Coming Soon Vol. 6.5: For Your Consideration by Lloyd Brown

Okay I know I just did a preview post and I did another sort of kind of coming soon post not too long ago (and don't worry, we'll be back to your regularly scheduled program tomorrow morning) (and not to mention the fact that there're two brand spanking new reviews right there for your consumption, one of which is probably the longest one I've done all year) (biggup Black Dillinger) (I digress), but LLOYD BROWN HAS A NEW ALBUM! This is a ridiculously big deal for all people who have functioning ears. For Your Consideration is the latest creation of the greatest UK Reggae act on the planet, the veteran of veterans and one of my favourite artists the venerable Lloyd Brown. The album, as it's three (or four or five) predecessors Brownie Points, the WICKED Silver and Said & Done, comes via Brown's own Riddimworks imprint and outstanding UK label, Cousins Records. Anytime Mr. Brown brings forth a new project, it's pretty much guaranteed to be a winner and apparently he's brought in a few of his friends including the stellar Chukki Star and the currently soaring Mr. Williamz. So definitely take a minute and pick up For Your Consideration, dropping next week, if you love just ridiculously sweet music with a message (and you know you do).

Lloyd Brown @ Myspace

No One's Sidekick!: A Review of Movin' Ahead by Lorenzo

And think about some of your favourite labels and your favourite producers in Reggae music. If you think about, specifically, how those labels came to be who they are and came to be what appeals to you. In most cases, you’ll see an interesting trajectory which may start with something like ‘Producer A’ decides to become a producer and in doing so he/she aligns himself with ‘Artist A’. Most labels tend to have ‘favourites’ to put it flatly and in the case of newer labels and producers it’s glaringly clear. I could give you quite a few examples of the likes of Don Corleon, who basically had his early successes tied onto those of the one Vybz Kartel, with SO MANY of the DJ’s early hits being produced by Corleon. And now, when you look how they’ve reached the levels to which they’ve come (and having sensed declined recording with each other quite a bit), I think it’s far more than just a coincidence. Also you can look at Stephen ‘Di Genius’ McGregor. While his own personal fame has fairly outshined any of his artists at this point (unless you’re counting his Father as his artist) (and I’m not), you also see that his brother Chino, at this point, is tied in with the wunderkind and, by extension, ask yourself what might become of him if Stephen just decided to quit the business today and go and do something else. However, what I’d like to speak on here is a rather strange expansion of this concept. To use, again, Corleon as an example: Of course you recall Kartel and Corleone vibing together and making a steady stream of hits, but do you remember Wayne Marshall and Corleon doing the same thing? Are you paying attention (you DEFINITELY need to be) to the WICKED Bramma De Bomba, who also records with McGregor (and is, in my opinion, leaps and bounds ahead of Chino in terms of actual skill and application of skill at this point)? What about the oft-mentioned Kemar ’Flava’ McGregor? Despite the fact that he is well known for voicing some of the biggest names in the Roots Reggae genre (from all over the world), and even albums for them, do you remember that there used to be a BIG artist by the name of Prestige who used to wonderfully work out each and every one of Flava’s riddims which passed through. At the height of his powers, Stephen ‘Lenky’ Marsden routinely gave shots to a young artist (who I honestly didn’t like) named Zumjay. You can also apply this concept with a bit of historical perspective, which would bring you to artists like Prince Malachi, everyone who used to voice for Main Street not named Red Rat and ESPECIALLY Wayne Wonder. These are artists who MAY not have the biggest of names (but then again, they just might), but they kind of ‘tag along’ to certain producers and eventually gain access to their audiences doing just that. Well it’s time to add another name to that group and this one, Lorenzo, is actually WELL TALENTED also.

If you aren’t very familiar with one of my favourite international labels, French based Irie Ites, then the name Lorenzo, in the scope of Reggae music, may not be very recognizable to you either. However, if you do the well solid label and it’s many WONDERFUL productions, then certainly, you’ve ran into the singer more than a few times through the years. Personally, I first saw his name back on the EXCELLENT 2004 release, Pack Up And Leave from Guyanese chanter Ras Mac Bean, where he had a very nice combination, ‘Forgive Dem Jah’ alongside Mac Bean. Since then, Lorenzo has been afforded nearly EVERY (if not each and every single one of them) riddim which Irie Ites has pushed and, apart from Ras Mac Bean, he’s probably been overshadowed by the likes of Luan Fyah, Turbulence and some of the other well known artists who usually voice Irie Ites’ projects. Well, apparently there is something to be said for perseverance as, even though you won’t find an album produced by Irie Ites in the well discussed pasts of Lutan Fyah or Turbulence (or Chezidek Spectacular whom they also voice very consistently), you’ll now find such a project for Lorenzo with Movin’ Ahead. This album was certainly a (very welcome) surprise to me. I didn’t know that Lorenzo’s music was doing much damage at all for Irie Ites and I don’t remember hearing any of his tunes playing in the Caribbean anywhere or any general buzz about the artist. But apparently in Europe he’s quite the big deal and the anticipation for a debut album from Lorenzo has been quite high (and we give thanks for European Reggae heads). I don’t think I would’ve ever said such a thing, but Movin’ Ahead is an album I probably would have NEVER expected to see though, but it DEFINITELY validates its existence and does so almost instantly. What you’ll find throughout the album is, essentially, a very well done and incredibly compelling and interesting introduction to the artist that is Lorenzo. It’s also interesting and worth noting that the singer, more or less, went through his developmental years voicing Irie Ites projects (in fact, that’s the majority of what he’s done altogether over the years), so what you’re basically seeing in the album is Lorenzo at what is probably his ABSOLUTE best. He knows this material like the back of his hand, he’s been honing his craft at it for years and on the very first tune and through the duration of the album, with nearly every stop, he shows it and then some. Lorenzo is basically a singer (although you could call him a chanter, I GUESS) and I’ve described his sound as being somewhere between the genteel Martian-like tones you hear from Chezidek (more on him in a minute) and when Turbulence REALLY fires up the vocals. Lorenzo is somewhere in there in my opinion and what I learned on Movin’ Ahead (as if I didn’t know it already) is that he also fits into that ilk of artist as a WRITER. Some of the vibes on this album are HUGE, from a lyrical standpoint and although there is well room for improvement (there generally is), for someone who was almost never in that great limelight like several of his peers, Lorenzo now pushes himself into primetime with his excellent debut album.

Besides having the backing of Irie Ites, one of the world’s finest (and most consistent) Roots Reggae imprints, having a very nice delivery and very nice musical sense, Lorenzo also has going for him the fact that he was born in the greatest place in the world, ST. ANN’Z! Continuing a very nice line of artists (and writers **wink wink**) from the magical parish, currently joining the likes of Chezidek, Perfect and Ras Myrhdak, amongst others. All magic which resides on Lorenzo’s debut album Movin’ Ahead begins with what is my choice as the album’s finest tune altogether, the downright MOVING ‘Jah Love’. I know what you’re thinking: ‘Achis, the title is lame and stereotypical. What’s so good about this song???’, well I’ll tell you. It’s LOVELY. The tune brings in such an EMOTIONALLY inspirational and uplifting vibes that it almost catches you off guard. The tune is also somewhat texturally different from a lyrical standpoint as Lorenzo, quite literally, goes through the process of seeing His Imperial Majesty as the source of his own inspiration and motivation by saying on the tune’s punch line “Jah Jah love is like a burning fire, that keeps on burning deep down in my soul”. That’s the feeling that comes with this song and continues in that wonderfully direct manner. HUGE VIBE! The next tune up, the title track, in my opinion a very conceptually fitting followup because it basically expands on the vibe of Jah Love. Her, Lorenzo beautifully declares himself prepared and energized for progression to the next station in life (whatever it may be), “through the powers of The Most High”. The tune also happens to be one of the best and most sonically pleasing on the album named after it and, linguistically speaking, perhaps the clear choice for the album’s title. Lastly, on the opening bit, is another STRONG effort as Lorenzo goes Eek-A-Mouse on the people with the bubbling ‘A Wa Do Dem’ which is one reaching at the frienemies of the world and those unfortunate enough to come into contact with such a person, “a wa do dem, a wa do dem? A say dem a mi friend but we know a pretend, dem a pretend”. This one pulls another very nice vibes, just listening to the song and the powerful message pushes near the top of the class on Movin’ Ahead.

As I said, if you’ve been paying attention to Irie Ites’ projects over the past few years, you’ve definitely become well acquainted with Lorenzo (perhaps even without knowing it) and some of the more familiar material on Movin’ Ahead is also some of the best here. Check ‘Only Solution’ from II’s riddim of the same name from last year. Only Solution is EPIC! This tune comes swaying in with a message that The King is the only solution for the wickedness going on in the world and those purveying such negativity are certain to face HIM one day. Mafia Fluxy laid the musicology for II’s Down In Jamaica riddim (as they do quite often for the label) and Lorenzo’s cut of the piece, the lovely ’Show Some Love’ is definitely one of its best (along with Lutan Fyah’s RIDICULOUS ‘Bad Traffic’, you NEED to hear that song). Right after Show Some Love, again, those similar vibes are reinforced through the antiviolence number ‘Gun Play’. This one comes through (Mafia & Fluxy again) Irie Ites’ relick of the classic Rocking Time riddim (a piece thought to be KILLED as Sizzla murdered it TWICE with ‘We Got It Right Here‘ and ‘Show More Love‘). Gun Play is fairly straight forward and standard in terms of message, but Lorenzo works this one for everything it has, pushing a passion for the vibes and the importance of the song which is simply not to be missed in my opinion. The tune here most likely to get most of the attention is the album’s only combination and another previously released tune, the obligatory herbalist tune, the hypnotic ‘Mr. Officer’ alongside Lorenzo neighbour, the aforementioned Chezidek. Besides being a MIGHTY tune, it also is one livicated to the late and great Mikey Dread and as the tune goes along (it’s nearly eight minutes long) it ASCENDS into this DIVINE dubbed out portion, just as The Dread would have intended. TEARS! TEARS on that tune! I also recognized, clear and far, one of the best tunes on Movin’ Ahead, ‘Life To Live [Love To Give]’ as it isn’t a II production, but instead comes so tightly over Jam’Strong’s Stronga riddim and you’ll absolutely love the bouncing nature of this one, combined with the message, almost guaranteed. And lastly familiar to my senses is the somewhat solemnly vibed, but nearly MASSIVE ‘A So Dem Stay’, over Irie Ites’ rebirthed version of the ‘Strange Things’ riddim (most of these riddims that I’ve mentioned also have albums of their own, nicely, including the Stronga). And as Movin’ Ahead winds down, there is a stretch of four tunes here which were completely new to me, two of which I COMPLETELY enjoyed. The first is actually one which I didn’t know if I completely liked at first, but it’s well grown on me, ‘Need My Lady’. On a cursory glance, the song is one which is, again, kind of a fair and standard lovers tune, but I think it’s better than that now. It’s a very well done vibes and each time I listen it I get something more out of it (and my wife LOVES this song). ‘Call Me’, I don’t like much. The tune is kind of a dark and murky sounding Dancehall/Hip-Hop tune of sorts and I don’t necessarily have a problem with such a thing, but this one really just doesn’t go anywhere (what I think would have helped would have been like the addition of a Dancehall artist, so Lorenzo wouldn’t have had to vibe the entire thing by himself). I’m also not completely sold on ‘The Way They’re Living’. This one is a Hip-Hop sounding tune, but lyrically, it’s pretty impressive (it even features one of the lines of the entire album when Lorenzo says, “they see progress and wanna break it up. When The Lion HIM a sleep, don’t wake HIM up!”) and I can well see myself enjoying the tune mightily in a month or so. And finally there’s the Nyah drum infused ‘Bless Me Jah’, which is OUTSTANDING! This is EASILY one of the best tunes on Movin’ Ahead altogether (and should you want to call It THE best, I won’t argue across that). The tune doesn’t shatter new ground or really go in much of a new or ‘revolutionary’ direction, but it just sounds so nice and is, at it’s core, so quietly passionate about the subject at hand (kind of like Lorenzo himself) as the singer calls on for a blessing for the future and with vibes like such, it’s one he’s sure to get.

Overall, yeah, you want this album. Ever since I’ve heard about Movin’ Ahead coming forth, I was very much so looking for to it, because it just seemed like such a wonderful IDEA from the guys at Irie Ites to push at this point. Again, Lorenzo has just kind of been ‘hanging out’ with the label for a long time and he hasn’t been that ‘all star’ performer, but much more like a utility player or a jack of all trades, which is, quite often’ just as important and that resonates THROUGHOUT Movin’ Ahead. Of course, that’s not to say that Lorenzo can’t be that all star (or that he isn’t that already, for that matter), but I still kind of appreciate it even more given the set of circumstances I think. Lorenzo is an artist who has well served his time in the shadows and hopefully Movin’ Ahead is a sign of more future roles for him in the spotlight. If you’re like me and are a heavy fan of modern Roots Reggae, after spinning through this album, you’ll be ready to drag him into that light, even if he doesn’t want to be there. Very well done.

Rated 4.20/5

Irie Ites

2009

Lorenzo @ Myspace

{note: review is done on the digital version of the album. Reportedly, the actual disc has 3-4 more tunes, so you may want to see if you can find that. If you do choose that route, don't email Irie Ites asking them how to find it, because you will NEVER get a response! EVER!}

{note 2: thank you}

Coming Soon Vol. 6

Coming Soon

Perfect - French Connection [Tiger Records/Chalice Palace Muzik]

First up is definitely an album that I suddenly find myself VERY much so looking forward to as it marks the return of one of Reggae’s most interesting talents, Perfect. Following the disappointment that was Karma, the king of the Chalice Palace is set to return on what many are calling a potentially HUGE album, French Connection. The album is (probably) so named because it finds Perfect linking with French born, Jamaican based producer Sherkhan of Tiger Records, who has been responsible from some BIG singles from the ST. ANN’Z born chaotic chanter. Expect to see STRONG singles like ‘Son Of Jamaica‘, ‘Trinity‘, ‘I Have A Dream’ and the most recent drop, ‘Absolute Blessings’ across Sherkhan’s lick of the Night Nurse riddim and featuring none other than Sizzla Kalonji alongside Perfect. I don’t actually know when French Connection is coming, but I cannot wait to take it for a spin.

Rated Potential: 4.75/5

Strictly The Best Vols. 40 & 41 [VP Records]

Is it that time already? You look up and the year’s almost over, you’re getting pretty close to halfway through November and that means??? Yep. It’s time for Strictly The Best! Things aren’t simply that cut and dry, however, as it does bring in the rather surprising site of TWO editions of the series ride this year. After last year, which only ran StB Vol. 39, and with VP maintaining the compilation releases of Greensleeves (both The Biggest Reggae One-Drop Anthems & The Biggest Ragga Dancehall Anthems 2009 were recently released), it would seem as if StB would make a single appearance again this year. But NO, the series returns to its usual ways of giving fans two very different releases. Volume 41, the Dancehall half, is pretty standard, featuring the expected names of Kartel, Mavado, Beenie Man and Ele, pretty much what you would expect (although I was surprised to see Wasp on board). But the lovers/Roots piece, vol. 40, is VERY impressive. Besides the expected likes of Beres Hammond, Etana and Queen Ifrica, listeners can expect HEALTHY additions from a very varied ‘supporting cast’ featuring the likes of BUSY SIGNAL (going Phil Collins on the people with ‘One More Night’ which is sensational from the only artist appearing on both installments and he may have a nice argument for having the best tune on both projects), series favourite Bitty McLean, JOHN LEGEND, Greensleeves signee Gappy Ranks (big tune, ‘Heaven In Her Eyes’), BIGTIME up and coming soulful singer Sherieta and smooth Dutchie Maikal X (another BIG ARTIST!). StB 40 this year is the main attraction and may just prove to be THE lovers rock compilation of 2009.

Rated Potential In Full: 4/5

Releases on November 24

Michael Prophet - Gunman [Greensleeves]

And lastly this week: It must be pretty nice having EVERY SINGLE ALBUM EVER MADE at your disposal and while VP/Greensleeves may not have that (yet), they’re pretty damn close and they have the ability to just roll out with almost ANYTHING! Well, now they pull a LOVELY rabbit out of their hats with Michael Prophet’s EPIC Gunman. It’s going to get a nice new gloss on the cover, probably some pretty liner notes, a mix here and there and a remastering session to die for and it’ll be in your players and you’ll be loving classic tunes like the title track, Hold On To What You Got, Upside Down, Love & Unity and Here Comes The Bride. You know what it is, look in your collections, if you have it - whatever, if you don’t - you should.

Rated Potential: 5/5

Releases on December 8

In Stores Now

2 Drop Riddim [Minor 7 Flat 5]

Just when you thought they were gone. . . I’ve been very critical over the past couple of years or so of Minor 7 Flat 5 because of the fact that they made a base of riddims and then spread those riddims out over about 400 albums or so, refreshed the base and made about 50 more and because they haven’t release anything in about two years, well I just figured they were gone. I was wrong. Apparently label head, Brotherman, was just retooling and now he’s ready to roll out again and is doing so with the 2 Drop Riddim. Make no mistake about it: I was critical of them because of what their business model seemed to be, but you can’t be a fan of modern Roots Reggae and have legitimate MUSICAL critiques of M7F5 because their work is general on point. The 2 Drop is certainly no different and in its mere six vocal tracks it features label favourites Josie Mel, Turbulence and Ras Myrhdak alongside Beenie, Sizzla and even Horace Andy (biggup Smokie Benz on board also on the very nice ‘Try Jah Love’ alongside Mel). Perhaps this is a sign they their going in a different direction and this riddim album, as NICE as it is (and it is), isn’t just the start of another stream of seemingly never ending artist album releases.

Rated: 4/5

Louie Rankin - Lethal Weapon [Rhino Atlantic]

Speaking of critical: HILARIOUSLY one of the WORST albums I have ever heard, Louie Rankin’s Lethal Weapon has been re-released, so all of you fortunate souls who didn’t grab it up the first time around can make the biggest fucking mistake of your lives and pick it up this time! Lucky you! Feel free to dive into the hilarity at any point as, after that title, you find yourself walking in on a long ass line of love songs! It’s just funny! We always have to give the Rankin credit for being one of the most doggedly determined artists on the mic, but about three tunes in on Lethal Weapon, you’ll wish it wasn’t the case. He should have just threw in the towel on this one. Don’t get this. Please.

Rated: -1/5

Kickoff Records Riddim Albums [Kickoff Records/Zojak Worldwide]

As usual, the bubbling boys and girls at Zojak Worldwide are busy lining up something special and this time they’ve (as they always do) probably struck gold with the catalogue of the young and up and coming Kickoff Records. Regular readers of my blog will know the label because they also pushed the increasingly popular (and coming soon) Rising Up album from Lutan Fyah. Many of their riddim releases feature tunes from that wonderful album and also features the label’s standout artist (who I believe is their official artist), the SERIOUSLY talented Empress Robertha. You’ll also see efforts from nice lesser known artists like Leopard, Fyah Flames (an aggressive female chanter who is well talented) and even House Of Hits artist Emmanuel Stain. My personal favourite is probably the Recharge Riddim which features an all star cast of vocalists alongside Fyah and Robertha (Luciano, Mikey General, Teflon, Gary Minott, Ras Igel and Guidance) and I also, of course, love the Step Up riddim (PERFECT name for that one) which features Lutan Fyah’s EPIC Family Effort (nice tune from up and comer Jodian Pantry also, Pray To The Father). But pretty much (like in most of these cases), the material in digital so pick what you like and you’re certain to like something here.

{note: I only list three, but in addition Kickoff/Zojak also has four more riddim albums, the Green Leaf, the Bed Rock, the Hard Kick & Side Kick and the Lonelinees, True Soul & Joy Bells}

Rated in full: 4.5/5

Shemaiah - Rastaman Meditation [Shemaiah]

And lastly is one that I don’t actually have yet, but I’m VERY impressed by what I’m hearing. I don’t know much about Shemaiah, I think I may have heard his name before (in reference to music, of course), but there isn’t a song which I associate with him. Anyway, just skimming around (and looking for stuff to put on this post), I was very pleasantly surprised to hear the nice musicianship and nice vocals on this one. Lovely messages same way and just nearly INCREDIBLE vibes (now only if some nice label would send it to me so I could review it **wink wink**), so check it out and tell me what you think, before I break down and pick it up myself. Big potential here ladies and gentlemen.

Shemaiah @ Myspace

The Diamond: A Review of Love Life by Black Dillinger

When you listen to as much music as I do, especially these days, you find yourself looking forward to certain things. The first thing I appreciate, almost above any other, is creativity. When you listen to Reggae music and Roots Reggae in particular, hearing ‘Praise Jah’ over and over can become quite strenuous and simply too familiar after awhile, so in that case, I definitely appreciate lyrical creativity. Also, in terms of delivery, I’ll reach a point where I become tired of someone simply energizing a track for the sake of an OBVIOUS lack of lyricism or a lack of vibes in general. So when I hear someone with a dynamic or just a GREAT vocal style, in one way or another, my ears well tune in and I just get downright EXCITED. Still, there is perhaps an even more prevailing sense of creativity when it comes through the obvious sense of an artist merely being him/her self on a track and doing so to their BENEFIT (unlike someone else who may be being themselves, but ‘themselves’ may just be annoying as hell or just BAD). So what you end up with is an artist being creative, because “creative” is who they are, which is wonderful. Of course, the first example of such an artist I draw on is Sizzla Kalonji. Whether people know it or not, the reason that Sizzla is able to stick out in an endless crowd of seemingly similarly vibed artists isn’t just because he’s ‘better’ or that he’s more skilled (even though he’s probably both) and it isn’t because he shouts louder and more often than his contemporaries. It’s because he’s all of those things and he’s all of those things on his own terms. Who else do you know would take a chalkboard scratching sounding falsetto and just sing a song like it’s normal; just a regular thing to do? Sizzla has become a trendsetter for artists the world over in Reggae, and even outside of that community, for making his own rules in a genre which is often viewed as regimented or ‘templated’. Now, I could go on and mention unquestionably WICKED artists such as Lutan Fyah, Jah Mason and Turbulence who have taken a bit of Sizzla’s style and combined it with their own vibes to make their styles, but instead, I’m going to talk about the one name Black Dillinger, who, although he’ll definitely draw comparisons to the wizard of August Town, is an artist who I feel is less taking the idea from Sizzla in terms of how his music sounds and is vibed and more taking the idea of being ONE OF A KIND.

So what’s so creative and original about Black Dillinger? First there’s the obvious: Black Dillinger hails from South Africa. And while the country has made a name for itself in terms of Reggae music (more on that later), it doesn’t necessarily come as quickly to the mind as France, the UK, Germany or The Netherlands when it comes to hotbeds for Reggae music and artists outside of the Caribbean. Still, in my opinion, it is as a result of growing up in the very impoverished and controversial country which ‘afforded’ the artist with a background very comparable to his Caribbean peers. Well, we Reggae fans of the world perhaps should be thankful for Black Dillinger’s youthful hardships as it all helped to created not only a creative force, but one which is just SO WICKED that the artist literally becomes unavoidable to the hardest of hardcore fans in my opinion. Also, unlike Sizzla’s, Black Dillinger’s talent is one which clearly still in the developmental stage and, again, while I hesitate to draw direct tangents between the two (Dillinger has big enough potential shoes to fill already), should he continue to develop along his current and past career trajectory, well then such comparisons may not only be fitting, but NECESSARY in order to show a contrast to his level of abilities and progression. Black Dillinger’s style is one not ostensibly too much unlike the established chanters I’ve mentioned thus far, but in his own nearly perfect way Dillinger infuses HIMSELF into each and every tune, which almost gives his music the quality that very elusive ‘individual creativity’; simply meaning that almost no artist on the planet could make Black Dillinger’s music as good as Black Dillinger! And we, those outside of South Africa actually first caught glimpses of this wonderful artist on his debut album, Live & Learn, which was originally released in 2007 for MKZWO Records. That album was a very nice debut and definitely put the artist on the map, however, for me personally, it was another tune which was produced by the fine German imprint, IM Music, which caught my attention to the South African dynamo. Well, I didn’t have to wait a very long time for that union to prove fruitful as, outside of that OUTSTANDING tune (more on it in a minute), in general Black Dillinger has come to align himself even closer with the label who now pushes the sophomore album for the artist, Let Live (another ’LL’ album). I had actually been ‘spying’ Black Dillinger’s Myspace page for quite awhile and several months ago it said something to the effect of an album was forthcoming. It didn’t have a name (at least I don’t think it did) and it didn’t have a time, outside of 2009, but I was WELL sure to make a mental note to keep an eye out for the artist’s next release having been so impressed by that aforementioned IM Music produced tune and the LUSHNESS which was the Live & Learn album. Now having extensively spun through Let Live, I’m left with the one main observation to which I previously alluded to: Black Dillinger has clearly advanced and developed his skills, even in the brief time since the first album. I still play through Live & Learn quite often, it remains a big album in my opinion, but even on the smallest and minute of levels the substantial improvement Black Dillinger has made is clear. So you take an already assuredly WICKED and DIFFERENT artist and make him even better. What do you think you have? Yeah. Big album.

Checking in at a MASSIVE (and wonderful) twenty tracks, the album is produced primarily by the IM Music camp, Frederic Palzer and Marius Kuhn. It also comes kind of nicely distinguished between the two halves, which is almost convenient for the sake of this review. The very first tune you’ll hear on Black Dillinger’s Let Love album is one of the two non IM Music produced pieces and it’s also one of the best tracks on the album altogether, ‘From A Place’. VAST! I could have a good time writing insanely long articles trying to decipher the base meaning of this BOBBY DIGITAL produced tune, but instead, I just have to recommend it as Dillinger paints a BEAUTIFUL two-toned, two-tiered picture which seems to border somewhere between the ideal and the actual, capturing both worlds EXCELLENTLY! HUGE tune. Next in is the title tune (the first of seventeen IM Music produced pieces) and it arguably outdoes the opener to a degree. This tune really shows off what I mean with the uniqueness of the artist’s style in that it sounds so kind of simple, but when you really vibe it you see how pseudo complex it really is. Again, we find Dillinger capturing both the way things ‘should’ be and how they are, ultimately summing the matter up, in any regard with, “Love life so that Jah can bless you”. And things just don’t get any simpler than that (or do they. . .). The next song on Love Life is the first changeup, ‘Realize’. Lyrically, you won’t find it very different than its predecessors, but the vibes here are this kind of heavy (autotune laced) piece. I initially didn’t like the tune very much, but when you get into the lyrics, the kind of ‘curious’ backing almost seems to fade somewhere comfortably into the background and I really can’t complain. Going through, sequentially, the next two tunes on Love Life are definitely two of my favourites with the second being the best tune I heard on the album altogether. ‘Dem A Pressure We’ is EPIC! I’ve known of this tune for quite awhile (a benefit of checking that Myspace page, I’m sure) and I’ve loved it from ever since the very first spin through as Black Dillinger espouses on those pushing negativity and fighting against not only him, but ALL of His Majesty’s children on the very inspirational vibes. HOWEVER, I still have to give credit where it’s due. The next time the legendary Bobby Digital blesses Love Life, he does so with its greatest bit of output, the MASSIVE ‘One Big Nation’. UNITY IS STRENGTH! This song! Without even getting into the more flaring type of vibes, One Big Nation just goes straight forward and registers on so many different levels, that I literally had to listen it about five times to really get to its strength. Its strength is the strength of the album, it is the best tune here and probably the best I’ve ever heard from Black Dillinger. The very nice lovers piece, ‘It’s All Right’, comes via IM’s very own kind of melancholy Grow With Me riddim from last year and it’s grown on me a little since then (HUGE Sizzla song on that riddim). And my ears literally JUMPED when I heard ‘No More Ur Desire’! I guess you could call it Afrikan vibed or maybe even Creole, but I’m calling it a kind of groovy Soca-ish sounding tune, which sounds AWFUL, I’m sure, but trust that it’s a big song. And I’ll say the same thing about ‘Sexy Girls’ which finds Dillinger getting into the slackness a bit, but really it’s not a bad song actually. The two final tunes of the first half of Love Life, ‘We Will Overcome’ and ‘Humble Yourself’ are two of the best tunes here. The former kind of sheds a bit of light on what is to come on the second half of the album as it features Black Dillinger’s stablemate, the man of a billion styles, Rebellion The Recaller. Such a combination between the two future stars would HAVE TO be excellent and it more than lives up to those lofty standards. Humble Yourself, for it’s part, produced by Sil Gordon (that riddim is DIVINE), may be even better! This one! Dillinger climbs all over this piece to deliver a vibes where he KICKS OPEN THE FUCKING DOOR, welcoming all moved children of Afrika back home! BRILLIANCE!

Now to that second half. You’ll notice that label on the album’s cover which has FIVE pretty large names (including one which, just kind of makes you scratch your head) and then a next who comes pretty close to outdoing the rest, joining Black Dillinger on Love Life, and with only Rebellion The Recaller in the door, that means that half of the second half of the album are BIG combination pieces. The first of them, ’Only Jah Alone’ is probably the one I was most interested in hearing as none other than the brilliant Swiss based Gwada chanter, CALI P. These two artists are probably at relatively the same stage of their careers and they both have so much niceness to offer on different levels and definitely them teaming up to push such a powerful message, To Seek His Imperial Majesty ABOVE ALL OTHERS, should well make an impact and I hope the tune receives any type of push where they’re popular because it should very well do damage and big credit to IM (or whoever’s idea it was) to make it happen! LOVELY song. Next in is some guy name Crosby on ‘Give Thanx’ and just when you figure it’s filler and you want to skip. . . The tune starts and it is absolute MAGIC! I LOVE THIS SONG! Apparently Crosby is also an artist from out of South Africa and I would venture to say that he and Dillinger have known each other from quite awhile because the CHEMISTRY they have is remarkable. Crosby is a bit more of a singer and provides the tune with nice MELODIES and Dillinger comes through with a bit more aggression, but not too much; ultimately coming together to GIVE THANKS. What another powerful tune. The next combination on Love Life, ’Red, Gold & Green’, is special, but even before it starts you’ll be asking yourself questions. I’ve heard rumblings (and actual tunes) here and there that Terror Fabulous was back and doing big material and here HAS TO BE the biggest in awhile from the former superstar as he joins Black Dillinger on the tune. Still there (as it has always been) is the TALENT. Fabulous could probably still ride any riddim and this kind of KNOCKING one-drop doesn’t stand much of a chance in his way. The tune, at its core, is just one about PRIDE and LOVE (and you have to hear the way Dillinger says “Red, Gold & Greeeeeeen”). Beautiful Vibes! Then is the German based Yah Meek, who would seem like he would roll in similar circles, so I was not surprised to see his name here. He joins in on ‘Love For You’. I was never the biggest of Yah Meek fans, but he does make a lovely vibes (with that voice, he almost has no choice) and here, things are no different (I kind of like the bit of back and forth early in the tune between the artists). And lastly is the always ready and powerful Mark Wonder who chimes in on the BIG ‘Binghi Chant’. I’m sure I know that baseline from somewhere, but the tune itself, regardless of the source, is VERY strong and one of my absolute favourite tunes on the album. Mark Wonder has been mining gold as of late and here with Dillinger he keeps things going with the uplifting vibes for the masses. All of that being said, however, one could make the case that the second biggest tune on the second half of Love Life is ‘America’. This is THE tune which I feel is the signature composition from Black Dillinger and IM Music’s time together and it is STRONG! It comes across what was one of the best riddims of 2007, the hypnotic Gangstalaw and two years on, it stings just as tough as it did back then. Certainly things, from a political point of view, are quite different at this point (might we here an ‘America Part 2’ at some point???), but you won’t care. America is HUGE (the man says, “many innocent blood fill up your mouth and stomach)! Check ‘FRIGHT NOT YOURSELF‘. Another big selection. That riddim is almost absent (save from that KNOCK) and it wonderfully allows Dillinger to just go after the flow on the tune and that he does. The punch line of the aggressive tune is “fright not yourself, but the system” and it’s one I don’t think I’ve ever heard before which is an excellent thing (creative, I told you). And just to bookend things. The very tune on the second half of the album. ’It’s Been Awhile (which I think I’ve heard before)’, is outstanding and even though it took ’awhile’ to grow on my tastes, I now see it well mighty, capturing a social and a historical message both being amongst its triumphs. And the final tune on Black Dillinger’s album Love Life is (yep, you guessed it), a Nyah drum backed piece, the poignant ’To The King Of Creation’. It’s almost as if Dillinger is wishing himself and his listeners well for the future. Simultaneously, he’s also giving appropriate THANKS to His Imperial Majesty for blessing him and blessing all so fortunate to here this fulfilling and ultimately EXCELLENT album.

Overall, I alluded to it earlier, but the circumstances surrounding South African Reggae music, of course, tend to begin and end with the late and great Lucky Dube and certainly when he transitioned two years ago, it left such a HUGE and interesting void. It was so lovely to see just how many people from how far had been affected by the South Africa superstar and, at least seemingly, that HUGE audience is one which would be accepting of a new kind of that scene. And to throw such expectations lofty expectations on any artist, much less one still developing, is fairly ridiculous, but if South Africa CURRENTLY has a more talented name in Reggae music, PLEASE do let me know. Black Dillinger is sensational and there is further for him to go, Love Life is both an example of that of an testament of how far he has come. Should he continue in this direction, well then maybe such Lucky Dube-like expectations aren’t necessarily ridiculous after all.

Rated 4.9999999/5

IMMusic

2009

Black Dillinger @ Myspace

New Video: Bad Boy by Chuck Fenda featuring Sammy Dread

Well apparently I wasn't the only one who thought very Haile of Bad Boy from Chuck Fenda's new album, Fulfillment, as VP Records has just released a video for the tune (and I suspect that means that they're going to be promoting it quite Haile). It's a very nice video, big song and both from a big album.

And in case you haven't checked that album as of yet, do feel free to get after Fulfillment from Chuck Fenda, one of the biggest Reggae albums of 2009 and definitely one of the hotter ones leading into the new year.

Check the review Here

Buy Fulfillment Here

Digitally Here

Words of The Week: Jah Vibes by Everton Blender

Jah Vibes

Jah Jah put the vibes inna mi brain

To see what wicked man after

Jah Jah put the vibes inna mi brain

To see what wicked man they’re after

Jah Jah put the vibes inna mi brain

To see what babylon after

Jah Jah put the vibes inna mi brain

To see what wicked man they’re after

Dem a talk bout dem new millennium

And a talk bout wicked man a come

Saying it’s the ending of the world

Dem waan fi set up a new world order

Dem coulda out of order

Dat ahgo bring a disaster

Rasta come fi take over!

Rasta come fi take over

Jah Jah put the vibes inna mi brain

To see what wicked man after

Jah Jah put the vibes inna mi brain

To see what wicked man they’re after

Jah Jah put the vibes inna mi brain

To see what wicked man after

Jah Jah put the vibes inna mi brain

To see what wicked man they’re after

They set up it for me

And they fallen in

Blessed is the man that walketh not in the counsel of the ungodly

He that dwelleth in the secret place of The Most High shall abide under His wings forever and ever

Jah Jah put the vibes inna mi brain

To see what wicked man after

Jah Jah put the vibes inna mi brain

To see what wicked man they’re after

Jah Jah put the vibes inna mi brain

To see what wicked man after

Jah Jah put the vibes inna mi brain

To see what wicked man they’re after

Dem a talk bout dem new millennium

And a talk bout wicked man a come

Saying it’s the ending of the world

Dem waan fi set up a new world order

Dem coulda out of order

Dat ahgo bring a disaster

Rasta come fi take over!

Rasta bound fi take over

Jah Jah put the vibes inna mi brain

To see what babylon man after

Jah Jah put the vibes inna mi brain

To see what wicked man they’re after

Blessed is the man that walketh not in the counsel of the ungodly

Not standeth in the way of sinners

Not sitteth in the seat of the scornful

Jah Jah put the vibes inna mi brain

To see what babylon man after

Jah Jah put the vibes inna mi brain

To see what wicked man they’re after. . .

Taken from Everton Blender's album Visionary

Everton Blender @ Myspace

The Vault Reviews: Flame Storm by Bunji Garlin

How many times have you heard an artist in one specific genre who sounds like he/she would sound INCREDIBLE in one, if not more, other styles of music? I’m not talking about some lame ass fan who can’t overstand the words, sitting around talking like, ‘that Sean Paul would be so nice if he rapped in English’, or some shit like that, I mean a pretty unusual and (generally) WICKED group of artists whose style, almost inherently, blends itself with more styles than just his/her own. MAYBE I would draw on someone like Vybz Kartel who, very early in his career, was often thought of as this new age Dancehall/Hip-Hop artist. That sentiment was so great back then (and if I recall correctly Kartel, himself, actually fed into a bit also) that, even though it’s not one that I see so clearly, myself (and I think it’s evident by the lack of success Kartel has had in that genre, despite several opportunities to break out, even earlier in his career), it’s one I mention because of the popularity and Kartel’s subsequent successes amongst Dancehall faithful. Of course he wasn’t the only one. Way ‘back in the day’ you would have most certainly heard similar things heard about artists such as Super Cat and Mad Cobra whose deliveries were, essentially, simply a linguistically modified version of what was popular in Hip-Hop at the time (especially considering the move to make them more ‘mainstream’ at the time). You’ll also hear similar things said of artists such as Sanchez, Wayne Wonder and definitely Beres Hammond and how wonderfully they’d match in the R&B arena and, more still, the potential proclivity of artists like Tami Chynn, Brick & Lace and Christopher Martin within a Pop setting. Caribbean music is the best music in the world, everyone wants what we have! Still, if you look at things interregionally speaking, the rather easily crossed genres within the same spectrum, present even more interesting comparisons. Check the case of Elephant Man. You cannot tell me that man didn’t and doesn’t take a lead from his peers within the genre of Soca. Besides the obvious, an almost hilarious over the top stage presentation, the energy that the ’Energy God’ actually shows in his recording is also something highly reminiscent of the ’jump and wave’ style of power Soca. Of course, Ele isn’t the only artist who does such a thing, as his literal antithesis over the years has been Bunji Garlin. I believe I remember reading an interview with Garlin years ago which basically said that he would love to be a Dancehall artist (paraphrasing of course) and that he intentionally added flares and bits from the sister genre of his chosen style, Soca, when he performed. So much more than any of his peers (at the top flight), Bunji Garlin has gone to exemplify that somewhat ‘mystical’ and ‘mythical’ subgenre of ‘Ragga Soca’. His music is incredibly lyrical as he, for the most part, metaphorically rests rather comfortably halfway between downtown Kingston and down Port of Spain.

Of course, Bunji Garlin didn’t just come to power over night, he’s every bit the respective veteran of Soca that Elephant Man is of Dancehall. And, he happens to be one of the most decorated as well, as despite NEVER winning a Road March crown (and he probably never will by his own admission), Garlin has taken the Soca Monarch crown of Trinidad (where other champions from around the Caribbean also compete, essentially a Champion of Champions competition, although a Trini artist wins EVERY year) more times than any other artist besides his Father-in-law, the legendary Superblue. He’s done so with an ability draw some of the most powerful responses from audiences with his almost too intense style which combines the typical ‘jump and wave’ antics with a HARSH lyrical ability. Seriously, were Garlin a Dancehall artist, I think and have always thought, that he would be held in the same lyrical esteem as so many of the genre’s best lyricists. Not to mention he’s also proven to be quite the adroit freestyle artist, as well. There was a time, a few years back when Garlin’s popularity amongst Dancehall hardcore fans was quite high. He also gained the attention of VP Records, who has released two albums for the artist. During that same period he was publicly feuding with Reggae singer, the strange I Wayne (after the Portmore singer called Soca “the devil’s music) and it only helped his popularity and he pretty much became THE favourite Soca artist of Dancehall fans and artists alike, a title which he still arguably enjoys. Around that same time (2005-2006), Garlin would also release one of the finest albums of his career to date (and that’s no small feat as, by my count, he now has eight to his credit) Flame Storm. Checking in at a ROBUST twenty tracks, in retrospect album like Flame Storm is a bit of a marvel, given that it largely draws from material from that season and when compared to Soca albums of today from active Carnival participating artists (which often check in a ten or even less tunes), it becomes downright obese. Perhaps even more a testament to Garlin’s Dancehall ways, in terms of proclivity, it wasn’t until last year’s mediocre Fiery that he had an album with less than SIXTEEN tunes. Flame Storm wasn’t just an album with a weight problem, however. In my opinion, within its girth, you get to see the very best of Bunji Garlin in so many ways as he goes through so many different styles of vibes and different sets that you just have to be impressed, even if you aren’t necessarily a high jumping, foot stomping, flag and rag waving fan of Soca. Bunji Garlin still has you more than COVERED on Flame Storm. And while, given the fact that he’s also authoured WICKED albums such as Global, Graceful Vengeance and Next Direction, I hesitate to call Flame Storm Bunji Garlin’s absolute best album, but it’s definitely right within that WONDERFUL class and is nearly outstanding from beginning to end.

The artist to whom I’ve grown comfortable comparing Bunji’s SOUND to is definitely Tiwony. The similarly lyrically skilled Gwada chanter, in terms of pitch (at least to my ears) sounds very much like Garlin (and oh what a day it is when the two drop a LETHAL combination). Testing that sound out firstly on Bunji Garlin’s fourth studio album, Flame Storm, is DEFINITELY one of the best tunes on the album and a tune which I feel is one of the most underrated of Garlin’s career, ‘Return Of The King’. The tune is MASSIVE! Get past all of the electric craziness that goes in with it and you’ll find a tune which is almost as lyrically poignant as it is EPIC in sound and downright dazzling as well. I’m this close to calling it the album’s best. Yes. It’s that good. HUGE opener. Perhaps it is outdone by the very next tune as ‘The Islands’ becomes a VIBRANT and COLOURFUL family affair of sorts as Bunji recruits his cousin and Machel Montano disciple, Patrice Roberts, to sing the AWESOME hook on the tune. I won’t lie at all. I can remember having tears streaming down my face the first few times I heard this tune, it’s so powerful (and that isn’t rare for me at all). It’s just a tune that makes you feel so good and Patrice is in EXCELLENT form and arguably outshines her superstar kin. And wrapping up the first bit of Flame Storm is another of the album’s finest outings, the Soca social commentary (yes, they do have those) ‘Right Now’. This tune definitely shows off the lyrical side of Garlin as he gets both conscious and keeps the vibes HIGH at the same time, as so few artists in Soca can do. He of course is the prime example and Right Now has since gone onto become one of his more popular tunes and justly so. It is WICKED in every way.

As I said, Bunji Garlin is no stranger to the Dancehall and he enters said hall of variety on a few different occasions throughout Flame Storm. No more so, ostensibly, than on two tunes, ‘Put In The Thing’ (which is EXACTLY what you think it’s about) and ‘Raise Yuh Hand’. The former scintillates as well as most other efforts across Mario C’s Scoobay riddim (including Beenie and Kartel’s combination ‘Breast Specialist’); while the latter impresses over the same Stepz riddim Assassin eroded with his SICK ‘Idiot Thing That’. You could also make the case of the big combination ‘Don’t Waste Water’, alongside Shurwayne Winchester has a Dancehall vibes to it as well (although it’s probably closer to being a groovy Soca sounding tune. ‘D Vibes’ is CLEARLY such a tune (despite the fact that it features Mastamind) as are ‘Dread’ (alongside Benjai & Scar) and the very impressive ‘No Friend, No Company’. The man knows his thing and should he want to focus things out and do a full blown Dancehall album someday, I’d definitely be willing to listen. Still, it is the HEAVY Soca side of Flame Storm which impresses the most. The finest tune on the album happens to be the same tune which earned Garlin Soca Monarch honours in 2005, the infectious ‘Blaze It Up [aka ‘Blaze De Fyah’]. The call on this tune “I want you to BLAZE DE FYAH” is definitely one of the most memorable of Garlin’s career and you can’t help but be moved by it (even though, to be COMPLETELY honest, I’m probably more moved by the opening two tunes at this point). And while the vibes on Don’t Waste Water take a surprising turn eventually, there’s no such surprise on ‘Send Dem’ which features then girlfriend Bunji Garlin, now Mrs. Alvarez, Faye-Ann Lyons[-Alvarez] and it makes no deviations of sort. It is a pure RUNNING Soca tune and it is lovely (over what appears to be the same riddim which backs Xtatik‘s and The Burning Flames‘ tune ‘Showdown [Band Meets Band]). The tune has a conscious edge to it as well, which works fine for two of the genre’s best lyricists. ‘Leave Meh’ has you almost trapped when it starts, waiting to see in exactly which direction it’ll ultimately go. Luckily, what eventually happens is lovely as Bunji, as nicely (and fun) as one possibly can, essentially tells us to leave him the hell alone when it comes to Carnival because he’ll be having too much fun and should you see me on the road as well, please do the same. Love that tune. ‘Doh Play With Me’ is fucking ridiculous. At the end of this review, I’m almost certainly going to tell of all the nice artists that Garlin has apparently inspired in his career, but rest assured that NONE of them could get through the HIGH-TECH SERIOUS wordplay Garlin goes at on this tune. Doh Play With Me leads into another highlight of Flame Storm as the ‘Fireman’ of Soca music proves his flame is hot enough to do almost ANYTHING, including to set ‘Satan House On Fire’. This is another of those types of double meaning songs prevalent on the album as it actually has a meaning to it (setting the devil’s house on fire, thus freeing the righteous from his control), but it sounds like your ‘standard’ ridiculous ‘jump and wave’ tune. You just can’t complain there on another of the album’s finest. Things stay biblical on the followup, ‘Preaching War’ (which is another Dancehall-ish sounding tune). This tune is less playful, but certainly impressive from a lyrical degree (it doesn’t really have a direction, he’s just kind of flowing along) (I’m not complaining). And lastly, the final two tunes you’ll find on Flame Storm are two of it’s better pieces. First is the OUTSTANDING ‘Doctor’ which features Bunji alongside the front woman of Antigua’s finest (biggup Taxik), El-A-Kr, Tizzy. Doctor is insane and it’s actually more EAK’s tune (thus, when you are unable to locate this album, you can easily find it (and the nice tune ‘Freestyle’ which also appears on Flame Storm) on their readily digitally available album The One), but when Bunji actually gets a little space, the one verse he gets off HAS TO be considered one of the best of his career. The first time I heard it, I was speechless! Nuff said. The closer, ‘Wild Fire’, follows ‘Satan House On Fire’ in terms of direction and does so as a WONDERFUL accompanying piece. It probably would have sounded better right after that big tune (leaving Doctor as the final tune), but regardless of where it falls on the album, Wild Fire is the last of a LONG string of BIG tunes on Bunji Garlin’s Flame Storm.

Overall, as I said, in terms of Bunji Garlin albums, Flame Storm is right up there and has just as big a claim as any other as being the absolute best of the bunch. I’m still waiting for Garlin to thump out that ONE project which reigns supreme and given the nature of the music now he may not ever do such a thing (although, if these next two months float by and he doesn’t have a 2009 release, next year’s album, with two seasons worth of material, may just be THAT album, theoretically). Still, one has to recognize the almost comical level of talent here. Bunji Garlin is truly a revolutionary artist, having inspired not only Trinidadian young talents, but also names like Skinny Fabulous, Mr. Killa, Ricky T and others throughout the Caribbean (biggup Fucha Kid), clearly owe a bit of thanks for inspiration to him and there’s probably another generation of artists on their way who will owe him a similar ‘thank you’. YOU can say thanks by tracking down Flame Storm. Whether it’s ‘Ragga Soca’, straight up Soca or even Dancehall, it’s a helluva ride all the way through and yet another reason to appreciate the wonderful artists from the best place on earth.

Rated 4.50/5

IP Music/JW Records

2005

Bunji Garlin @ Myspace

Bunji Garlin, Faye-Ann & The Asylum Family @ Facebook

Stuff I'm Looking Forward To In 2009

Just what the title says. These are projects, or potential projects, still to come in what is now the last two months of the year in counting. If you though it was over and you were just planning on hanging out and maybe picking up the new Morgan Heritage and Capleton Greatest Hits albums, maybe Strictly The Best, well you were wrong (as hell)! Because there are still potentially some very good opportunities for you to spend even more of your hard earned money this year. Thus, I submit for your approval, STUFF I'M LOOKING FORWARD TO, in the last two months of the year.

{note: Because nothing on this list is actually released, EVERYTHING on this list is TENTATIVE. Therefore, if it's 2016 and I make a post and something here appears on a 'coming soon' write up, you are not to blame me or anyone else for its musical tardiness}

{note 2: If you have something on this list already, please do be kind and let me know}

Spragga Benz - Shotta Culture

First up is the undeniable STAR of this list, as Spragga Benz returns for the potentially MASSIVE ‘Shotta Culture’. This album has had so many people in the know chit chatting, largely because it reportedly links The Benz with international star producer Salaam Remi and the guest starring power is, predictably, supposedly on the high side. However, from strictly a fan’s point of view, The Benz has been on a ROLL! Tunes like Tiny Tot, Hurt Mi alongside I-Octane, Livication and the recent single Who Inna The Middle, figure to play heavily in the mix and, of course, I’m thinking names like Wyclef Jean, Foxy Brownm, Stephen Marley and Assassin may also make appearances. MORE THAN THAT, following the tragic death of his son, also included on Shotta Culture, reportedly, is a ‘be all, end all’ documentary on The Benz, which figures to be a helluva great collector’s item. Shotta Culture is actually expected THIS MONTH and I cannot wait to get my filthy, nasty hands on it. HUGE album potentially in the making.

Level of Anticipation: 7/5

Lyricson - Messages

Another potentially HUGE album is Lyricson’s new effort Messages. In my opinion, the chanter (who has a strong incline towards singer) is definitely one of the most talented artists in the game and you look up one day and notice that someone like Lyricson (Lyricson) has been around quite awhile now, going on a decade, so now the experience should match the skills and the results of that should be one MAMMOTH release. Not to mention that, unlike in previous years, Lyricson has been ACTIVE. He’s been popping up on a few different projects (including the Soprano Riddim from Bost & Bim), here and there and just recently had a nice single, ‘Set Your Goals’ drop through Jaguar Records (WHO!) on their cool Lionz Riddim. Two new and piping hot videos are also in the mix and should add further steam to the already SMOKING Messages. Also, I should mention that Lyricson’s last album, 2007’s Keep The Faith, which was pretty GREAT in my opinion, was reportedly unapproved by Lyricson himself, therefore, going by his own standards, he hasn’t had an album since 2004 (his debut, Born 2 Go High), which makes you think he may be even more inclined to put his best foot forward. I don’t know when the hell Messages is coming, but I would imagine soon due to the two new videos AND I CANNOT WAIT!

Level of Anticipation: 5/5

Proverbs Riddim Album [Lustre Kings Productions]

And I’m the one who always like to mention so much how the riddim album and compilation in general in Reggae music is slowly fading away. . . Well, apparently and deliberately trying to make a fool out of me is one of my favourite international labels, Lustre Kings Productions, as following the very SOLID Culture Dem 3, the label is armed with and set to release (if they haven’t already) the Provers riddim on an album. The lineup here is fairly RIDICULOUS (if you can be fair and ridiculous at the same time, this would be that time), with artists as varied as the usual ‘suspects’ (Lutan Fyah, Messenjah Selah and Chezidek) mixed in with the likes of TAKANA ZION, HI KEE and DANNY I. If you want an early taste, you can always fire up the final block of tunes on the aforementioned Culture Dem 3, or check blog favourite Messenjah Selah’s Breaking Babylon Curse album for the SCINTILLATING She Ask Me Say. I have no idea when the Proverbs is set to drop (of course if the Lustre Kings answered their email, I could tell you), however, you can well expect a full review when I grab it up.

Level of Anticipation: 4/5

Jahdan Blakkamoore - Babylon’s Nightmare [Lustre Kings Productions]

If you’re like me and Jahdan’s recent solo album, Buzzrock Warrior was a bit of a letdown and left you feeling slightly alienated due to the fact that it was predominately a Hip-Hop vibed album, then don’t worry because the man has something for you apparently. Again, the boys at Lustre Kings are at it again with the production (they’re reportedly joined by some very solid spots such as I Grade Records) and if the absolutely WICKED streak Jahdan has been on (on the Reggae side) is any indication (and it is), then Babylon’s Nightmare may be looking to do what Breaking Babylon Curse, Lutan Fyah’s Africa and Ghetto Living from Linval Thompson did for 2009 and give the year yet ANOTHER potential album of the year candidate so late in the going. Again, I’m not quite sure when this one is expected (although, by what I’m told, it’s pretty far along and after a 2008 which saw virtually simultaneous LKP late year releases from both Norris Man and Al Pancho), but I’ll definitely have an eye out for this album from perhaps the BIGGEST breakout Reggae artist of 2009.

Level of Anticipation: 4.5/5

Lady Sweety - Ma Vérité

I can remember a couple of months ago now dropping by Lady Sweety’s Myspace Page and besides being surprised that it had been completely overdone, it was also ‘warning’ of her forthcoming album, Ma Vérité. I basically froze for a second and then went and listened to the new tune clips and wasn’t overly impressed (maybe you could even say I was a bit disappointed), but I definitely filed it into memory. Well, a couple of months down the line and I’m still waiting, but the tunes are sounding stronger to my ears and a recent first single for the album has me even more hyped for Lady Sweety’s third album. I don’t know exactly what the hell to expect aside from what I’ve heard (two tunes in particular, the single ‘Si Ki Taw Bien Taw’ (alongside Sista Majesty) and the MASSIVE ‘Championne’ (and don’t forget ‘They Call Me Sweety, her cut of the Gang War riddim)), but Lady Sweety is simply one of the most talented wordsmiths (incidentally, through all my literary pursuits, I don’t know if I’ve ever come across the feminine tense of the word ‘wordsmith’) in the game right now and anytime she’s bringing anything, I’ll be paying attention. I don’t know if we should expect Ma Vérité before the end of 2009, but the video is promising for just that I suppose.

Level of Anticipation: 4.5/5

NiyoRah - Album (I Think It’s Called Capture The Moment) [House of Dinkenesh]

Not too long at all, I Grade Records, the premier Reggae label out of the Virgin Islands, released their latest MASTERPIECE, Joyful Noise, and I began to wonder that the ‘mainest’ of mainstays at the label (in terms of artists (not named Midnite)) has been NiyoRah and it’s been a minute since he released his last album, 2006’s DIVINE Purification Session. So I snooped around a bit (because I’m nosey) and asked a few people and discovered that Niyo did indeed have an album on the way, but I Grade wasn’t on board for this one. Instead, he had recorded the album along veteran Bassie Campbell and had done so in Jamaica. It is also reportedly to be released on his very own imprint, House Of Dinkenesh, which is a big deal now. Because of the circumstances surrounding it, I would venture to say that the album (whatever it may be called) is a result of further works of the sessions which produced the big compilation, Gather The Remnants last year, but that’s only my guest. NiyoRah’s album is scheduled for a December release, but again, don’t blame me if it falls further back. Regardless, I REALLY want it.

Level of Anticipation: 4.5/5

Lutan Fyah - Rising Up [Kickoff Records/Zojak Worldwide]

And finally is a bit of a wildcard, because I already have it. Lutan Fyah’s Rising Up. I have gotten SO MANY emails on this album in the last two weeks or so as to when it’s coming out. Well, I’m still not very sure, but apparently the plan is sometime next month, so definitely stay tuned. It’s a lovely album and I enjoy it more and more each time I spin through (and keep your eyes on Kickoff, they have some very nice riddim albums already out and a lovely album from Empress Robertha as well).