saying that it's best to change your ways before The Almighty comes but 'Monsters On The Run' goes on the attack (they literally say, "God may forgive you piece of shits but we won't") and it is a very nice change of pace from the norm because I was clueless as to what to expect from this one based on its title.
Quickly, I saw a clip of a review that Spragga Benz did to promote "Endeavors" and he mentioned that there were "no gal tunes" and the interviewer (who had done his homework), corrected him by saying there were a few (there're three, technically, if you include the aforementioned 'You And I'). It speaks volumes that Spragga forgot them and when get into them, 'She No Happy' & 'No Ordinary Girl', you see why. Both sound similar to one another, both are horrible and that's that. He didn't remember them and you shouldn't either.
Sans those two songs, while Spragga is on his own throughout "Endeavors", he puts on a strong show.... shit, pretty much the entire album is some kind of decent besides 'She No Happy' & 'No Ordinary Girl'. Check the towering opener, 'Mountain'. Despite its rather awkward beginnings, the tune hits its zenith fairly quickly and becomes something DAMN impressive. It's a dual meaning here with it kinda/sorta being a ganja tune of sorts but also one that serves as an inspiration (therefore, discussing two different types of HIGH-NESS). When I saw (heard) what was going on with 'Mountain' and the lumbering 'uniqueness' began to grew on me, the lightbulb over my head popped on and I realized that we had something special there. Lagging not too far behind at all -- figuratively and literally -- is the album's second selection 'Busy Like Bees'. There's something really GRIMY about 'Busy Like Bees' and though it does have somewhat of a dark edge to it, that isn't quite what I mean. The song never seems to FULLY consummate the marriage of riddim and lyrics (they just don't perfectly lock up) but it comes very close and the fact that they DON'T sync up is almost an attractive quality here. Spragga is enjoying his status and all that he has managed to achieve and, to some extent, in an almost ghoulish way, 'Busy Like Bees' seems to be a celebration of that. Spragga basically chooses to SING his way through 'Brotherly Love' and, by its end, it's clear that he chose properly. It isn't the first time he's done such a thing. On one of my favourite Spragga Benz tunes, 'Sleep With Angels' [TEARS!], he does the same thing and 'Brotherly Love' may not have a seat at THAT table, it is a very nice song that grew on me after awhile. Here, the artist openly wonders what has become of a certain way people used to treat one another and it comes through on a tune that has this GIANT sound that doesn't sacrifice melody or any general appeal (it's pleasant to listen to) that it has at all. Sizable of a different kind (only quality) (the most important kind), is later tune 'Them A Chat'. Hundreds of years ago, Spragga once had a song of the same title [basically] ("them" = "dem") on the Amharic Riddim, which was ridiculous in every single way and I mean that in a great way. This one isn't quite up to those lofty levels but it isn't lagging too far behind either. A swipe at jealousy and envy, 'Them A Chat' is on point, entirely focused ["All weh dem do is watch another doing what dem caan do. Chat people business from dem limited angle"] and it is ACTUAL DANCEHALL music. It's a Spragga Benz specialty and it's mere PRESENCE on this album makes "Endeavors" better, in general and far more fun as well.
I don't love 'Best Friend' but, who cares what I think because the tune was actually chosen as the album's most recent single as far as I can tell. It's kind of an R&B song without the singing (in terms of its sound and subject) and though I don't dislike or think it bad (it is farrrrr better than 'She No Happy' and 'No Ordinary Girl'), it's just kind of average and I think that even if it was your goal to capture the attentions/affections of a non traditional Reggae audience, there was at least one better choice to be made (called 'You And I'). Finally (one of the easiest to write reviews I've had all year. I had started it a few weeks ago and put it down but just picked it back up YESTERDAY and here we are) is the title track (when's the last time that happened??) which might be another choice as a future single if you're looking at reaching a broader audience. 'Endeavors' didn't work for me initially so I poured some time into it (probably have listened to it more than any other selection here) and I never arrived at a place where I can say that I actually LIKE it totally -- the sound is kind of strange and it just doesn't work for me -- but LYRICALLY, it has its moments.
"Let's talk about manners
Some seh 'wah dat?' all dem know a just dollars
Love take hits and ah boast just for others
TAKE TIME, SCROLL FIND SOMEBODY FI FOLLOW"
I can appreciate something like that ^ anywhere I find it and even if I'm not crazy about the package that it's been wrapped up in (and I'm not), it is noteworthy as, again, Spragga Benz takes a look at those who have their priorities kinda fucked up.
Overall, I don't want to overrate this album and you can skip ahead to see the number grade I gave it to confirm that I am not but "Endeavors" is just an interesting and COLOURFUL release. If you do not love it, that's fine (neither do I) but I think most fans of Reggae will find something here that is enjoyable. For the most part, as I said, it catches its star in a fine form and, furthermore, Spragga has enjoyed a pretty good year in 2025. Earlier he reached with a tune by the name of 'Hallelujah' which did some damage for him and was probably one of his biggest hits in recent years. You would have thought it would have been on this album (would have made perfect sense) but even in its absence, "Endeavors" manages to hold its own. While you won't find Spragga Benz at the height of his esteemed powers here, "Endeavors" does showcase a talent still well intact after allllll these years and one well worthy of your time and respect historically and, clearly, presently.
We go months (and sometimes full YEARS) without hearing much from the extremely talented Revalation [Da Royal] from out of St. Thomas and here he is, just popping up with a big new tune, 'Militant' for Sipo Records, alongside none other than the great Anthony B. Who knows WHY or HOW such a tune came to be.... and who cares! Enjoy one of the biggest songs that I've heard over the second half of 2025 and, hopefully, it's a sign of what's coming from Revalation in the new year. FLAME ON!
If you think about it, it's actually quite rare that you take your core group of absolute favourite artists (or favourite anything, actually) and add to them with a new member. It doesn't happen very often and it shouldn't so, when it does, it's kind of a big deal. When it comes to Soca music, my stalwarts include the likes of Destra Garcia, Bunji Garlin and Fay-Ann Lyons; and, unless I'm really forgetting someone (Patrice Roberts would also be in there but she was before him), the most recent addition to that group would be St. Vincent missile, Skinny Fabulous. Whatever form of the music works for you, over the course of the past fifteen years or so, Skinny has given you something to be happy about. HOWEVER, with that being said, he's also been one of the most consistent performers of Power Soca that the genre has... ever seen, producing some undeniable future classics of the TRAUMATIC variety. Today we take a look and honour the work of one of the maddest to ever do it and a personal favourite of mine: Signatures: Skinny Fabulous.
We bionic. Typically, I reserve the first slot on these things for the biggest hit and 'Garn' most certainly isn't that but it finds its place at the head because it has probably been my absolute favourite Soca song for nearly four years now (ridiculous how quick that time has gone). Wetty Beatz lent Skinny Fabulous their ridiculous One Piece Ah Riddim (Anime heads (of which I am not) should recognize that) and to them was returned a simply impossible to ignore tune in 'Garn'. Along with it being so catchy and infectious, whether you realize it or not, for what 'Garn' is, it is pretty strong lyrically as well and while I won't yet proclaim it my single favourite Skinny Fabulous song ever, it surely has a seat at the table. Quite possibly THE greatest workout song I have ever heard in my entire life.
2. 'Come Home' featuring Nailah Blackman
I've been waiting. Lest you ever think that a certain level of CLASS and REFINEMENT is non-existent within the madness, there's a tune like this one. 'Come Home' featured the lovely vocals of Nailah Blackman who linked with Skinny Fabulous a POLISHED piece of chaos. There was melody and harmonies and all of that good stuff but there was also insanity. There were people bouncing off the walls and circus animals and big trucks without steering wheels. Unless I'm REALLY overlooking something, 'Come Home' is my choice as the best combination Skinny's ever done and another song which has a case to be made of being my favourite from him of all time. The song was a celebration of the full return of Carnival which was on 'hiatus' for a while but returned to us all in grand fashion.
3. 'Head Bad'
We not leaving. In what would be the first of five (or six) Soca Monarch victories, Skinny Fabulous would walk higher ground with the MAMMOTH shot that was 'Head Bad'. This is one of those songs that finds its footing and the core of its GREATNESS in the ridiculous, chaotic madness that is Power Soca but... you also hear a melody in there, don't you? You hear it in there somewhere and it is beautiful! It's also kinda overwhelming and COMPLETELY RIDICULOUS... but it's beautiful and you know it!
4. 'No Other Way'
Weapon of party destruction. I made a rule that I'm trying my best to adhere to: That I won't let these things go above fifteen tracks and after my final review for this one, I remembered that I had forgotten 'No Other Way'. I had to remove 'Mental Home' (WHICH I LOVE) but it had to go. 'No Other Way' was a damn onslaught. It was unrelenting and it was SPECIAL. There's a point in this song where Skinny's bombarding the riddim (the lovely Tribe Riddim from Precision) with the chorus and it's TOO MUCH. It just is... BUT WHO CARES! It had to be on this list. There simply is no other way.
5. 'Godzilla'
Destroying everything. Along with Wetty Beatz and Stadic, Skinny Fabulous took the concept of "destroying the road" to new, LITERAL, levels by channeling the legendary King of The Monsters, Godzilla, almost a decade ago. I remember one of the first times I heard this tune thinking that.... well, I guess you can just make a damn Soca song out of virtually anything and I was right about that (he also has one which barely missed this list called 'John Wick', because why not). The song carrying the title, as you would expect/hope, is a monster. It's heavy, it's fiery, it's kind of lumbering and it musically presents the type of pandemonium one might expect from being in the presence of a.... giant, pissed off lizard... dinosaur thing.
6. 'BTW'
I'm behaving the worst. I'm behaving the worst. I'm behaving the worst. I guess by Skinny's standards, you could actually call 'BTW' a Groovy song and that's fine. You're also going to call it brilliant. Sounding more like something out of the catalogue of someone like Machel Montano, the tune was a gorgeous laidback (compared only to everything else you'll find here) masterpiece and, RIDICULOUSLY [!], over a decade later (how on earth is this song eleven years old??!), it has not lost a glint of its lustre. One of the best songs Skinny Fabulous has ever made.
7. 'Flatten'
FLATTEN. FLATTEN. FLATTEN EVERYTHING! Random, decade+ old tune. Didn't make much of an impact if I recall correctly: Why the hell is it on this list? If you didn't play the video then that is a viable, reasonable question. If you did, then you are not asking it. Flatten everything, everywhere. Nothing and no one is safe; not me or you.
8. 'Act Normal'
Love this feeling. I took a song that I really like (called 'Going Off') off this list in order to make room for 'Act Normal' because it just might be the single COOLEST song that Skinny has ever done. The Prince Pronto produced tune was (and still is) Groovy Soca BRILLIANCE. This style of music has a different type of appeal to it. It can hit you in a piece joy and just accentuate the hell out of it. As opposed other songs you'll find here which're going to concuss you, wait for you to get up (or not) and then do it again, 'Act Normal' made its impact with a feather and kinda got the same results.
9. 'Pieces'
Soooooooo long we've been waiting. 'Pieces' now holds some type of significance as it (prior to #2 on this list) was Skinny's reaction to the end of the pandemic and the return of Carnival. It's another of the type of songs that might not get the credit it fully deserves for being as clever as it was but I would implore you to REALLY listen to what's going on with this song and just how wonderfully put together it was.
10. 'Soca Defenders'
Everything gonna crack. Clearly Skinny will take his inspiration from anywhere he can get it and as you can see from 'Godzilla' (he also has a song literally called 'John Wick'), movies are fertile ground for him. For the Xpert and Wetty Beatz licked 'Soca Defenders', he would Socafy Marvel's Avengers and do the actions films more than justice. 'Soca Defenders' is one this list because it offers you nary a place to sit down and catch your breath and it is done with such quality that it was impossible for me to ignore. He has DOZENS of similarly vibed pieces and, ostensibly, this one does nothing in its sound to set it apart from those but what you hear on this damn song probably represents one of the strongest and in most infectious choruses on the whole of this list.
11. 'The General'
Bomb ah drop. 'The General' burned a big ass hole in taking St. Vincent Soca Monarch way back in 2013 and, surely, the memory of that has something to do with its being here but... listen to this thing (and if you have already, then go back and listen to it again). 'The General' is VILE! It is nasty, grimy Power Soca but it's also kinda pleasant, isn't it? Don't you hear a hint of sweetness within all of that chaos? Take that drop of whatever it was and combine it with a song which, inherently, promotes crowd interaction on a massive level and you have a tune seemingly constructed for a brilliant performance and on one night in July a dozen years ago, Skinny Fabulous delivered one for the ages with 'The General'.
12. 'Monster'
IIIIIIIIIIIIIIIIII'MMA MONSTA! 'Monster' was a song that almost didn't make this list. When I got to narrowing things down (and decided that I wouldn't go over fifteen) I took it out and put it back in several times before finally settling on it being here. What changed? Well, while I was fleshing this out, I wasn't actually listening to anything (besides 'Garn', of course) and when I got around to actually listening to the Homebase production, nostalgia sunk her claws into me. Now over a dozen years old, 'Monster' wasn't THE maddest song Skinny Fabulous has ever done, nor was it the sweetest but it was BEAUTIFUL blend of both flavours and though you will find a piece or two which does better at blending them than it does, that unforgettable bounce which helps to propel 'Monster' along also pushed it over the edge for me.
13. 'De Beast Lehgo'
DANGEROUS! 'De Beast Lehgo' is another STERLING example of Skinny doing what Skinny does best and finding some beauty within the madness. The tune, which would net him his second overall and consecutive Vincy Soca Monarch crown way back in 2009, also started his monstrous fascination (as shown in this list with 'Godzilla' and 'Monster') and remains amongst his very best. If you really tune in 'De Beast Lehgo' what you'll notice is that, at its absolute heights, it rivals just about any song he's ever done. The pinnacle of it is EASILY some of the best work Skinny Fabulous as shown which is why would include it on the short list of not only his best but the BEST of his best.
14. 'Scary'
EVERYTHING TEAR DOWN! Perhaps the hardest kick in the head that Skinny has ever delivered, the utterly RIDICULOUS 'Scary' from a decade and a half ago hasn't aged well in terms of popularity and is fairly obscure these days. Just because so many have overlooked it though, it hasn't diminished even slightly in my eyes and ears. 'Scary' is an action movie with no plot at all. It's two and half hours of just.... fights and... blowing shit up. It is violent. It is vicious. There is no point of it. It is just a pure adrenaline rush of music.
15. 'Fyah Anthem'
We have ignition. Compared to a great deal of the other songs here, you could well make the case that 'Fyah Anthem' registers as nearly obscure to a degree... but I don't give a damn. What it does share with many of his greatest work is that 'Fyah Anthem' was, essentially, Skinny Fabulous clunking us all right over the head. He punched us, we fell, concussed, and when we got up we asked him to do it again. There is a countdown here (which has pretty much nothing with Skinny) which is SO DAMN COOL that it likely has a lot to do with why this song is here. 'Fyah Anthem' was scalding, it left bruises and I'm not complaining.
Long legs. If you watch the replay of a sporting event, no matter how amazing it may've been originally, it loses a bit of its attraction. When you can ask Google who won and for a play-by-play, even the greatest of spectacles lose a bit of drama and lustre. Similarly, when you watch a great movie, the first time is, far and away, the greatest. It is the only time you'll see it and not know what's going on and be subject to all of its twists and turns. You may love it. It may hit you in emotions that no other movie approaches but after that initial viewing, it will NEVER be that good again. For the sake of comparison, think of your favourite song (or your ten favourite songs, even). Unless you've recently changed your mind, you probably cannot recall the very first time that you heard it. It holds no distinction directly or indirectly -- because you probably can't even tell me what you felt the first time you heard it -- because WHATEVER it is that you love about it is potentially replicated each and every time that you listen to it. Music is one of the very few types of entertainment that our species engage in that is immune to time. Sure, you can have certain things at work such as quality and technology may go a far way in dealing with such things (with how much producers of music love to remaster things) (and I'm not complaining. I recently heard what I believe to be a remaster of the title track of the album I'm currently reviewing) but even certain things in recordings that aren't necessarily perfect can be looked upon as adding to one's appreciation and affection of a particular song. You hear it today and you love it.... nearly thirty years from now you may still love it and for the very same reasons, regardless of where you may be in your life at the time (and how ridiculously different it may be from where you were the first time you heard it). We deal with Reggae around here, so while I never spend too much time speaking about a guy named Bob, I do think that it is worth mentioning that though Bob has physically been gone for nearly forty-five years, his greatest hits album, "Legend", continues to dominate the genre in sales as Billboard recently announced it was the best selling Reggae album in 2025... its SIXTH consecutive time taking top honours. Fifty years from now, I'm not surprised if the case is the same, as his music continues to find new audiences (if such a thing is even possible at this point) while maintaining the interest of his older ones despite the fact that the songs are the same. When you make genuinely high quality music, it hits like absolutely nothing else and it can, potentially, hit FOREVER.
