Lyrics to Jah Works by Julian Marley

Jah, Jah, Jah, Jah, Jah, Jah, Jah, Jah.

Jah, Jah, Jah, Jah, Jah, Jah.

JAH!

None of the riches of the world.

None of the riches of the world.

None of the riches of the world.

Can’t stop Jah works [Can’t stop Jah works].

Dem caan stop Jah works.

None of the riches of the world.

None of the riches of the world.

None of the riches of the world.

Can’t stop Jah works [Can’t stop Jah works].

Can’t stop Jah works.

You nah fi listen when you hear dem a talk.

Dem laugh when Noah start to build di ark.

Until dem sorry when di rain start fall.

Dem caan stop Jah works [Can’t stop Jah works].

Can’t stop Jah works [Can’t stop Jah Works].

Is like a lightening and a thunder ball.

If you no ready when you hear Jah call.

You might just turn to a pillar of salt.

You can’t stop Jah works [Can’t stop Jah works].

Can’t stop Jah works [Can’t stop Jah works].

None of the riches of the world.

None of the riches of the world.

None of the riches of the world.

Can’t stop Jah works [Can’t stop Jah works].

Dem can’t stop Jah works.

Oh no no!

Brimstone and fire.

Whoa!

So no matter what you see dem a do.

Dem try to infiltrate me and you.

No matter how you see dem a screw.

Dem can’t stop Jah works [Can’t stop Jah works].

Can’t stop Jah works [Can’t stop Jah works].

Dem try fi stop it but a pure disaster.

Waan come a hold us wid dem new world order.

Divide di people dem from corner to corner.

Can’t stop Jah works [Can’t stop Jah works].

Dem can’t stop His works [Can’t stop His works].

Can’t stop Jah works [Can’t stop Jah works].

Dem can’t stop Jah works [Can’t stop Jah works].

None of the riches of the world.

None of the riches of the world.

Wi a nuh ice nah fi rob no pearl

You can’t stop Jah works [Can’t stop His works].

Can’t stop His works [Can’t stop Jah works].

Can‘t stop His works [Can’t stop His works].

You can‘t stop Jah works [Can’t stop Jah works].

As surely as the sun will shine.

And even til the end of time

No matter how you see dem bad mind

Dem can’t stop Jah works [Can’t stop his. . .

Taken from Julian Marley's album Awake

Julian Marley @ Myspace

Master Craftsman: The Best Of Jah Mason

As one of the most underrated forces currently in the game, Jah Mason has risen his abilities to amongst the very best in Reggae right now. His rather fiery style of chanting along with a nice ability to channel a variety of emotions into one single tune has been marveling fans all over the world for nearly a decade at the highest level of the business. The 'builder of righteousness' has also been quite active and, by my count, has released ELEVEN studio albums to date. Thus, I submit for your approval the best of that bunch. The best albums of Jah Mason.

#5. Keep Your Joy - Ghetto Technology 2002

Where it all began. The Seattle, Washington based Ghetto Technology swooped down for one release and one release only to my knowledge and in doing so they serviced a large and growing call for a debut album from Jah Mason. What the result of that, Keep Your Joy, CLEARLY featured a version of the Mason which wasn’t as developed as he would grow to be years down the line, it still just as CLEARLY featured an artist who had already come a long way. With tunes like the uplifting title track, Zion Place, Smoke and Lift Up Di Name Jah Mason introduced himself to the international world in a big way on one of the better debuts we’ve seen since the turn of the century.

#4. Rise - Nocturne/On The Corner 2005

Mr. Mysterious. Pick up Jah Mason’s Rise album and flip through the liner notes and it will tell you ABSOLUTELY no more of its origins than what you knew with the plastic wrap still in place. TECHNICALLY speaking, it’s a follow-up to the number one album on my list, in terms of distributor and even vibes. The Rise album had some DARK and CURIOUS vibes in its thirteen tracks. It’s also rather polarizing within the TEENY TINY community that paid attention to it. Luckily, it also had more than its fair share of winners as well. The former disciple of David House FINALLY linked his former mentor Capleton with the title track combination which was well worth the wait. Other tunes like the addictive bouncy I’ll Never Break Your Heart and the similar Them Come Friend You (both featuring singer Zeno) alongside more typical sounding tunes like Gess & Spell and the BIG No More We Slave don’t lift Rise up to the top of this list but make it nearly mandatory to be placed here.

#3. Most Royal - Jah Warrior Records 2004

The prototype. Jah Warrior is a producer based out of the UK and has gained a reputation for working with older artists such as the late Alton Ellis, Peter Broggs and even Prezident Brown but he also had his hand in working with a couple artist from the new generation. Besides an (infinitely forthcoming) album from Lutan Fyah, there was also this underrated GEM, Most Royal from Jah Mason. If you go back and listen to what he was doing on Keep Your Joy then immediately switch your attentions to Most Royal, you can hear so much progression made between the two. This was probably, even more so than the top two albums on my list, the most REFINED he has ever sounded and Jah Warrior gave the Mason his fittingly old school vibed bag of riddims and with tunes like the title track, Rumours of War, the HUGE Rainbow Circle Throne, No Joke and the outstanding closing tunes Request and Saga, goes after them with just as much success as the elders themselves.

#2. Wheat & Tears - Greensleeves 2006

The Showstopper. 2006 was a BIG year for the Mason as it found him hitting the big time after quite a few releases for smaller labels and debuting not for one but for both of the leading Reggae labels at the time, Greensleeves and VP Records. While the VP release, Princess Gone: The Saga Bed, was pretty average in retrospect, the Greensleeves piece, Wheat & Tears was nearly SPOT ON! This was and remains by far his most dynamic and simply listener friendly effort to date as the sounds are just so dynamic and PLEASING throughout. Luckily, Mason was amongst artists like Natural Black, Turbulence, Luciano and most significantly Sizzla who benefited from a WICKED bag of riddims from In The Streetz producer Byron Murray and in terms of quality of albums going through those pieces, he ranks ONLY behind Sizzla (who checked in with the MASSIVE I-Space album for the same label the following year). The SPRAWLING title track, Couple Chalice A Day, the addictive Farmer Man, Mi Chalwa and HEAVY HITTERS Most High and the album topping King of Kings (which has grown on me so much over the years), all highlight the consistently well regarded Wheat & Tears album.

#1. Never Give Up - Nocturne/On The Corner 2003

PERFECTION. Absolutely nothing on the surface of this one would lead someone to believe that it was anything other than just another average Roots Reggae release but take a closer look and listen. On the cover alone, the rather ODD position the Mason takes, seemingly making room for nothing in particular and with a shirt with the word -Hey!- all over; it only belies the REAL attraction to it as you take a closer look and you see various faces hidden behind him including His Imperial Majesty. Listen to the album itself and the music is EONS ahead of “just another average Roots Reggae” album. Never Give Up is, in fact, a MASTERPIECE. Recorded quite a bit in Israel (of all places) with an Israeli musician, Danny Piloni Kark (whose only other big time album credit, to my knowledge was Turbulence’s Notorious album, the COMPLETE POLAR OPPOSITE to Never Give Up in terms of quality) the album is one of the least appreciated HUGE albums of recent times. It had such a DARK vibes that I think it just was dismissed as an average piece without REALLY getting its fair shake at things but it just captures the attentions on each and every one of its fifteen tracks. It’s also the best album Jah Mason has ever did and probably one of the best I’ve ever heard.

Not As Bright As It Used To Be: A Review of Soca Gold 2009 by Various Artists

There is a rather clearly defined level of operation when it comes to those who have been paying attention and those who haven’t been paying attention when it comes to music. I would venture to say that specifically when it comes to Caribbean music this phenomenon would be even more clearly defined as opposed to something like Hip-Hop or R&B as one can’t become even SOMEWHAT informed by simply turning on a television or a radio depending on one’s locale. Because of the still ‘underground’ nature of our music, its still a necessity to do further research (like online) because, even if you happen to live in a place which has quite a large Caribbean music loving community and spins the music quite consistently, there is still that (albeit shrinking) time delay factor in terms of hits emerging internationally which are potentially a month or so old, locally. Now this exists in more than one form because in ‘Reggae time’ that time can exist as the aforementioned “month or so”, however, in Soca, you could be dealing with an entire ‘season or so’ (I.e. A YEAR) of delay. Now, what happens because of this is that there are SEVERAL rather well known products featuring Soca music and Caribbean music in general which operate observing this type of situation and when those products release, they’re often full of material that is WELL spun and heard and they do so especially for those who haven’t been paying very close attention and they generally make it no type of mystery that, that is exactly what they’re doing. And, predictably, as someone who does pay pretty good attention MANY of these things find themselves flying more and more over (or under depending on how you look at it) my head, literally. For (PRIME) example, is the case of the most popular independent annual compilation of Caribbean music, Reggae Gold. Released, by VP Records each and every year for the past thirteen years, is the ‘be all, end all’ of Caribbean music compilations and the STANDARD to which all international Reggae compilations are held. Now, as someone who actually pays attention to Reggae all year-round, the Reggae Gold compilation is pretty much either COMPLETELY USELESS or is useful for a tune or two, here or there and occasionally even it’s a pretty good album (like 2007), but ONLY because of the material that is chosen resonating with me at that time. There are also others such as Strictly The Best from the same label, which does a FAR better job generally and anything you’ll find from Greensleeves for the most part which all, because of one reason or another (if not anymore than the fact that the ‘compiling’ portion of the project actually takes a bit of time), operate in the circumstances that those who are most likely to enjoy what is on them, will probably already HAVE what is on them. Problems.

Now of course there is a Soca Gold as well. Soca, inherently, because its less popular than Reggae, doesn’t have to address that problem on as wide of a scale but, just like Reggae, that problem becomes more and more visible as the music becomes more and more popular. Simply put: The bigger you become, the more people will notice. Fortunately for VP I think Soca music is at least a decade away from that point (and Reggae is about five years away) where EVERYTHING they draw to put on the SG album will be internationally big already. Unfortunately for VP, I personally have apparently reached that point and what has been one of my favourite annual compilations for quite awhile, within simply the past two years has become one which I look forward to not so much because, even more so than Reggae Gold, I already pretty much know how its tracklist will look at the end of February, several months before its actual release. And, just like Reggae Gold, I probably won’t be as dedicated to picking it up in future years because of it. Last year, Soca Gold 2008 was built on what was, in my opinion, one of the strongest musical years for Carnival from since I’ve been paying attention to Soca full on and, in retrospect, it was kind of surprising that the album wasn’t as strong as I feel that it could have been. Part of that would definitely be the timing of the matter as Soca Gold is released in the early summer it, for the most part, misses out on anything in that given year that is not TRINIDAD Carnival. Of course, Trinidad’s is the biggest and the BEST, but SERIOUSLY, shooting off throughout the Caribbean in 2008 were BIG vibes from almost every island. So of course that would be reflected in next year’s edition right? Well, next year’s edition is here as we now take a glimpse at VP Records’ Soca Gold 2009. I paid EXTRA close attention this year, even better than last year, I went and had an EXCELLENT time but I would have to admit that the music, in and of itself, was a real letdown following last year. The highlight, of course, was Mrs. Bunji Garlin, Faye-Ann Lyons who DOMINATED the season in pretty much everyway that one could dominate it; taking her second consecutive Road March title (quadrupling her next closest competitor) and her very first Power Soca and Groovy Soca Monarch titles as well on the same night, highlighting what will undoubtedly be regarded as one of the most POWERFUL seasons by one individual in recent years. Now, throughout the years of the series (which is just one year younger than it’s sibling RG) there have been some WORLDCLASS omissions which always confuses me to a degree because one would think that VP being. . . VP with the deepest pockets in this particular business, they would be able to license these tunes for their industry topping Soca Gold album. Not the case. 2007, marked the very first time that Soca SUPERSTAR Destra Garcia made an appearance on a SG album; over the last couple of years since 2005, SUPERSTAR Road March contender/winner Machel Montano has been absent; the same could be said for the equally qualified Shurwayne Winchester also as well as a whole heap of tunes from artists who just haven’t been here (and thus, not internationally introduced as much). But, Soca Gold 2009 definitely isn’t a FULL lost cause and does offer its fair share of genuinely BIG tunes and a few surprises (one in particular) and is pretty good. . . Of course minus its one RIDICULOUSLY GLARING absence.

First, to that absence - Where is Faye-Ann! It just so happens that the same Road Monarch winning UNDISPUTED Soca Monarch is nowhere to be found on Soca Gold 2009! Neither Meet Super Blue nor Heavy T Bumper appear, making its luster, definitely in the eyes of Soca hardcores (which apparently I am these days), MUCH less bright in just picking up the CD and turning it over. What you will find, however, when you pick up Soca Gold 2009 from VP Records first is a line of some of the biggest tunes (including THE biggest) that you’ll find on the album altogether. First up is an artist who never has had any type of extended stay away from SG (he has only, by my count, missed ONE edition in its history, 2002) Edwin Yearwood with his BIG Handle Ya Bizniz tune which I believe took Bajan Road March in ‘08. Bizniz is BEAUTIFUL music, I do think it’s a LITTLE changed in this version (I may be wrong on that), but regardless, it’s a big effort, especially if you haven’t heard it before. I have, and I still love it. The Trini’s take center stage for the next two tunes and THE Trini, my favourite and supplier of the best tune you’ll find on SG 2009 in specific. Destra’s Bacchanal was a PERFECT Road March choice in my opinion this year but it (like everything else) ran into a juggernaut in Meet Super Blue. But I (of course I’m partial) thought it was better anyway. In either case, if you haven’t heard Bacchanal and you do like Soca, this is SPECIFICALLY why you’ll want to pick this one up. Bacchanal is MASSIVE and it may just be the best of its kind that Destra has done in her entire lovely career (and I think they’ll FINALLY give her, her Road March crown in 2010 anyway!). The album’s finest. Next up is a tune from an artist who I thought probably had the best tune on SG 2008 and you could probably make the case here as well if that tune hit you that hard; Blaxx with Tusty. In 2007, Blaxx was Dutty, last year he was Breathless and this year he was Tusty (I’m predicting next year he’s Hungry, you heard it here first) which was a fitting follow-up to the MADNESS that was Breathless. Tusty has a pounding style that is as addictive as it was powerful and Blaxx is just good for albums like this and he should definitely stick around. Big ending to probably the SECOND best stretch of three tunes on the album.

Even if you took away Handle Ya Bizniz, you could replace it with another strong tune which is even better as St. Vincy’s 2008 Soca Monarch, Skinny Fabulous checks in with his INSANE Head Bad. If you know NOTHING of Soca, listen to this tune, if you don’t like it, don’t even bother with this one, or any other album like for that matter. Soca fans, you’ll love it and won’t be able to sit still. TRUST me. After that really there are only a FEW tunes here and there that I like on Soca Gold 2009. I did like Beenie Man and Bunji Garlin’s combination Plenty Gal and having seen the two perform it together this year, the song is really BIG and I love Beenie for being the one Jamaican artist to CONSISTENTLY represent at Carnival every year and doing combinations with artists all over (including Faye-Ann this year). I also love the two future female superstars Patrice Roberts and ESPECIALLY Zoelah from out of St. Vincy (Trini born) representing with Looking Hott and the BIG Wine Up On Me. Both tunes are SMOOTH and just exceptional from two artists you really should keep an eye on for the future as they both have the POTENTIAL to take Soca to a more popular international level. I also have to mention Beenie’s partner in crime at Soca Monarch, KMC who comes to the series for the first time since 2003 by my count with the well SOLID Yeast which did quite well and is probably the only tune here which has a conscious spin (which is probably why it was chosen) as KMC speaks of all the prices rising in town, like Yeast. Big tune. And after that, it’s MEDIOCRE nation! I don’t know about you but I’m WELL tired of the ‘daggering’ sensation and would have appreciated very much had it not made it over to Soca, unfortunately it caught Jamesy P and an appearance from this very talented artist is WASTED with his unnecessary take on the matter, Soca Daggering (Love Your Carnival or Rogaltic would have been better choices), but I know quite a few who liked the tune, so you may. I don’t. I haven’t heard one solid tune from Peter Ram which I have CLEARLY enjoyed since 2007 I believe and the very popular Tight over the Coconut Tree riddim (which I’m not DISLIKING) is example A. That brings us to Jepp Sting Naina. I LOVE this song sometime and other times it annoys me to no end! The song could was probably one of the most popular on this album from Hunter and company (incidentally, part of that ‘company’ is one Ravi B who should have been here with his BIG tune Doolarie). Jamesy P is the only artist on Soca Gold 2009 twice and the second time is better than the first but its still not a BIG tune to my opinion as he joins Sean Caruth on the decent She Sexy Now which can definitely grow on you to some degree. Both (the lovely) Rita Jones and Lil Rick ‘doom’ themselves by riding the same well worn Coconut Tree riddim (again, if you’ve never heard it, you MIGHT like it, I’m so tired of that thing now, however) for their efforts, Put Some Wine On Me and Bashment Winers, respectively. Things do go out on a high note for SG’09 thankfully with first Kenneth Salick’s HIGHLY ADDICTIVE jilted lover’s tune Radica, which is nearly magic and earned the singer his first Chutney Soca Monarch crown to my knowledge. And ending things is the always strong Bajan singer Biggie Irie who sends us out with his Carnival Again over the famed Tempa Wine riddim from Dwaingerous. Irie doesn’t reach the levels of the riddim’s namesake from Machel & Patrice but, as usual, he gives a fine effort and gives us something (MAYBE) to look forward to on Soca Gold 2010.

Also present is the ‘customary’ DVD which contains the usual special features from all over, the best of which is CLEARLY a video of Destra’s Bacchanal (although, now, even that isn’t so special is it?). And I MUST say that 2009’s cover model may be the best since 2003’s!

Overall, while I fully admit that I have quite a bit to learn on the Soca side of things, unfortunately I may have just ‘outgrown’ this series and I don’t think I’m the only one. Soca music is SERIOUSLY some AMAZING vibes and having it so close these days and being completely unable to ignore it, this album coming around at this time didn’t have a single tune that I not only didn’t hear before it’s release but basically just KNEW as well. However, as I know that now I’m not the type of person it is intended for, I would have to say that as someone who doesn’t know this music, I would probably LOVE IT! But as for me, Soca Gold 2009 may just be my LEAST favourite of the series so far and I guess I’ve just discovered what Soca heads have known for years: the ‘gold’ on Soca Gold definitely doesn’t glisten as bright when you’re used to seeing it. And next year, I might not see it at all.

Rated 3/5 stars

VP Records

2009

Lyrics to Yad The East by Queen Ifrica

How wi say Truck Back [To the world].

A music we say for like, you know.

And we nah beg no friend from the enemy.

A Selassie I wi praise and bun heathen.

Haile Selassie I neva lose a fight yet.

Like how the sun neva witness the night yet.

Darkness neva overcome light yet.

And the wicked neva sew no good seed weh ripe yet.

You neva see Haile Selassie I a hype yet.

And the Man neva biggup wrongs ova right yet.

Babylon say them have the vision but dem no sight it.

But if a credit card dem ready fi go swipe it.

So mi say.

Yad the east or forever hold your peace.

The lioness will overcome blessed is the meek.

So mi say.

High scandal microchip dem a release.

And don’t you see you’re in the belly of the beast.

So mi say.

Rastafari shall set the people free.

Free how you want to, free how you want to be.

Ova land this the Zion ova sea.

Free how you want to, free how you want to be.

Babylon not mi sista, mi cousin, mi bredda.

Wi none related.

And dem associate with, dem a obligated.

And dem war of aggression weh dem dominated.

High society, new technology, system navigated.

Computer world, dem fascinated.

AK-47 dem assassinate with.

Di Lion The Tribe Of Judah dem no waan fi stand with.

They only come to show us hatred.

Then a so di rise of the people get manipulated.

And from di simple things dem a isolated.

If you know the gate will fly then why you hesitated?

One sound from the kette dem eliminated.

Yad the east or forever hold your peace.

The lioness will overcome blessed is the meek.

So mi say.

High scandal microchip dem a release.

And don’t you see you’re in the belly of the beast.

So mi say.

Trample dem, Trample dem, Trample dem.

Trample dem fi real.

And Nyahbinghi man to honour you just buss the seal.

Yo. Pull down the corner cause wi nah go mek no deal.

Run and diss the gully side when light Fyah and you ‘heal‘.

Selassie I neva lose a fight yet.

Like how the sun neva witness the night yet.

Darkness neva overcome light yet.

And the wicked neva sew a good seed weh ripe yet.

You neva see Haile Selassie I a hype yet.

And the Man neva biggup wrongs ova right yet.

Babylon say them have the vision but dem no sight it.

But if a credit card dem ready fi go swipe it.

So mi say.

Yad in the east or forever hold your peace.

The lioness will overcome blessed is the meek.

So mi say.

High scandal microchip dem a release.

And don’t you see you’re in the belly of the beast.

So mi say.

Rastafari shall set the people free.

Free how you want to, free how you want to be.

Ova land and distant Zion ova sea.

Free how you want to, free how you want to be.

Babylon not mi sista, mi cousin, mi bredda.

Wi none related.

And dem associate with, dem a obligated.

And dem war of aggression weh dem dominated.

High society, new technology, system navigated.

Computer world, dem fascinated.

AK-47 dem assassinate with.

Di Lion The Tribe Of Judah dem no waan fi stand with.

They only come to show us hatred.

Then a so di rise of the people get manipulated.

And from di simple things dem a isolated.

If you know the gate will fly then why you hesitated?

One sound from the kette dem eliminated.

Yad the east or forever hold your peace.

The lioness will overcome blessed is the meek.

So mi say.

High scandal microchip dem a release.

And don’t you see you’re in the belly of the beast.

So mi say.

Trample dem, Trample dem, Trample dem.

Trample dem fi real. . .

Taken from Queen Ifrica's album Montego Bay

Queen Ifrica @ Myspace

Lyrics to I Rise by Buju Banton

Hey!

We’ve been struggling!

Still we rise!

Rastaman open your eyes! Yeah!

I rise. [I RISE]

From the concrete. [RISE UP]

Cause the earth was my bed and the sky was my roof.

I rise up. [I RISE]

From the concrete. [RISE UP]

Man was searching to find his bread.

And even though it seems hard I’m going hold up my head [HOLD UP MY HEAD]

Whoa now, whoa now.

And even though it seems hard I’m going hold up my head [HOLD UP MY HEAD]

And if I’m inna want, you don’t know.

If I’m inna need, you don’t know.

My necessities. No cash flow.

Hey, where’s my next meal coming from?

You don’t know.

Jah make a way.

In desolate places he will find our bread.

Be not dismayed, its that powers that guide I from ancients of old.

I rise. [I RISE]

I rose up from that concrete. [RISE UP]

Cause the earth was my bed and the sky was my roof.

Dreadlock rise up! [I RISE]

From the concrete. Lawd. [RISE UP]

Searching to find my bread.

Cause what!

You see my smiling face and you think all is great.

But if you knew the other half!

Then bredrin!

You would laugh!

Man rise. [MAN RISE]

Man rose up from the concrete. [RISE UP]

Cause the earth was my bed and Jah sky was the roof.

HEY!

Bongo man rise up! [MAN RISE]

From the concrete.

Man was searching to find his bread.

And even though it seems hard I’m going hold up my head [HOLD UP MY HEAD]

I’m telling you this now.

And even though it seems hard I’m going hold up my head [HOLD UP MY HEAD]

This time in Iration, man won’t beg!

This time in Iration, hold up your head!

Whatever you want make your sweat shed!

And if you work hard, you will attain your bread!

Whoa! This time hey Natty dread!

Whoa this time!

Man just rise. [MAN RISE]

Man rose up from the concrete. [RISE UP]

The earth was my bed and Jah sky was the roof.

I man rise up! [MAN RISE]

From the concrete. [RISE UP]

Man was searching to find his bread.

But even though it seems hard, I’mma gonna hold up my head!

You see my smiling face so you think all is great.

But friend if you knew the other half.

Then you would laugh!

Man just rise. [MAN RISE]

Man rose up from the concrete. [RISE UP]

Lawd the earth was my bed and the sky was the roof.

I man rise up! [MAN RISE]

From the concrete. [RISE UP]

Man was searching to find his bread.

Oh now, oh now.

And even though its so hard, I’m gonna hold up my head.

Hey! I say! Well even though it seems hard, I’m gonna hold up my head.

Once more!

If I’m inna want, you don’t know.

And if I’m inna need, you don’t know.

My necessities. No cash flow.

Hey, where is my next meal coming from?

You won’t know.

Jah make a way.

In desolate places Buju find him bread.

Be not dismayed, it is that powers that guide I from ancients of old.

Man rise. [MAN RISE]

Rise up from that concrete. . .

Taken from Buju Banton's album Rasta Got Soul

Buju Banton @ Myspace

The Vault Reviews: Saddle To The East by Various Artists

In terms of having access to Reggae music, living in the rather Reggae-remote area in the United States that I did for around a decade or so was probably the worst move that I could have made (although when I left, I was a kid and had NO choice). The state of Michigan was definitely no hotbed of Reggae or Caribbean music in general and really the best part of it, from a logistical point of view, was that it was only around three hours of so from West Indian HEAVY Toronto. That being said, however, my one saving benefit was, of course, the internet which helped me SO MUCH stay in touch with Reggae and specifically Jamaican Reggae. Since that time (the early 2000’s) the internet has certainly become a basically IMMEDIATE source of info (with beautiful places such as the one you are currently viewing), but just a few years ago back then, it served a much different MAIN purpose for me: Tracking down albums. One of the best ways I found to stay in touch was actually buying albums from some of the various online retailers (many of which have since gone, but a couple are still around, namely reggae source), since I didn’t have the ability to just go to a random store and pick up some ANY album as most of the regular stores in that area didn’t stock Reggae so much. Doing this, and the way I did it was to almost buy up anything which attracted me on almost any level, it definitely introduced me to some GREAT talents that I would have otherwise not known just following the local Reggae scene. For example, leaving Jamaica in around 1995 or so, there was an artist by the name of Sizzla who, although he would have been an up and comer at that time, didn’t REALLY make his rise to prominence while I was fully living in the States. Sizzla’s case is a bit different because the FIRST time I actually heard his name I was on an extended stay back in Jamaica but it wasn’t until I got back to the States that I REALLY realized what type of business he was doing on the album side. And while Sizzla’s case is definitely unique, what isn’t so unique is the way I learned of another of my current favourite artists, the DIVINE Queen Omega. I originally heard her name on an internet radio show interview she had done (large up ireggae) and I simply found someone retailing her album and picked it up. Going on a decade later and I’m still a big fan but at the time, I would guess that I was probably the only person in that entire city (and maybe even state) who had owned that album. There were also others who I learned of through picking up albums who I have stuck around with in the years since like Jah Cure (and his subsequent very interesting story), Natty King, Turbulence and a whole heap of others. Having since moved back to the Caribbean, its very interesting that I somewhat nowadays kind of miss the days of buying something almost completely unheard but, that is, of course, because now I hear EVERYTHING.

Two of my current favourites also came to my attentions through my researching and making purchases online and through VERY similar ways, both Lutan Fyah and Jah Mason. In the case of Lutan Fyah, I would hear his name and his music for the first time in 2002 as he was one of the artists showcased on a WONDERFUL and now CLASSIC compilation I checked in that year by the name of Culture Dem from the US based Lustre Kings Productions. That compilation introduced me to a few different artists, but the definitive standout was Lutan Fyah who now easily ranks in my top five favourite artists. Jah Mason would be another who would rank in the top fifteen or so for me and I actually first begin to listen to him through his appearance on quite a few odd and just random compilations and mixtapes here and there but if I recall correctly, my first ‘FORMAL’ introduction to the Mason and his music would have been on a compilation which for me is equally as powerful as Culture Dem (although not as good actually, but definitely not far from it), Saddle To The East from Brickwall in 2001, the year before Culture Dem actually. Brickwall, in an of itself, is quite interesting as, as far as I know, they’re no longer doing business, but when they were they were doing SERIOUS works. The distribution side of it, as far as I know, was actually the brainchild of the LEGENDARY Reggae producer extraordinaire Bobby Digital which would make perfect sense because if you really do the research you’ll find that the actual first distributors of Sizzla’s two MAMMOTH Bobby Digital projects, Good Ways and, of course, Black Woman & Child, were actually Brickwall Records. Not only that, but you’ll also find owned to the label’s credit album releases from Garnet Silk, Jah Mali (the criminally underrated Treasure Box) as well as Determine’s sophomore release Freedom Cry (and if I remember correctly it would have been Digital who helmed the chanter’s first album, Rock The World also, for VP) and an album, Try To Reach The Top, from veteran singer Admiral Tibet. While all of those had more direct involvement from Bobby Digital himself, Saddle To The East was actually worked and produced by Sugar Roy for his Fireball Productions label. That same label helmed quite a few compilations and albums at the time from a variety of distributors (usually Jet Star) and was quite nice and active for awhile (and I believe Sugar Roy still works with it when not pursuing his own artistic goals with partner Conrad Crystal). However, as far as Fireball’s compilations and releases in general go, Saddle To The East was BY FAR the crowing achievement. The album featured three artists taking their turns with kind of segmented style of track listing. Joining the aforementioned Jah Mason (who looks SO young on the cover, don’t?) was Anthony B who was already established at the time and also the downright MYSTERIOUS but well talented Steve Machete. Between the three, what they did here for me was deliver such a nice vibes that has, as a collective, become one of my most prized GEMS of an album in my entire (OBESE) collection. The album not only virtually introduced me to two new artists, it solidified my faith in another and provided just a LOVELY LOVELY vibes in the process.

As I said, the way the album is structured with each artist taking a block of it’s fourteen tracks to themselves. And although, in retrospect, it wasn’t necessarily packed with the BIGGEST of tunes (in terms of popularity), there are hits here and there and just generally very SOLID material throughout, without any bad or even average tunes. The first of the three to take his turn and getting things going on Saddle To The East is Jah Mason. This was just prior to the release of his debut album, Keep Your Joy and was the most concentrated bit of his work on just one record at the time. His first tune is the WICKED woman tune Dem Love [Me] over Sugar Roy’s relick of the African Beat riddim (originally a Studio One remix of an old German diddy apparently) and it definitely shows the more aggressive style of the Mason with more of a focus to the power and less to the actual wording of the tune. Nevertheless, nice start. Up next would be quite the controversial tune I imagine had it gotten more press, Dem Gone. The tune, lyrically speaking, is one aimed at uplifting the Women of the world (and unlike the opener, not at the hands of the Mason himself, but in general) but he does it at the fault of those who maybe don’t necessarily have eyes for the women (who he says is GONE). Thankfully, its not something he actually harps on and he focuses more on the Empress. The results of that is a very GOOD tune and it should be as it is afforded the SWEET and TIMELESS old Techniques riddim, I’m In The Mood For Love. The Mason’s final three selections amount to what is, in my opinion, CLASSIC Jah Mason tunes. The first up is the POUNDING Nah Lef Mi Woman, definitely one of the biggest Dancehall tunes on the album (I don’t know the name of that riddim, but its MAD!). Fire is simply the biggest effort that you’ll find from Mason on Saddle To The East and one of the best on the album altogether. Apparently he agreed also as it is the only holdover from STTE to his eventual debut album, Keep You Joy from the following year. The final Mason track here is another of my forgotten favourites, Life Too Precious over the old (ADDICTIVE) Kuff riddim. This one has the crazy old dusty sounding Dancehall vibes to it and I love it! You will also.

Steve Machete is up next and he would definitely be the artist who I thought would do so much more but didn’t materialize up to his potential in recent years, although thankfully he is still recording so far as I know. My introduction to Machete and his introduction on this album comes in the form of the MASSIVE repatriation anthem, Hurry Home. That tune is BRILLIANCE and is my choice as the single best tune on the entire album! Next up is a tune which doesn’t quite reach those levels (duh) but definitely holds its own, No Comfort Stool. This tune speaks of the overall discomfort that we all face in the world and how important it is to neither become so comfortable with your situation and to remain aware at all times. Ghetto Youth Cry is a very nice selection explaining the trials and tribulations many of our youth face in their everyday lives in the corrupt system and how they often feel as if they have no way out. It is so well CHANTED that you have to recognize it’s strength even before you go at it from a lyrical perspective and when you do go there with it, lyrically, you’ll be even more impressed. Lastly, Steve Machete comes with what is his second best tune on STTE, Ethiopia, over the same I’m In The Mood For Love riddim as the Mason’s Dem Gone. Machete, arguably, does an even better job with his piece for the riddim as Ethiopia is certainly a cool social commentary simply not to be missed. Keep an eye out for Steve Machete as he has seemingly become a favourite for FINE German imprint Pow Pow as of late and appears on a couple of their most recent compositions.

Batting cleanup on Saddle To The East is Trelawny superstar Anthony B. I’ve struggled with thinking of why Fireball would have included Anthony B and not someone else like Michael Fabulous or another of the more unestablished names who they were voicing at the time but I’m sure Anthony B’s mere presence on this album has sold them more than a few copies. His first effort here, Heavy Like Lead, was one of the bigger hits which appear on the album and is a WELL solid tune as is most of his material actually. Next up is without a doubt the biggest hit of any of these tunes, Good Cop [Bad Cop] which also comes across the African Beat riddim and was probably the biggest hit on the rebirth of that riddim as well. It also happens to be one of the strongest tunes altogether on the album just as it was when it attracted the attentions of VP Records who also included the tune on their 2003 release from the artist, Street Knowledge (might’ve even been the best on that one in retrospect) and is his best effort here as well. Anthony B also goes on to have the only combination on Saddle To The East with the tune Universal Joy, which features the aforementioned Determine. This tune is just HIGHLY INTENSE and one which you might not have imagined to hear on an album like this but it definitely shines here and in retrospect I don’t think I’ve heard it on any album since then all these years later. Determine always was a good artist on combinations and Universal Joy was certainly no different. Anthony B’s set as well as the entire album comes to an end with the social commentary Raise A Pay as he too takes the I’m In The Mood For Love out for a spin. This is one of the signature tunes on the album to my ears and definitely one which I’ve spun a great deal over the years and I think it actually did a bit of damage as well. Regardless of its level of popularity, the tune is big and a very fitting way to end matters on Saddle To The East.

Overall, as I said this was a big release for me. My only even somewhat technical critique is the fact that both Anthony B and Jah Mason have five tunes on the album and with fourteen in full, that leaves only four for Steve Machete. This one definitely has ’collector’s item’ written all over it and with Machete appearing on so little actual projects since and in full I would certainly recommend it for those seeking to find more about him. Even if you’re not and you just want more Mason and Anthony B material then pick this one up. . . Really if you’re a fan of modern Roots Reggae and you don’t already know these tunes, you have NO REASON not to track it down. Although Brickwall’s catalogue, for the most part, remains woefully under circulated and surely not digitally at this point (although it seems to be on their website), Saddle To The East has remained well circulated and you might even be able to find it at this point with a bargain bin type of price on most online retailers. This album has remained one of my favourite compilations of all time, I absolutely love the thing and it wasn’t a bad pick up all those years ago. I HAD SKILLS!

Rated 4.5/5 stars

Brickwall Records

2001

Modern Classics Vol. 1: Phantom War by Lutan Fyah

This is a new thing I'm doing, showcasing some of the albums of the current era that I feel are, above all others but themselves, CLASSICS. Too many times we think of that word 'classic' with nothing but a old school or just flat out OLD connotation but if you REALLY think about it, we have classics being produced today and years from now, they'll be regarded as such. I'm just getting a head start. I will briefly recap/review each tune on the album and at the end seek some type of conclusion within them.

{note: Only albums that qualify will be those released after the calendar year 2000 ended}

Lutan Fyah - Phantom War (Greensleeves Records, 2006)

Back in 2006, a year which featured big time releases such as J.M.T., the long awaited second Greensleeves studio album from Vybz Kartel, Sizzla Kalonji’s Waterhouse Redemption, Busy Signal’s debut album Step Out; another line of HARDCORE modern Roots from both Norris Man and Natural Black with Home & Away and Far From Reality, respectively; HUGE international albums from Buju Banton (Too Bad), Beenie Man (Undisputed) and [Baby] Cham (Ghetto Story) and the incomparable Tanya Stephens’ Rebelution album, a rather surprising entry was the one who took the title as best of the year. Lutan Fyah’s Phantom War was an absolute PERFECT modern Roots Reggae album.

#1. Plant A Seed (I & I) - Produced by Anthony Martin (bka Lutan Fyah)

Essentially an acoustic intro (and an outro, more on that in a bit), the self produced Plant A Seed is more or less a BIG chant to set things going, which it does wonderfully.

Line of the song: “I’m reasoning with the God of Isaac, Moses and Jacob”

#2. Blood Stain - Produced by High Fence Recordings

This POUNDING tune was one of the highlights of the album and has remained one of Its more popular selections down the line. The song speaks, metaphorically, of the evidence pointing to who is REALLY at fault with much of the violence in the world.

Line of the song: “The same youth you know turn drunken fool, slew you for the dollar bill them playing by the politician rule”

#3. Wi Nuh Gangsta (Fighting For Equal Rights) - Produced by Stephen ‘Gibbo’ Gibbs

Definitely more than a bit of an edge to this one. Wi Nuh Gangsta stresses the role of the Rasta in the worldwide community as some have gotten it twisted (as some have twisted it). As he says, the goal is to fight for equality, not be gangsters and gunman (MUNGA!).

Line of the song: “Why can’t we all come together and set a better trend and put away the differences, we all can be friends”

#4. Rasta Still Deh Bout featuring Josie Mel - Produced by Brotherman (M7F5)

Call it the greatest thing Brotherman and his Minor 7 Flat 5 imprint have given the world. Rasta Still Deh Bout was MASSIVE! The case can legitimately be made that it greatly helped establish both Fyah and Mel (although Mel less so) and in doing so provided so many people with a musical translation of a very common situation as it detailed the family and friends reaction to one coming into sight of His Imperial Majesty. BRILLIANT.

Line of the song: “Go tell them say Rastaman been yadding this across the ruins of creation. No got no time, no date, I got my destination. Say King Selassie I need no duplication, so welcome to Rastafari Nation!”

#5. Phantom War - Produced by Patrick Henry (Loyal Soldiers)

A rather odd choice for the album title, although it did kind of sneak up on the masses. This BIG stepping tune factually sets the tone of the album and at the same time begs the question: What is this Phantom War? Fyah’s Phantom War is one which is against a known but nameless and faceless opponent: The war of poverty and crime, waged in the ghettoes of the world which really only has one casualty: The poor.

Line of the song: "How could you say we got no reason to live? You give us no hope, no chance nor no privilege”

#6. Bits & Pieces - Produced by Pow Pow Productions

The Blaze riddim had the perfect blend of CRISP Roots production and downright frenetic and urgent pacing for such a tune and Lutan Fyah used it better than anyone not named Richie Spice. Bits & Pieces urged humility and COMMUNITY in a very unique way. Lyrical mastery by its end.

Line of the song: THE ENTIRE FIRST VERSE!

#7. Wipe Those Tears - Produced by Ancient Mystic Music

To my ears, Wipe Those Tears is the finest tune you’ll hear on Phantom War altogether. Riding Ancient Mystic’s stirring one-drop track, the Hit Man, this song has since become one of my favourite from Lutan Fyah’s entire catalogue (he seems to be quite fond of it as well as it is a staple of his live performance) and is a shot against DESPAIR and HOPELESSNESS.

Line of the song: ". . . Us to be, good not bad. Us to be, happy not sad. We won’t be ruthless or mad, as long as I know there is a God”

#8. Mother Earth’s Healing - Produced by Ray Stephenson (Vertex)

A SWEET but almost overdone (intentionally) riddim backdrops this tune which is an uplifting tune for the Earth itself of MAMMOTH proportions.

Line of the song: “It’s a very good feeling to till the soil, plant the herbs, sew the seed, watch the tree as it grows. Mother Earth is the healing, she’s always ready to feed her children”

#9. Screaming For The Poor - Produced by Kemar ‘Flava’ McGregor (No Doubt)

At the hand of the master. Screaming From The Poor came in over McGregor’s MASSIVE Triumphant riddim and the tune was a lyrical triumph for sufferers all over the world. It painted such a bleak picture but the combination of that downright ENCHANTING riddim as well as Fyah himself offered a glimmer of hope.

Line of the song: "Nuff youths walk the streets, confused and perplexed. They never know what’s coming up next"

#10. U Left Me - Produced by Yahbell

Across a smokey and ADDICTIVE old school vibed one-drop, U Left Me saw Fyah playing the jilted lover to some apparently WONDERFUL woman. We’ve all been there at one time or another, excellent capture of that emotion.

Line of the song: “. . . me and you together makes sense, at least that what you showed me. Yes, I’d rather to be alone than to be lonely”

#11. Reflections - Produced by Dwight Heslop (Zionic)

A much happier (and a little better) lover’s tune. Kind of set up nicely here as the aptly titled Reflections is a reflection of a not so happy moment (like U Left Me) and is one SWEET vibes, showing the necessity of a Roots artist to be just a small part Mr. Lover Man as well.

Line of the song: “With all those aches and pains, I thought you didn’t need a friend. Now you’ve found yourself wandering back into my arms again”

#12. Learn The Hard Way - Produced by Al.Ta.Fa.An.

Back to the bad times again! Apparently having entered the relationship portion of the album, Learn The Hard Way once again finds Lutan Fyah going through a tough time (not as tough as on U Left Me, however) with his special lady. This tune, for me personally, is actually more about persevering as it doesn’t exactly paint a COMPLETELY gloomy picture, instead one that can ultimately be repaired (perhaps because it comes over a riddim, the Tsahai, reportedly named after Fyah‘s own daughter). BEAUTIFUL.

Line of the song: “You say you love me, take time to know me. Make sure you make the right choice”

#13. Rich Little Ghetto Girl - Produced by Kurt & Andre Riley

The most beautiful woman I have ever met in my entire life thinks that this song is the best on the album and I’m not arguing with her (because she might make me sleep on the couch) because its VERY good. Once again on the good side, Rich Little Ghetto Girl finds Lutan Fyah just jovially espousing on the wonderfulness of his woman. A girl from the ghetto who has everything she could ever want. Big tune. So says my wife, so will you.

Line of the song: “Fi a stick in the bucket she nah bend!”

#14. Bet On It - Produced by Gambling House

Having successfully mended his relationship woes, Lutan Fyah once again brings back the EDGE on Bet On It, one of the most underrated tunes of Phantom War. Bet On It almost has a freestyle quality to it as Fyah addresses a wide range of subjects with really not one unifying general topic. The trick to it, however, is here: EVERYWHERE he goes on the tune he goes skillfully, with precision and without missing a beat. AT ALL. Big tune.

Line of the song: “You can bet on it, say we no freak, we not geek. The wicked ahgo get it when we rise it!” (and the entire second verse)

#15. This Fire - Produced by Robert Mais

Keeping with the edginess and the aggressive style, This Fire comes in with a haunting style of chant at times which serves as a big uplifting vibes (haunting and uplifting at the same time). The tune is one wishing for everyone in the eyes of poverty and corruption to not lose hope and not lose the PASSION, metaphorically represented by ‘This Fire’. Another piece of lyrical BRILLIANCE.

Line of the song: “Whenever them approach you with them pretty talk. Just smile and say “blessed love” from the heart”

#16. Still Deh Deh featuring Mark Wonder - Produced by Al.Ta.Fa.An.

WICKED! Still Deh Deh was ridiculously overlooked but to me its every bit the tune that Rasta Still Deh Bout (which was a hit) proved to be. Mark Wonder and Fyah make a wonderful combination and they’ve worked together in other situations for other tunes (I think always for Al.Ta.Fa.An.), but never to this level. The tune just goes to point out how little is ACTUALLY being done despite who says what, poverty still deh deh. A really CRUCIAL tune on Phantom War (more on that in a minute).

Line of the song: “No matter the pain and stress, yes, Jah bless the youths dem who keep striving for happiness”

#17. Turbulent Time - Produced by Judi K (Old Capital Records)

What a sweet piece of riddim was the Rasta Pickney which backed Turbulent Time. The tune slows things down a bit but doesn’t take any of the necessary ‘spirit’ of the track down even a single notch. The tune outlines the mission for overcoming the negativity in the world to the most minute of details.

Line of the song: “Mi no fraid them guns, them bombs and scud missiles!”

#18. Snares Of Death - Produced by Gregory Williams (Enrapture Productions)

What starts off sounding like a lover’s tune quickly develops into a conscious tune (when that organ kicks in) to uplift the masses. Quietly, its one of the best tunes on the album, but lets keep that between me and you.

Line of the song: “Step away from them snares of death, don’t be lost in cyberspace, Babylon internet” (OOPS!)

#19. Plant A Seed (Reprise) - Produced by Lutan Fyah

Completes what began wayyyy back on the (minute shorter) opener. All together, it’s a LOVELY chant for His Majesty and an excellent way to began and end things.

Line of the song: “I’m reasoning with the God of Isaac, Moses and Jacob”

Synopsis: Going back to the title and the title track: It’s clear that the Phantom War album (which, oddly enough, didn’t have an executive producer credited, although I’m almost certain (with the number of different track producers being so high in the 19 tracks with only Al.Ta.Fa.An and Fyah himself taking credit for more than one tune, two in both cases) that Lutan Fyah himself would be said executive producer) focuses on the war of poverty and just the general struggle that so many in the world face. Its to that theme that I say that track #16, Still Deh Deh, is so important and especially from a lyrical standpoint as it gives something more TANGIBLE speaking at the time (and of course now) that in spite of all of these so called things like programs and charities being done, the shit is still there and the shit is thriving! Also with tunes like Rasta Still Deh Bout and the relationship tunes which don’t exactly fall into the line of sufferer’s tunes are still very important to making the album what it is because it shows that in that picture there is still life. There are still family problems, there are still relationship problems and there is still DIRECTLY a way to His Majesty which so many of these same youths being talked about in tunes like Still Deh Deh and Phantom War are finding. At the end of the day, Lutan Fyah’s Phantom War was a 19 track POWERHOUSE of an album. It was and remains one of my favourites of all time and is a MODERN Reggae CLASSIC!

Lyrics to Sufferation by Messenjah Selah

Another day inna di life no easy at all.

Everyday the ghetto children dem a bawl.

Ends nah meet like north and south at all.

Sufferation!

Too much hand to moouth.

Dis ya situation!

I got to get out.

Sufferation!

Tired of the hand to moouth.

Dis ya situation I got to get out.

Everyday prices a rise like the sun.

While the value of the dollar going down.

You don’t want to increase the poor man’s income.

Then it woulda decrease the starvation.

You hit us in the pocket to keep us in the slum.

That’s why the youths a pop them ratchets and a bust them guns.

Mama can’t feed me what she want.

She have to make me what she need.

Til betta come.

Sufferation!

Tired of the hand to moouth.

Dis ya situation!

I got to my best to get out.

Sufferation!

Tired of the hand to moouth.

Dis ya situation I got to get out.

The system put the people inna shackle.

Finding a job is like fighting a battle.

Two and three jobs some people a juggle.

Dem no waan we live comfortable.

No money, no food, no pot caan bubble.

Baby a cry mama can’t make a bottle.

Every mickle make a muckle, give thanks for the little.

Don’t lose the faith inna the struggle.

Sufferation!

Too much hand to mouth.

Dis ya situation!

I got to get out.

Sufferation!

Too much hand to moouth.

Dis ya situation I got to get out.

Independent.

Self sufficient is the way to live.

Hands to mouth mean nothing to save or give.

They’re still taking advantage of the poor and underprivileged.

It seem like we working just to pay bills.

Can’t afford a vacation to relax and chill.

Through poverty, people no stop get killed.

Jah!

Mi ah ask if its your will!

Sufferation!

Too much hand to mouth.

Dis ya situation!

I got to get out.

Tired of the sufferation!

Tired of the hand to mouth.

Dis ya situation!

. . .

Prices a rise like the sun.

While the value of the dollar going down.

You don’t want to increase the poor man’s income.

Then it woulda decrease the starvation.

You hit us in the pocket to keep us in the slum.

That’s why the youths a use them knife and a bust them guns.

Mama can’t feed me what she want.

She have to bake me what she need.

Til betta come.

Sufferation!

Too much hand to mouth.

Dis ya situation!

I got to get out.

Dis ya sufferation!

Tired of the hand to mouth

Dis ya shituation!

I’ve got to get out. . .

Taken from Messenjah Selah's album Breaking Babylon Curse

Messenjah Selah @ Myspace

The Prime Example: A Review of Montego Bay by Queen Ifrica

I would say my case is very similar to pretty much all youths who grew up around the time I did in the 1980’s and 90’s in Jamaica in that we all at least entertained the notion of becoming a music artist at one point or another. Coming through a place which is probably the most musical place in terms of how much is produced against how many people there actually are, for a very young an impressionable person you simply can’t escape the allure of what has to be regarded as one of the (if not THE) most fascinating professions and lifestyles in the entire world, that of a Reggae artist. In my time probably the most influential artist that there was, was Beenie Man at that exact time (although, through the course I followed, I would probably say Buju Banton had more ‘literal’ influence on me, that was, of course, pre-Sizzla time). Beenie Man, along with a few others such as Spragga Benz and General Degree and even Shabba Ranking, to an extent, so fully PERSONIFIED what the Dancehall was and as someone at that young age, so FAR removed from the glitz and glamour of that world for the most part and virtually ‘tucked away’ in St. Ann, seeing that type of stuff was highly addictive and attractive. There were also others such as the aforementioned Buju who DIRECTLY played two different roles for most people who listened to him as he went from next superstar Dancehall bad boy to young and downright REGAL Rastaman almost over night and ESPECIALLY Mad Cobra whose tougher than tough persona almost gave him a super-hero appeal to me; who I also looked up to and wanted to be like when I grew. I would definitely say that with what we had at that time, in terms of Dancehall, we were better off than a youth growing in Jamaica today being influenced today by the same glitz and glamour as all of the lights simply tend to do is blur the sights of the ever present gun. And when you think about it in terms of time, there have been very few suitable role models to emerge in the Dancehall over the past decade or so and even some of the older ones (such as Mad Cobra and Bounty Killer) have become even HARSHER to keep up with the times than when they first bust. In fact, the only one who comes to mind right now would probably be Assassin who gets more and more impressive day by day. HOWEVER, that being said, I would honestly say that in terms of Roots Reggae music, the landscape of artists seems better for the youths today than even when I was growing because as dark and downright NASTY place as the Dancehall has become, it seems as if certain aspects of the Roots spectrum have become less cloudy and objective than they were and we have seen so many nice figures come through that system CLEAN as a representative to young people of what righteousness can do for you, directly and indirectly. Of course the add-on to that is that young people don’t typically have ears for Roots music.

Maybe they’d listen to a woman. In retrospect, when I was growing up there weren’t very many, if any at all, HIGHLY SKILLED female Roots Reggae artists and that has been a rather glaring void in the landscape of Roots Reggae. How times have changed! Last year VP Records brought to the international spotlight one Roots ENCHANTRESS from out of August Town named Etana who was about as SPOTLESS as an artist that currently exists in any genre. They didn’t wait very long at all to offer up the logical follow-up as they signed an artist by the name of Queen Ifrica whose popularity has grown within the same last three or four years as Etana to a degree where she can no longer be ignored AT ALL. Queen Ifrica is simply one of the most powerful, classy and mature artists in Reggae today and she offers an arguably even more solid role model base than does probably all of her male counterparts. ‘Together’ with Etana (indirectly speaking, of course) Queen Ifrica has DEFINED what it means to be a modern Roots Reggae artist for the Women and not only that but has also stood as a nice model for the guys as well as she fully exemplifies what exactly a successful Rasta Empress can be. Ifrica’s own rise to prominence comes with just so much interesting material, not the least of which is that her father is Ska/Reggae legend Derrick Morgan or the fact that she was allowed to the opportunity (which she earned) to grow under the wings of longtime Reggae veteran Tony Flames and his Flames Productions outfit for whom she has maid steady hits in recent years and been a highlight of the Rebel’s AMAZING Rebel Salute show. She has also had the opportunity (which she has also earned) to voice for some of the prominent and simply BEST producers in the world and has scored hits for so many of them as well. Back in 2007 Rebel and Flames Productions released Queen Ifrica’s debut album, the very well received (and packed) Fyah Muma which was one of the better Reggae albums of that year and featured almost all of her big material up to that point and although it was quite difficult to track down for many international heads, it ended up doing quite well (and is now widely available digitally) and it and the material since its release has garnered the attentions of VP Records, the largest Caribbean music label in the world, who signed up the Queen and now delivers her much anticipated sophomore release, Montego Bay. This album has been one of the most talked about and look forward to since they announce the signing of Ifrica and just like with Etana’s The Strong One album last year, VP Records now delivers an album which will DEFINITELY satisfy the anticipations. Montego Bay is an album which, may actually be stronger than Fyah Muma, despite being just a bit more than half its size (which is the ONLY problem I have with this one). The album has a focus to it and more of a DIRECTION which was missing in the somewhat lumped together project that was Fyah Muma (Flames also ‘lumped together’ an equally large release for Rebel himself at the same time, the wonderful I-Rebel). Montego Bay is STREAMLINED and modern Roots magic in its slightly too brief time.

If you haven’t actually had the opportunity to listen Queen Ifrica at this point, I struggle to find an artist to compare her to. The most immediate comparison, of course, would be to Etana or Tony Rebel, but I would say that she most reminds me of a female version of someone like Junior Kelly or maybe even Fantan Mojah as she definitely has quite a bit of versatility and EDGE to her vibes. And speaking of Mojah perhaps no other artist on the current scene would be more pleased by what Queen Ifrica draws to open her sophomore album Montego Bay, the intro. T.T.P.N.C. The tune is a PURE Nyahbinghi chant and one advanced for the popular Pitfour Nyahbinghi. From a technical side, what it actually is a mix of traditional Rastafari chants (one in particular) and biblical Psalms. YOU WON’T FIND A MORE BEAUTIFUL THING ON THIS ALBUM. Period. I get tears in my eyes listening to this chant! I’ve heard variations of this one before (the base of it is a chant called Every Man Have To Know which the Queen has wonderfully revoiced as ‘Everyone shoulda know’ to be less domineering, perhaps, and more inclusive of the Mother) but never voiced by a female and CERTAINLY never one so talented. I have to call it the best ‘tune’ here, its amazing it will wear you out before you even get started really. MASSIVE! The next tune up is the title track and a BIG one at that. The talk about this album beforehand was that it was going for a livication to Montego Bay where Ifrica was grown (I THINK she was born in Kingston) and this was the tune, which I’ve never heard before, just to do that directly. After a very odd and movie-ish type of beginning, the tune ASCENDS somewhere into the stratosphere and becomes one dusty sounding piece of laid back GENIUS and gives a tangible and necessary view of an area often associated with tourism and such, but very full of vibrant culture, for better and for worse. Another big tune. Closing out the opening to Queen Ifrica’s Montego Bay is one of the best tunes on the album and one which was featured on the album’s pre-release EP (Road To Mobay), the HUGE herbalist anthem, Coconut Shell. This tune, for Flames, is just WICKED! It has some old school type of madness going on behind it (you’ll notice a high-tech and souped up version of the famed Satta Massagana riddim) and it features Ifrica grabbing the straight forward DJ style which typically backs her bigger tunes. No exception here! Big opening.

The aforementioned EP, Road To Mobay, was interesting because it featured three tunes, which ended up being a rather generous quarter of Montego Bay. The second tune present here from that EP follows Coconut Shell, the inspirational and UPLIFTING (and just SMOOTH) Lioness On The Rise. This tune, we knew already because it is one of the biggest tunes on Penthouse’s recent Automatic riddim. The tune is a NECESSARY vibes about the Women in the business and in life in general making their way and not being ignored anymore really and if you think about it: How powerful a message is that to send to young Jamaican girls and girls everywhere really? Big tune (“Call me by my name!”)! The other tune on that EP was, of course, Daddy on Kemar McGregor’s BIG 83 riddim, which was a MASSIVE hit for her awhile ago and it speaks to an often ignored subject, child molestation. You could have built a nice EP from any combination of any three tunes on Montego Bay really. Yad To The East is a HEAVY tune in praise of His Majesty over Truck Back’s Springblade riddim. The song has an almost indefinable ‘rough’ vibes with it as it almost comes off like a feminine version of what Capleton does with the long lyrics style if you ever catch him in live performance as it SO EASILY seems to just roll of her tongue. And the message is heavy too, so definitely tune in further than your almost assuredly ‘foggy’ enjoyment of the tune on the surface. Although it was absent from Road To Mobay, having now full arrived at our location, the album’s official first single, the lover’s tune Far Away is present full on. The tune comes across Jamplified’s SWEET Movements riddim and essentially ‘takes the place’ of her last big lover’s tune, Below The Waist (which I think VP was right for NOT including on Montego Bay), to which it is definitely comparable in terms of quality. Don’t Sign I think will be largely underappreciated but it’s such a nice idea for a tune, as Queen Ifrica warns all to be careful when dealing with official things and simply be sure to read contracts and other documents before you sign them and yourself into them (over the old Movie Star riddim). Producer extraordinaire Don Corleon (and Alaine) linked Ifrica to voice their nearly PERFECT Secrets riddim and with it she tells all nasty and corrupt individuals to Keep It To Yourself before flying down Jamaica and you just need to hear the song as it is another which you need to FOCUS because that riddim is angelic! Calling Africa was one of the tunes which I hadn’t heard AT ALL prior to reaching Montego Bay and when it first starts in I was kind of hesitant, but it grew on me definitely especially when Ifrica jumps in. the style here is STRAIGHT DJ and alongside of some very involved backing singers (who are excellent), Queen Ifrica gives a very ‘funky’ and addictive tune about the Motherland of earth. She loads up the singing voice for the next tune, In My Dreams which I think might be ready for American R&B radio RIGHT NOW (of course it won’t get that opportunity) and is a very nice lover’s tune. And Queen Ifrica, somewhat predictably (becoming more and more common these days), ends Montego Bay with a sublime acoustic set, Streets To Bloody. The tune is (DUH) an anti-violence piece and a lovely song, you could just picture her sitting and singing it alone. Excellent way to end things on an excellent note from an EXCELLENT artist on an EXCELLENT album.

Overall, here’s the thing: in my mind I add about two tracks or so (one of them would definitely be Dance Floor) just to get that number up and having been spinning Queen Ifrica CONSTANTLY for a couple of years now, I know she has the material, either brand new or already loaded. However, for what it is, Queen Ifrica’s Montego Bay is MASSIVE. The incredibly hardcore heads (and I’m one of them) MIGHT complain about the lack of new material but I’m not. The comparison to Etana’s The Strong One is obvious and to that I’ll say that it’s at least as good as that one which proved to be an almost consensus Reggae album of the year 2008. Montego Bay is one best Reggae albums you’ll find in the first half of 2009. And coming after big recent drops from the likes of Buju, Sizzla and Jah Cure, that’s saying a great deal. In the grand scheme of things Queen Ifrica is on her way to perhaps leading an entire generation of young girls and boys as an EXCEPTIONAL and inspiring figure. If she keeps making vibes as she has and as on Montego Bay, she might even start inspiring incredibly jaded, old men. Like me. AMAZING! GO GET I!

Rated 5/5 stars

VP Records

2009

Queen Ifrica @ Myspace