'Sacred Text': A Review of "The Scriptures" by Sizzla Kalonji

Given his perhaps 'legendary' ability to maintain a nearly supreme level of activity, I don’t know that there has been a period within the past 12-13 years or so where we've had a year and a half without a new, or at least newly produced, album from Reggae giant, Sizzla Kalonji. During a period of time which ended four or five years ago, in fact, you could nary find a period of half of that where he wouldn't deliver at least a pair of legitimate releases and, looking back, for Sizzla fans, it’s now become apparent that, like most good things, we took both he and his most devastating talents for granted. What has been somewhat odd about his absence on release shelves is that Sizzla hasn’t exactly taken a break from the music. He's just as active now as he’s been over the past few years and while Reggae albums, in general, have slowed to some degree to my observation, it would seem as if anyone (not named Vaughn Benjamin), would have difficult getting an album released, or one released for him (and he has had an illegitimate one of those, the name of which I won’t even burden you with reading), it would not be Sizzla Kalonji, even these days. When you take his history and combine it with the fact that the now 35 years old wizard has been enjoying a very nice string of solid output over the past (decade and a half) year or so, it seems even more unusual that I haven't written a review for a new Sizzla album from the beginning of 2010, when there was the old-school centered "Crucial Times". Damn, time flies. As a relief for a terribly uncomfortable spot of withdrawal and just a lack of what has become a musical and perhaps even spiritual 'fix', Sizzla fans across the globe are now going to collectively do what billions of people do in similar times of grief - we turn to "The Scriptures".

As someone who readily says, without offering up too much in the way of specifics, that the music of Sizzla Kalonji has (and possibly even continues to in several ways) changed my life and my way of thinking, I would almost have had it several years back when he released an album with such a title, but now, marking some unusual distinction (his first album in a span of time which isn't particularly significant at all to many people besides him), perhaps it is even more fitting. It presents a two-sided element of ample common sense - On one side there is the obvious spiritual reference, Sizzla does make spiritual music. The other is even more appropriate for my purposes as he makes music which, when at its best, forces the listener to think and compels them to recognize not only the significance of the moment and the song, but the importance of something even greater as well. Taking the word out of its biblical roots, briefly, and placing it into a context of 'simply' being very significant and considerable material which earns its designation - We could probably call the vast majority of Sizzla’s entire career "The Scriptures" and not be exaggerating at all.

"Waterhouse Redemption" - 2006

Focusing on this particular moment of it, once again the chanter is afforded an opportunity to work with yet another maestro as the album is helmed by the son of the king (Jammy), John John (and his cool logo). Fans should recall that it was just back in 2006 when Kalonji also did an album in "Waterhouse Redemption" which was executively produced by King Jammy (wonderfully it has found its way back onto my players once again) and featured at least four tunes produced by John John. Also, if you look at a great deal of John John's riddims over the years, Sizzla's is a name which is often present and the two clearly have developed a great rapport and musical chemistry which dates back to at least a decade ago. So while the most famous resident of August Town will forever be linked to producers such as Philip 'Fatis' Burrell of Xterminator and Bobby Digital and maybe even Don Corleon to a (strange) degree, easily one of his most consistent and fruitful stops along his journey has been with John John who has elicited more than a few big tunes from him and there is no better (or funner) way to cement that on a full blown album which is what we have here. The comparisons in terms of "The Scriptures" album are sure to be laid on "Waterhouse Redemption" which was an album that was largely, and maybe even entirely, composed of tunes on classic riddims which would ultimately create this wonderful sound and one which delivered a few hits as well. That’s an excellent start. While there are riddims on this album which will be very familiar to Reggae fans and for good reason, the dominant trait of this album is probably it’s 'mood'. The sounds are both laid back and somewhat LARGE sounding (if that makes any sense at all) at times and what happens is that you can almost get an audio glimpse of a vintage Sizzla Kalonji. Anything even remotely close to that is good. Even if you just point him in the proper direction and you eschew the version of the chanter who is, at times, unnecessarily aggressive on a track, you're doing well and that more shocking brand of Sizzla Kalonji isn't here. Also what isn't here is anything in the way of Dancehall. When I listened through it, initially, I was kind of seeking just a bit of a BITE to the vibes --something with an edge-- and it subsequently does deliver an appropriate amount, it doesn't do so in the expected manner. And it should be said as a further demonstration of the vibes between artist and producer that when the album goes on a more unexpected terrain, for the most part, it does so carefully and by its end it does well on so many levels. But that's all to be explored as first and foremost you'll join me in the celebration of there being A NEW SIZZLA ALBUM! WHAT! If I overrate it, you'll forgive me anyway (because you will too!), but I won't, "The Scriptures" is very very good.

If you haven't noticed (shame on you), Sizzla Kalonji is my favourite artist ever. I'm generally going to put his music in a different category and different place (literally) than everyone else's. So when he does put out an album, especially now, I'm a happy human being and over the course of his new release, "The Scriptures" from John John Records, he gives a great deal to be happy for. That includes the fine opening selection on the album (despite its title) 'World Cry' (biggup Jah Cure . . . Or maybe not). Like several on the album, this tune sounds very familiar to me for some reason and that’s a good thing in this instance. Sizzla has this coyly unique way of writing these tunes - They're very broad, but they're broad to a point and here, the point is a social commentary during where he, essentially, subs the word 'world' for 'children' and after a few spins, it was at this point where I started to REALLY enjoy this album. Next up is the stirring 'The World Is Watching' which features Peter Jackson who is either the legendary 'Black Prince' of Jamaican blood from St. Croix or the same Canadian Hip-Hopper with which Sizzla pushed 'Miss Right' last year. Chances are pretty good that it is the latter (considering that the former has been deceased for nearly 110 years) and while I didn't like their first tune, this one is BIG. The tune is one which is reminding pretty much everyone from the poor to the world leaders that YOU are under observation (everyone is watching everyone). The riddim on this song is something different, to say the least, and it works just as well behind Jackson that it does supporting Sizzla making this one, besides a powerful message, a tune which is sure to get the heads rocking. Still, the best tune from the opening batch from "The Scriptures" is the DELIGHTFUL 'In Jamaica' which comes through Father Jungle Rock style.

“Things run different in Jamaica
Black people live decent in Jamaica
Ah beer superstar come from Jamaica
Badmind people stand far from Jamaica”

“Respect and honours
Mi rise di banners
For di young
For di old
For di Dad and Mamas
Ghetto youth as long as -
To di elders you have manners
Rastafari make you a strongers”

This song is just hard to stop listening to (!) and besides being so pleasing from a strictly sonic point of view, it is a lovely message and I hope it goes on to get an opportunity to shine because it definitely has hit potential to my opinion.

Nearly every song on "The Scriptures" (with one exception) seems to get better on the second and third times through, respectively. It was such a WONDERFUL situation to have this album literally begin to develop right in front of my ears as suddenly songs I wasn't too sure about became at least GOOD. There existed no greater shift in taste than the consecutive pair of tracks, 'Let It Be' and 'Jah Is My Shield'. The former is a somewhat complicated love song, which is both personal and kind of all-encompassing. The sound is just so laid back and bouncy that, when I first heard it, I wrapped it up as kind of gimmicky, but it's a BEAUTIFUL TUNE (biggup Achis). The latter? It's just strange, but somewhere in the middle of this praising track I think I found myself completely lost in it and lost with a smile from ear to ear. For as odd as it is, it's also one of the real highlights for this album. And, as I said, I was also seeking something with a bit of a bite and an edge on the album and, again, it didn't come in the expected way, but it did arrive. Check the pounding 'Jump For Joy' another song which grabbed me after more than one trip through. It's a song with a big vibes and it's fun at the same on an inspirational body of work. And speaking of FUN, definitely don’t miss the Ska'd out 'Happy Birthday', which has now caught the attentions of my Daughter and her father.

'Cleanse My Soul'

Five of the remaining six tracks on "The Scriptures" are positively HALTING and make up a great deal of the real class of the album in my opinion. The classically vibed 'Cleanse My Soul' is the first such remaining tune and I suppose I could count this as a tune which has grown on me somewhat as I first heard it a month or so ago [Hey Susan!], but it was clearly golden back then. Now it may be even something more impressive, but only the second biggest praising tune on the album. The title track is, as you may've expected, is a similarly themed song. This is a very passionate song for me because in the midst of it, especially when Sizzla says:

“Jah bear my witness
Most High cleanse all sickness
Read it in the scriptures
Go and read your scriptures”

I wanted to reach through the speaker and tell him that I was! The tune a GORGEOUS one and the fact that there is better material to be heard on this album should be a sign of what you’re dealing with. There's the LARGE sounding 'Mama tune', 'God Bless You Mama'. Everything relatively decent like this that Sizzla does will forever draw comparisons to 'Thank U Mamma' and while those ridiculous levels aren't reached here (and probably will never be again), this a more than solid track which my own Mother will be getting a taste of shortly (if she ever checks her damn email). Also, I should mention in regards to this one that so many times you hear a song for the Mothers and it’s kind of weird or skeletal - Seeming as if someone had an opening to fill, but this one isn't like that, it’s very full and dynamic and probably one of the best sonic experiences to be had here.

'Music In My Soul'

The single best tune on "The Scriptures" is somewhere between two MASSIVE tracks. The first to appear is 'What A Whoa'. TEARS! The sound here is off the charts and Kalonji uses it to deliver a social commentary which dwells almost entirely within the spiritual realm and does so effortlessly. The delivery is somewhat overstated (and intentionally so), but it never jumps over the pacing of the song and what we have here is just excellence! The other top ranking track on the album was expected. 'Music In My Soul' was a pretty decent hit for Sizzla across John John's cut of the Zion Gate Riddim and he throws it up as a fitting celebration of this greatest of music. Here's another with a dual feature of education and entertainment and it's a song, again, which may take a moment to really grasp you (although it probably should have already), because of the nature of the vibes (on one side you have Sizzla's some forward delivery, and the riddim, itself, is kind of'’moody' and seemingly could adjust itself to almost any type of chanting), but once it does, there can be no denying that this is one of his very best efforts in quite some time. If you FORCED me to pick a best tune between the two, I’d actually go with 'What A Whoa' by the slimmest of margins, but you can do no wrong on either side.

I didn't mention 'Love You More' - It is my least favourite tune on the album - The song is a bluesy love song and doesn’t go very far to my opinion, but surely you’ll have a listen for yourself.

The prevailing feeling about this one, in retrospect, is that it is a very MATURE sounding album. Obviously I love to write, but even I'm not going to try to rank it amongst Sizzla's . . . 3400 albums or so, but I will say that if you enjoyed pieces such as the aforementioned "Waterhouse Redemption", "Ghetto Youth-Ology" and maybe even "I -Space" (although I hesitate to mention that one because it was absolutely spectacular in every way and can probably be appreciated by seven year old), then "The Scriptures" will be big to you. There's a definitive concentration here made to make a sound which, although cleverly varied in spots and not exactly 'straight-forward', is predominantly one which is going to be mostly appreciated by long(er) time fans of Sizzla's. Also the writing is diverse, despite the fact that this is easily one of his more spiritual based albums and the majority of the strong songs are within that spectrum.

Sizzla Kalonji

Overall, you know I'm happy. It's a new Sizzla album! And it's really good! I'm recommending this latest release MOSTLY to more experienced fans, but I think that, with the big sound on quite a few of the tracks that there is a bit of room for the newer listeners as well. "The Scriptures" is a big album and a big album in a very nicely pointed way from such a top class artist and, if you haven't noticed, when such things happen in Reggae music, it's a very big deal for us and because of that, I'm imagining that this one will have a great deal of attention and scrutiny paid to it and it’s more than prepared to stand up to it all and look good doing. So even if it took seventeen months to get here, it's still a very powerful reason to (re)fall in love with the music of Sizzla Kalonji: The Greatest to Ever Do It.

Rated: 4.45/5
John John Records/Zojak Worldwide
2011
CD + Digital
Sizzla @ Myspace

{Note: The digital version of the album is in stores on June 14. The CD is in stores June 21}

Big Tunes #56

Yeah! Yow, I guess this would be an impromptu (I love that word) edition of 'Big Tunes', because I didn't even know we were going to be going on it this week until a couple of days ago and because of that it's all vets this week, but tunes are everything you would expect. That's it, I'm finished, let's go.

First up this week is everyone's favourite - Remmy - exercising more good taste and unspoken intelligence with 'Expensive Shit' from the great Fela Anikulapo Kuti. I'm pretty sure I know why he's bringing this tune this week, but I'll keep that and instead biggup Remmy and DEFINITELY Fela Kuti.

Next we have a tune coming from a pissed off Leclaire (who, by the way, is turning out to be VERY useful and full of helpful information) who . . . Apparently is just tired of it all because we had a pretty long discussion about certain things and this is what he's feeling. What am I talking about, you'll figure it out when you hear 'Nou Pa Ka Bleach' from big man Admiral T. As a matter of fact, you probably won't even need to hear the tune to figure it out - the title should suffice.

And lastly we have a tune which I absolutely loved from the first time we heard it and apparently, I wasn't the only one because Bredz (who pretty much took care of posting this by the time you read it) is also vibing strong this week on 'One Away' from Liquid which comes across the big City Streetz Riddim from Dynasty Records & Twelve 9 Records (and is currently available on digital shelves now).

As for yours truly - So much Soca coming out this time of year and I'm actually NOT enjoying much of it. Not too much is sticking (although I am liking Tizzy so far in 2k11), one of the very few exceptions, however, comes from someone who brokeout big in 2010, Ambi from out of St. Lucia. Here, I would assume is the followup to his BIG tune 'Push Dem', it's the utterly ridiculous and just as infectious 'Matay You' which has been THUMPING in my brain for the past week or two.

• Reviews this week for Sizzla (!) and blah blah blah
• Big tunes will be here next week, so link us at AchisReggae@hotmail.com
• Biggup Gil Scott-Heron
  

Rewind!: A Second Look & Listen to "What About Love" by Sara Lugo

Surely you didn't think we were done!

"What About Love" by Sara Lugo

When last we left 4'9 German Reggae superhero, Sara Lugo, she was busy releasing her lovely and extremely well received debut album, "What About Love", about a month ago. Anyone who is reading this has already purchased that album and are currently listening to it as they read this (including me - "them a bombing and controlling and abusing. No, they know not love"), so I don't need to tell you to do that. Instead, I thought that we'd briefly rewind time, go back around 744 hours or so and, having had a bit more time to digest and reflect, have another listen to and re-enjoy the splendour of Sara Lugo and "What About Love" . . . While my Wife's dog looks at me with great genuine and natural disdain.

1. 'What Happened'

Not trying to over think this song (yet) - My impressions of this one haven't changed too much, but I've definitely begun to appreciate, more and more, the vocal performance here and, subsequently, the entire sonic appeal of it. Somewhere in the back of my mind (very near, actually, to where I keep the Bouyon) I can see a video for this song with Sara Lugo playing a piano and singing while moving through various pieces of a fucked up society and once she leaves them, they're much better than when she arrived. The significance in that, of course, is that the song is beautiful, along with making its lyrical point. Also (and here is the over-thinking) I'm now noticing the absence of a '?' in the title for this track as well as the album's title also (and this is, basically, the title track), which may suggest a bit more aggressive stance from Lugo - Not asking when it may arrive or an explanation of the absence of love, but more making a suggestion and a statement to include it.

2. 'Maybe'

Again, I’m drawn towards 'Maybe' from such a detailed audio aspect, because it does sound so nice and this song, perhaps even more so than any other on the album, literally seems to revel in that fact. Checking in at 4:22 long, the final ~ minute of the tune is straight instrumentals and STRONG work. There's a guitar and horns and it’s all just very good and had they wanted to let it play on for another hour or so, I wouldn’t have complained at all.

3. 'Soul Chaos'

When I did the review of the album I called the Jazzified 'Soul Chaos' the second best tune on the album and it still is in my opinion (although 'Maybe' is probably gaining on it) and I've found myself focusing more and more on the lyrics of this intentionally chaotic track. So, first of all - Who the hell is Lucy and where did she get so many damn diamonds? Secondly is this:

“Questions over questions
And tears over tears
Life has so much to teach us -
Through the years
There’s a reason for everything
Don’t rush, everything takes time
There’s a season for everything
For every word, there’s a rhyme”

(except 'orange')

. . . "everything is mixed up in your mind"

The single most impressive line in this song comes later on, but this particular passage now sticks out more and more because you can actually see Lugo attempting to create chaos and attempting to, ultimately, place it into perspective. The final four lines of the first part [beginning with "There’s a reason for everything"] are most attractive because it seems like a person taking in so much advice from different sources and then she next goes "everything is mixed up in your mind" - The same person is STILL unsure of their own place in the world. Healthy, healthy writing.

4. 'Nothing To Worry'

This BLARING song is one which is pretty much demanding that you pay attention to it in some way and following a relatively laid-back opening, it forces its way into the spotlight. What now stands out in this case is the riddim itself - It may be the best on the entire album. It's either attempting to overpower you at moments, or it’s this cool little infectious one-drop and it changes instantly and sometimes it's a little bit of both at the same time. There was obviously quite a bit of work spent on the construction of it and Lugo doesn’t let it all go to waste as she serves up another big tune.

5. 'They Know Not Love' featuring Lutan Fyah

Unsurprisingly, as far as songs on this album with which we weren't familiar prior to the album's release, 'They Know Not Love' has become THE most played by me. It's not THE best tune on the album, but it’s very good and, for some reason, I hear this tune and I picture people running . . . Yeah. My peculiarities notwithstanding, the song is an excellent display of both artists stepping in fine directions and I’m now trying to take this tune, with its title, and connect it to both the album’s title as well as that of the opener.

6. 'Part of My Life'

And then there's the boom. I've written about this song several million times if I've written about it once and you know you have something special when, even after that, you can still come up with something 'new' in reference to it and it isn't just because of my big and shiny vocabulary. Two things stand out here: Missing at the beginning of the album version is the cool adlibbed intro from the 'original' version (which you can find on her self-titled EP, which they are apparently still selling, so check that out). Also the best part of this song is when she starts with "I believe in me and you . . . " at what is likely the emotional pinnacle of the track. And that's just the finest of dozens of excellent small things which makes this tune beautiful and, at least in my opinion, the best on the album and the gold-standard of Sara Lugo's entire catalog.

Intermission

Note the very serious nature of this interviewer while asking Berbice about his song which was absolutely ridiculous. And I say that most respectfully, because his song, 'Traffic', was, rather easily, one of the greatest songs of all time


let it go . . .

End of Intermission

7. 'Rock Steady'

My Wife's favourite tune on the album (and my Wife hates pretty much everything) (including feeding her fucking dog apparently) is 'Rock Steady' and I've managed to get an exclusive interview with her as to what she likes so much about it and here it is:

Achis: So why do you so enjoy ‘Rock Steady’ from ”What About Love”, my most wonderful and loving and beautifulest love of life?

Mrs. Achis: “Because it sounds the best”

There you are ladies and gentlemen! Breakdowns and musical analysis simply get no more in-depth than that!

8. 'Familiar Stranger' [Acoustic Version]

I didn't mention this the first time around but the acoustic version of 'Familiar Stranger' really has a very OPEN sound to it and, at least to my ears, it doesn’t seem like they tried to actually recreate the original piece (the Soul Riddim) on the song, or at the very least, if they did, they did so very loosely. The result is something which I don’t necessarily want to call 'better' (you need to REALLY pay attention to the Soul Riddim which is now infinitely better to me than it was initially and should probably be regarded as one of the best 4-5 riddims of 2010), but its definitely DIFFERENT which is a very good thing to pull off with the same song.

9. 'Locked Away'

I think that I basically alluded (I didn't) to the fact that this one might 'catch me' at some point in the future and it well has. 'Locked Away' is a much better tune than I gave it credit for and I’m damn interested to see what might happen if that song is given a chance in more traditional R&B circles. In general, Lugo's music is very accessible and this is, by far, the most accessible of the lot.

10. 'One of These Days'

This tune is one which I don't even think you can take in, in an initial sitting (unless you're a lot smarter than I am) (and you probably are) because there's just so much going on, it's very active and I think that’s well intentional. These days I’m not prepared to call 'One of These Days' a SAD song which is where I may end up thinking, someday, in regard to it and the reason why I'm not is that it’s also very introspective and inward thinking.

“Sometimes I feel like screaming [in my head]
Sometimes I feel like dreaming [about peace]
Sometimes I feel like breaking down -
When all I want is safe and sound”

Now you can call that, and the prevailing mood of the tune, somewhat sad or "gloomy", as I referred to it as being in the review (the distinction I would make there is that 'sad[ness]' is a harsher form of 'gloom[y]'), but what keeps me from making that final jump is that it all seems to be a part of someone really DEEP in their thoughts and as someone who (is about to tell you entirely too much of his damn business) has battled mental illness, it isn’t always sad and 'staring' at it from that perspective it becomes vividly relatable, but perhaps not for the intended purpose. Yes - This one I could spend days on.

11. 'And They Cry' featuring Naptali

I got sidetracked listening to this one because it caused me to dig up a most excellent favourite - "Long Journey" is STILL the single best Reggae album of 2010 .

12. 'If Tears'

And lastly we get a most breezy and retrospectively quite sagacious tribute tune from Sara Lugo to her Grandfather who has passed on. Hopefully I'll NEVER come around to the point of labeling this one 'merely' a sad song. It just isn’t and, it’s also not as "gloomy" as 'One of Those Days' to my opinion.

What resonates now listening to it is just how well put together 'If Tears' is. The subjectry and maybe even the actual SOUND of the tune here is what drowns anything else around it, but if you really tune it in, clearly it's one of the best and most complete tunes on the album, which is what you’d hope for someone who obviously made a great impact on Sara Lugo.

This is just cool!

There're still quite a few different directions in which I could get at this album (and if I stick around long enough, I probably will), but here's just a glance at what we’re thinking now through a second look at the wonderful debut album of the delightful Sara Lugo, "What About Love".

{Note: I call it "brief" and it’s 1800 words}
{Note 2: Biggup Markus from Da Ville}
{Note 3: Biggup Bredz for his magic . . . YouTube code/encryption . . . stuff. The man simply will not allow us to have boring silver and white borders}
{Note 4: No Behaviour!
{Note 5: NONE!}

'Keeping It Going': A Review of "New Horizon" by Ras Zacharri

It’s not unusual at all and, in fact, it’s actually quite a large part of ‘the game’ - Having an artist attempting to continue to carry hype following a big and breakout effort. However, usually “effort” is referring to a big tune or maybe a big couple of tunes in certain instances, but these days it’s fairly rare to run into occasions when we have someone trying to follow up a big album when they weren’t previously extremely well known - even if it is their debut. Of course, You and I deal with albums so situations like these, although pretty rare, are of great interest to us. Looking back and trying to come up with a comparison (because that’s what I do) is difficult in this instance and ultimately I’m drawn back to an album from an artist who we spoke about not too long ago, Takana Zion. In 2009 the Afrikan chanter would attempt to chase his wonderfully received 2007 initial set, ”Zion Prophet”, with his sophomore project, ”Rappel Á L’Ordre”. Prior to the first album, I don’t think that I’m too out of line in saying that Takana Zion’s wasn’t a very well known name in Reggae circles, big and small, but all of that changed, and to a great degree following its release and he’s subsequently gone on to become, arguably, one of the most talked about Reggae performers the continent has EVER produced. As I said in the review of his latest album (”Rasta Government“, check it out), Zion benefited a great deal from the media covering his album who spread it so nicely that he had simply become hard to ignore in many respects. I’m also drawn to a few other cases such as that of Pressure Busspipe’s which is entirely more difficult to look at because he was someone who had already become a favourite of mine and many others and was already to be regarded as one of the VI’s biggest young lights prior to reaching the highest level the music has to offer in the company of Don Corleon and ‘Love & Affection’, with the album named after it. Still, in looking for a very fitting comparison piece to what is coolly and currently going to be happening with the solid Ras Zacharri remains somewhat difficult. Following an album which didn’t exactly ‘take over the world’ or ‘change the game’ or ‘take it to another level’, or some other bullshit like such, but definitely did create a big stir in Reggae music, Zacharri has returned to see if he can continue and build upon the foundation of deserved hype and once again recharge his audience while seeking a “New Horizon”.

I have a bit of an ‘up & down’ type of a relationship with the term and concept of a ‘Reggae underground’, given how our music is viewed where most mainstream fan might consider anyone outside of . . . Sean Paul, Shaggy . . . To be underground, but in retrospect, if I am to apply such a ridiculous term (and I am), I think that I can faithfully say that Ras Zacharri’s fine introductory album, ”Herbs Man” from 2009, was an underground smash (that nasty, nasty cliché literally HURT to type). Again, while it didn’t rise to the highest levels in terms of the music, in general, it did place the chanter in a very unusual category of having an album which would receive such a strong amount of critical praise and did so for an artist who was largely an unknown. If you think about it, such circumstances don’t occur very often as I said, but when they do, as in the two examples I offered, they’re ‘generally’ for an artist who isn’t Jamaican - and Ras Zacharri is.

"Herbs Man" - 2009

Also interesting in Zacharri’s case is that he is, reportedly, the nephew of controversial Reggae superstar, Buju Banton, and while this was known, in some respect (that he was of some relation to Buju), it wasn’t a fact on which ”Herbs Man” was largely presented to the masses and I can’t even say that the media covered it that well either. Instead, it seems as if that album became such a big success based on the MUSIC (!) and was subsequently a predominately fan-promoted win for Zacharri (especially in Europe apparently) and it was that way almost immediately, making his an even more unusual situation. The album, from my perspective, was also very good and although I may not hold it in as high esteem these days as I once did, it doesn’t take a very journey through the piece to realize that it remains top notch Roots Reggae from 2009. So, in those respects and in a few others, ”New Horizon” definitely has big shoes to fill and what will be even more interesting to see is just if this one, too, gains a similar foothold with fans and goes on to do similar things which will make Zacharri, potentially (and how weird does this sound?), an artist who holds a standing of being actually able to push albums on the strength of his music and the people who enjoy it kind of promote it for him! Listening through the album, I don’t think the quality of the material here will be any problem as he once again manages to deliver a very straight forward modern Roots Reggae set, but as I said when initially listening to Zacharri’s music - there’s just something a bit different about him and ‘straight forward’ in his case may not mean the very same thing as it does in the cases of many of his musical peers. There’s just a very hard to described (even with my downright dominant vocabulary) framing, and maybe pacing, to his vibes which really helps to give his music a high degree of individuality. When looking outward to a broader audience who may often look at Roots Reggae as a template-based genre of music, I think that it is very refreshing to hear a vocalist on some random track and while he, ostensibly, does absolutely nothing which would make you think he’s going out of his way to ‘change things up’, he does just that with his natural style (more on that later). Ras Zacharri’s latest release proves to be just as interesting as his first.

Just like the first project, this album comes via Shem Ha Boreh Records which is a label which, as far as I know, is best known for their work with this artist. Also, if I’ve read the press release correctly (which is entirely unlikely, although they do appear in at least one of his videos) (and apparently we might be hearing from them again soon when the new album from Elijah Prophet reaches!) then a great deal of the material here was actually produced by Achis Reggae favourite, The Uprising Roots Band, which is absolutely outstanding and would also be indicative that the music here is top notch throughout - and it is. Also, I should mention that between these two releases, the chanter hasn’t exactly been dormant and has released at least semi-steady stream of singles over the course of the past couple of years. Ras Zacharri is keeping steady with his new 12-tracked release, the impressive ”New Horizon” and looking to keep the fan receptions and reactions very high. The first tune on the album, ‘Jah Inna Mi Heart’, should help with that in a major way as it EASILY stands as one of the album’s finest moments (maybe even the second best tune on the project).

“Even when mi hungry pon di way side
Rastafari protect wi from slide
Moses get di power and a sea him divide
Pharaoh si di flex and haffi run and go hide
Wid di wicked man mi neva tek no side
No homicide, mi seh no suicide
Wicked man si wi and dem haffi walk wide
Cuz a Jah ah guide!”

The song, like the vast majority of the good songs on the album has a very nice and free-flowing sound to it and that riddim is just CRISP which all goes to form one excellent sounding opener. The next tune up, ‘Just A Rastaman’, is similar in terms of being very loose sounding and a very free style of vibes and, to no surprise, it’s also one of the better tunes on the album. Here, what I really enjoy, from a lyrical point of view is how ‘personally broad’ (if that makes any sense, any at all) Zacharri takes it. What he says are things which exemplify the upstanding ways of Rastafari and HIS children in the world and the type of aura which is brought along, but he does so in a way which isn’t going to SPECIFICALLY talk about himself and only himself, instead he acts as a representative of the wide reaching culture and it’s a very interesting track if you really tune it in. ‘Praises’ is a tune which goes against the grain a bit because it’s far more rigid than most of the class of this album, but it clearly resides amongst them. This track is a praising tune (DUH!) and one which is just HEAVY over this big and fitting, majestic sounding composition, espousing on the strengths and virtues of His Imperial Majesty. All in all, a very big start to this one.

'Righteous Ones' featuring Earl Sixteen

Looking back on the ”Herbs Man” album, one may not remember (and by one, I mean “me”, of course, before taking a look back for the sake of this review), that it featured Ras Zacharri alongside some OUTSTANDING talents. Appearing on that album were the likes of Luciano, Gregory Isaacs and even Natty King, yet while the names on ”New Horizon” aren’t going to rival those in terms of popularity, once again he manages to bring in some truly quality lights with which to record on this album as well. The biggest of them all certainly (and coincidentally) is Earl Sixteen (new Earl Sixteen album, ”The Fittest“, in stores now), who delivers an expectedly big effort on ‘Righteous Ones’. I just LOVE the vibes around this tune, even sans the vocals and I think that it would’ve made an excellent instrumental to include as well. As for the vocals, however, of course Sixteen sounds amazing as he almost always does, and he makes a very strong pairing with Zacharri. This tune is more oriented towards the youths as it says, essentially, that it’s full time for them to come and be the leaders of the future and live righteous and POWERFUL and EMPOWERING lives. It’s not the type of big and flaring tune either, but the messages comes through just as easily. Big tune! Next is underrated veteran vocalist Mark Tenn who may even have a finer tune than Sixteen’s, with the social commentary that is ‘The System’. Tenn is quality and while I don’t know a great deal of him, occasionally he steps forth with big output and this is his biggest in quite some time to my memory as he serves up one of the most compelling choruses on the album.

“The system needs to change
The people can’t cope these days
No money, no financial gain”

The piece also has more of a dynamic vibes to it which makes it very catchy and maybe a potential single as well. Speaking of singles and hits, ”New Horizon” pinnacles with a previous hit single, the MASSIVE ‘Pagan Eyes’ which is its final combination track - This one featuring devastating Gwada chanter, Tiwony (new Tiwony album, ”Cité Soleil“). Even apart from appearing on this album, this song has been growing on me a lot as of late because I’ve been well spinning it, having previously appeared on Tiwony’s 2009 album, ”Viv La Vi” (although it was curiously absent from ”Herbs Man”). The tune is just a mighty piece of modern Roots Reggae which crosses cultures, crosses languages and links together two big voices at or near the absolute heights of their respective powers. My only complaint about this one, actually, is that its been two years now and they’ve both released new albums . . . I mean . . . sequel?

'Pagans Eyes' w/Tiwony

When I saw the title of ‘Herbs & Spices’, I well figured that it was the album’s obligatory herbalist tune and it somewhat is, but it’s a pretty odd song actually (but in a good way), because it’s also a social commentary to some degree and it’s an inspirational tune as well - all at the same time. Also, the [presumed] concept of the title is one which seems to come and go throughout, making it lyrically incredibly wide-reaching piece and one which someone like me is certainly ENJOYING the ride through comprehending. After that is another pretty good tune and one which is familiar in one aspect. ‘Free Up Time’ actually appears on the same heavy Rootdown produced riddim which backs ‘Big Money Bag’ from Achis Reggae favourite, Smiley. This song is one which calls for the immediate changing of the guard (the ‘free up time’) and although it isn’t the most lyrically striking track here, it does have its moments.

“You oppress for so much years
And all dem si is just blood, sweat and suffering
Dutty wata, settle in di guttering
Instead of school, all you build up penitentiaries
So you control how many centuries?
Making war pon both side of the fences
Physically, mentally controlling
In pursuit for vanity

Free up time
Dis a free up time
Got us inna bondage for a very long time
Free up time
Diss free up time
Repatriation is a must”

Also do check the BIG ‘No Bad Mind’ which comes in much later down the line, but just as the first album ended in a couple of instrumental tracks, ”New Horizon” does as well as the vocal of this tune is followed by a dubbed out version of its sterling riddim (both of which are highlights on the album).

'No Bad Mind' & dub

Lastly are the two tracks on the album which I didn’t really enjoy too much, the title track and the love song, ‘Can’t Get Enough’. The title track is the acoustic tune here and for me it would have actually been so much better as a tune completely sans instrumentation. The backing here is basically unnecessary (and I think we should have more a cappella tunes on albums instead of the compulsory acoustic piece). ‘Can’t Get Enough’ also seems to be more of a tune filling the need of a love song instead of one which is actually compelling. The chorus is . . . (damn I hate to say this) pretty bad and it just doesn’t create a lasting impression (and I know I’m an old and jaded man, but I did play for a couple of women who did have a similar reaction as I did). Those two tunes, however, certainly aren’t enough to drag down an otherwise nearly stellar piece.

I alluded to this earlier briefly and I though that I’d come back to it. In terms of comparison, I think drawing one (or several) from Ras Zacharri to formidable Guyanese chanter, Natural Black, isn’t without sufficient grounds. The two may not sound very much alike (although they sometimes they may), but they both have styles which are ever so slightly and coyly different from most of their peers after you dig beneath the superficial levels.

Overall, I’m not blown away by this album and you can argue whether or not it tops the first album, but to me, when I go back to the premise of this review, I think that ”New Horizon“ is a very APPROPRIATE follow-up. Like I said, ”Herbs Man” wasn’t an album which caught fire through the media, but through the fans largely and because of its musical value and this one isn’t a great deviation from that. It’s incredibly solid throughout, there’re a few twists and turns and it sounds very good on a sonic level (which may have a great deal to do with the fact that whoever sent it to us (I believe it was the fine people at Shem Ha Boreh) sent us such a fine quality - 12 tunes at 454mb). So, what I’m thinking and hoping is that the album will reach a similar fan base and have an even greater subsequent success. If that should happen that we may have to stop considering someone like Ras Zacharri in this odd categories and begin to consider him in far more lofty ones - Such as one of the future biggest names on the scene.

Rated: 3.75/5
Shem Ha Boreh Records
2011
CD + Digital
Ras Zacharri @ Myspace
Ras Zacharri @ Facebook

Completely Random Thoughts 33.5: Can You Keep A Secret????

New Sizzla album, "The Scriptures", coming soon.

Video Drop #23

Takana Zion


'Glory' featuring Capleton by Takana Zion [Directed by Ras Tingle]

First up this week is a video we’ve been waiting for quite some time as, after an extremely well done ‘making of’ set, we FINALLY get the video for ‘Glory’, the first single from the new album from BIG Afrikan artist, Takana Zion, ”Rasta Government”. It’s no surprise that this tune was chosen as it is the highest profile track on the album given that it features Reggae superstar, Capleton. To make the link (and to also record some tunes for the album) the Guinea born Zion traveled to Jamaica and, in the process, came up with a very fitting which features both big performers. As far as that video, I would have had two ideas here and they hit on one of them. If you weren’t going to make this HUGE video traveling across the globe, then the other good idea would have been to keep things involved, but simple and that’s the route they’ve chosen. The clip isn’t spent ‘hid away’ in some performance setting with the obligatory shots, instead it’s up, active and involved on the streets, interacting with the people, which is what you would hope for a tune which speaks on the virtues and the might of His Imperial Majesty. Well done boys.

Video Rated: 4.5/5
Video - Song Link: 4.25/5

'Mon Continent' by Tiwony [Directed by Grand Poucet Productions]

If I were going to give an award for . . . I don’t know ‘Videoist of The Year’ or something like such, certainly each and every year over the course of the last few, Tiwony would be a candidate for the title. The man just makes EXCELLENT clips, time and time again and he isn’t AT ALL slowing down with this gorgeous new piece for ‘Mon Continent’ from his (also) big new album, ”Cité Soleil”. BEAUTIFUL! For this clip, the chanter travels to Senegal to make the magic happen and it worked excellently on definitely one of the biggest videos of 2011. The song, itself, which one which speaks on unification and Afrikan unification amongst its daughters and sons across the world and the second and third and fourth shots we see here are of Afrikan flags of so many different nations flying high and it’s a similar shot (and we even see the later usage of graphics, to make the point even stronger) (and later we also see Caribbean flags as well) appearing throughout the video. I talk so much about tunes and lyrics making points but in this case (and in so many cases involving Tiwony’s videos), we get message making imagery and when you combine that with a powerful tune, the results are unforgettable.

Video Rated: 4.99999/5
Video - Song Link: 5/5

'Wife A Wife' By Lady Saw [Directed by Nordia Rose]

We go from a two royal-looking videos to bona fide Reggae/Dancehall royalty as Lady Saw brings us a video for her big cut on TJ’s heavy Star A Star Riddim. First of all, the song is big. Say what you will, but I’ll likely always feel that one of the biggest losses of the modern era of Dancehall is that when all of the newer sounding riddims . . . Committed suicide in terms of being actual Dancehall - We lost the prime years of Lady Saw, who was at her best over the less fucked up and more truly Dancehall-ish digital pieces. Fortunately the Star A Star is much closer to the latter than the former and she shines as only she can. As for the video, it’s pretty much what you might expect with Lady Saw taking on the night on her bike with her friends. I will say, however, that the highlight of the video is Saw herself. She looks fantastic

“If you ah pree -
Betta hide an dweet
If you no waan lose 32 teeth”

BOOM!

Video Rated: 3.5/5
Video - Song Link: 3/5

'There's A Reward For Me' by Lloyd Brown [Directed by Lloyd Brown]

WONDERFULLY also placing a video this week is Achis Reggae/Earth favourite, Mr. Lloyd Brown from his latest release, the fine ”Cornerstone” album (I know you didn’t think that he was done, did you ????) - for the tune ‘There’s A Reward For Me’. Of course, the song is a remake of the original which was sung by the immortal Joe Higgs and for the video, Lloyd Brown chose to live spicy by shooting it on Grenada. I’m going to make an assumption here (because that’s just what I do) and try to say that, with as much scenery and serenity as you see here, what Brown is saying is that he’s showing you the “reward”. It would seem somewhat random to go to Grenada to shoot this video, but perhaps, as usual, Brown had a pretty good idea in mind and, perhaps, that idea comes well through. That’s the case, or, as usual, I’m just thinking entirely too much and should, instead, big him up for the nice video and the cameo by Tallpree.

Video Rated: 4.25/5
Video - Song Link: 4.5/5

‘Rèspèkté-w’ by Daly [Directed by Slas]

VERY interesting and nearly genius route Daly and company takes for the video for the first single from his forthcoming album, “Dalycious”, ‘Rèspèkté-w’. Unless I’m missing something (and I may be), Daly doesn’t actually make an appearance in his own video until well over three minutes have passed, instead to (literally), leave his tune in the hands of the people (hopefully, he paid them). The visual strength of what ultimately proves to be such a very good idea comes from the fact that he gets people from SO MANY different walks of life. From labourers, to vendors, to school girls, to thugs, drivers, footballers, homeless people, rich people, parents, babies, other artists . . . Everybody (Grandparents)! When you do something like that, it’s an alone-standing piece of imagery and big rèspèkté-w to him for it.

Video Rated: 4.5/5
Video - Song Link: 4.5/5

'Secret Enemies' by Chezidek [Directed by Asha Lion]

Finally, we end things this week on this most fucked up and nearly disturbing new clip from still hard charging Chezidek, ‘Secret Enemy’. As the title would suggest, there’s a story playing behind the lyrics on this one and that story quickly gets going with Chezidek as an observer (I believe he‘s actually relaying the story to his group of friends). Two childhood friends link with one doing far far better than the other and he takes in his old friend, gives him a place to live and even new clothes. To show his undying respect (not really) the loser friend attempts to flirt with his friend’s wife and takes notice that his old mate deals with extremely big money. So, of course, he calls in some of the less than classy individuals with whom he now spends his time (when his friend and his wife are SLEEPING IN THE SAME DAMN HOUSE) to rob the home and is, most thankfully, caught in the process. The thought here to be careful with whom you associate and it’s crystal clear after watching the clip.

Video Rated: 4.25/5
Video - Song Link: 5/5