'Fyah Starter?': A review of The Raspect Riddim

Start somewhere. On my rather long list of musical 'Things To Do', most of which I'm unlikely to do ever or even really consider actually, are several very interesting and very doable 'tasks'. Be it an old release that I never really paid much attention to and slipped through the proverbial cracks of my collection (interesting about me is that I usually have many albums like that which I actually OWN, which is absolutely ridiculous, I know) or a video or something like that which I meant to take a closer look at - eventually I manage to get around to them - even if it does take me a year or two or three. Even more interesting and relevant in this instance is when there is an artist who, for whatever reason, I've yet to give a proper amount of attention to, despite the fact that I almost routinely run into their output. Obviously certain artists take longer for me to figure out than others, even if I do give them a full amount of attention (biggup Dezarie) and it's one thing when you don't really come into contact with them very often, but another completely when… pretty much every tune they do, or the vast majority of them, are sitting right under your ears and you actually do listen to them. I'm reminded of the recent case of The Nazarenes, who just this year did a brand new project, "Meditation" (in stores now, pick up a copy). In the case of that sibling duo from out of Ethiopia, again, they were someone who I'd meant to go back and take a listen to and by the time the latest project had reached, they had already pushed three full albums worth of material and while I'd long come to the conclusion that there was a time when I just too young to appreciate what they were doing, now that I'm disgustingly old, I was in a position to go back and hear the wonders of the first three sets after being prompted by the fourth. In that case and in many others what it will ultimately take for me to check a certain name or an album (and I did both in that set of circumstances) off of my list is just a bit of encouragement: A full album is excellent at that, a new riddim isn't bad either. Both??? That's just pretty special. 

Fyah T

If you've read my work to any extent at all (especially this year), you're likely to be at least somewhat familiar with a very, very interesting artist from out of Germany by the name of Fyah T. The very colourful chanter is a staple on one of my absolute favourite labels today, Oneness Records (who I cannot possibly talk about too much today because, apparently, I'll have another review to write about them in a couple of days or so) and he appears on pretty much anything they do and has for quite some time. Whatever that label does I not only listen to but easily pay a great deal of attention to, which makes it pretty fucking remarkable that I just still don’t quite know what to think of Fyah T (more on that later). It also perplexes when you consider that just last year he, along with The Next Generation Family, released an album with songs on which I full recognized, "Family Wise" [pictured] [hopefully], which I just never really got around to listening to. I did, however make mental notes, so when I ran into a cover for a forthcoming riddim album with the words "A Next Generation Family Production” at the head, I wasn't fully clueless.   

"Family Wise" [2012]

That piece, of course, was something which very much was going to interest us and grab my attention, the Raspect Riddim. This piece, I'm almost certain, was created by Oneness Records (biggup Oneness, they always make sure they send us new work) but is a duo Oneness & Family Music release, which makes Fyah T's input a fairly a big deal, it's basically his riddim. On top of that, had I listened to it, I probably would have noticed that the very same composition appeared on the aforementioned "Family Wise" project, backing the same tune it does here (which also gives me another reason to go back and listen to it because the nerd in me is now wondering what else may come of some track featured there). The Raspect Riddim, itself, is a beautiful modern Roots Reggae creation. It's very straightforward and very 'comfortable' which gives the artists a very solid foundation to not only make good music, but also do things which aren't necessarily just as rudimentary. It proves to be a track which serves many a different individual in many a different way, which is very rare for something of its type. It's not like some old riddim from Lenky which would have had the same type of quality, because it changed itself over and over again (biggup Lenky), but the Raspect is just 'easy-going' that it lends itself, so nicely and attractively to MELODY and being on a full album like this, to melody. That's a trait which isn't always present on Roots Reggae pieces which can be somewhat 'rigid' and you may end up with x-amount of songs on the same riddim with the same melody. No worries here, despite the fact that I would also describe the Raspect as HEAVY and probably more dense than most of Oneness' compositions. It also shows the mark of its creators in the wide array of artists who voice the riddim. It's quickly becoming a signature of the label that I'm probably  to the point now where I can distinguish a Oneness riddim by virtue of who is on it, even if they aren't necessarily more active principals in regards to recording for them. When Oneness chooses artists, they do so while casting one of the widest of proverbial nets in all of Reggae music today, so when you do run into names that you haven't previously in their output, it's no surprise and, almost always, a 'welcomed addition' to the roster. Another 'appreciated increase' (biggup a thesaurus) (did you catch that???) is the Raspect Riddim to your collection. Have a minute (or forty-five)? I'd like to tell you why. 

Revisiting the subject of selection of artists for this riddim, I think this may be one of the most colourful to date. It isn't so much of how many times you see a name that is unexpected, but when you look at them altogether, you have a most interesting and complete mix of bonafide stars and established acts and up and comers, unlikely and obvious alike. One of the heaviest of hitters gets us started on the new Raspect Riddim from Oneness Records and Family Music, the currently flaming Perfect Giddimani (new album, "Journey Of 1,000 Miles", in stores now), with the top notch praising tune 'Only Haile Alone'. The insanely eccentric chanter shows just how flexible the Raspect can be. Of course, with his style, he tends to have an advantage in terms of making melodies over some of his peers and what he does with this tune, sonically, is mightily impressive and that's not even observing the tune's message or lyrics, both of which combine with its sound to make the opener one of the finest tunes you'll find here, unsurprisingly because Perfect has been on a crazy streak as of late. Next is the man of the moment, Fyah T, with the aforementioned selection from his 2011 album, "Family Wise", 'No Raspect'. 

"Who has got di right to decide whether I'm wrong or right?

To stop Natty Dread at night might cause a fight

You say you've got permission, please start di fyah light

Fire fight!

Fire ignition!

But any of yah argument from any angle and position -

Two ways, choose one, it's your owna decision

Blood pressure rise, lightening and thunda clap

If you don't treat my people right, you will get heart-attack!"

I've gotten into the habit of calling Fyah T 'agitated' because I hate using the far more common adjective ['fiery'], even though it fits perfectly in his case, but he's clearly very talented and his tune here, a social commentary, is probably one of the best I've heard from him to date. It's also one of the best on the riddim altogether as the… fiery - chanter soars lyrically and maybe I’ll FINALLY give that album a full listen. Rounding out the opening sixth of the album for the Raspect Riddim is wicked South African artist, Crosby, with the outstanding 'Heart of A Lion'. Crosby continues impress with his big tune here and we're going to shortly be nearing a point where I'm going to start wanting an album from him should he continue his current form ["Be wise, learn to be your own slave master. Put your faith pon Jah and not di pastor. Cah only Jah can protect I from disaster. So I & I ah call pon di master"].

There're a couple of names who voice the Raspect Riddim whose presence, alone, really just made me smile. This is the case in the midst of, as I said, some really big artists and some who will potentially become big names, but this pair really stood out for me. The first is looooooooooong time veteran, the woefully under-recorded Steve Machete who comes through with a big ganja song, 'Herbs' (keeping things simple). Not nearly enough people know Machete's name and that's really a damn shame because, whenever you hear from him, he's always bringing quality tunes and this track is no exception. The other name which well peaked my attention was that of Baby G, who isn't the person who carries that name that you're thinking of. This Baby G, who gives us the nice 'Il Est Temps' is a sublime vocalist from out of Madinina who I really hadn't heard a great deal of from his last album "Libre" [bka "that album that had 'Au-Dela' on it"] which was now way back in 2008. In both of these cases, not only are their tunes on this riddim big, respectively, but I just think that including them both on just about anything is a great idea and the fact that they both reach the Raspect is a really big deal for me and if you pick it up, it'll be the same for you, I'm sure.

Neither Steve Machete or Baby G are the biggest of names on the Raspect Riddim, but some of those lesser known and yet to be known lights really do shine across this track. For example, extremely talented Indonesian Ras Muhammad continues to impress greatly with his offering here, 'Nuh Badmind Friend'.

"You have your dreams and you have your aspirations

You have you goals and you have your inspiration

You have someone to look up as admiration 

Nah let di badmind come and spoil yah meditation

When yah spirit low and yuh pocket running empty - 

See yah real friends will help you whenever you are in need

Words of the comforter, they come to comfort yah

Wi si di badmind is a proud backstabber"

Kaya T also grabs the focus with the strong and very clever 'Blue Skies'. Kaya T has such an interesting voice as well. it almost seems to be capable of basically 'jumping’ over the track and then receding back just as instantly. The result is a tune which is likely the biggest sonic standout on the whole of this album and I definitely hope she becomes a frequent contributor to Oneness' riddims (and you now have a riddim which has a Fyah T, a Baby G and Kaya T). I also did really enjoy 'Take A Stand' from veteran Isiah Mentor. Although not the most spectacular sound, the song really does achieve what it obviously sets out to do and I LOVE the range of urgency in Mentor's vocals as well. Dome, who sounds a bit like Fyah T, took a minute to get me, but eventually did with his own ganja tune 'Good Sensimillia'. Dome has some serious potential according to this tune and I look well forward to hearing more from him in the future. 'Like A Rose' from Edge Michael is a decent track although not amongst my favourites and I could say the same for 'Pretty or Cute' from Ras Charmer, although the latter is quickly gaining steam in my favours. And Da Brenner is also back with 'Da Schau Ma Moi', which is the final vocal track on the Raspect Riddim album. 

The remaining five names on the riddim, with the possible exception of one (although he is well known if you check here enough), are some of the more well known artists appearing on the track and they, like Perfect before them do very well and even offer up the single best tune on the riddim to my opinion. First of all, while you may not be aware of the mighty Rebellion The Recaller , you might want to become acquainted with his music and here is an excellent place to start. You won't find too many songs on this riddim which are better than his 'Carry On' and he also continues in a very fine form following his recent album ("In This Time", in stores now). Esteemed duo Sugar Roy & Conrad Crystal also come through on the Raspect Riddim with a stirring social commentary with a spiritual base, 'When It A Go Over'. This song is nearly stellar and just really speaks a lot of sense to the listeners, so make sure you tune in particular to the lyrics there. Later, Fantan Mojah goes all Nesta on the people with the DAZZLING 'Lootin & Shootin', which is definitely going to be the best song I've heard from the chanter in some time. Again, you listen to this tune and well pay attention to the melody and how diverse it is when compared to just about anything else you'll hear present here. Still, for me the Raspect pinnacles between what I think are its two most signature moments, which come from Lutan Fyah and Luciano, respectively, 'Respect & Manners' and 'Jah Army'. 

"Some people claim to be fighting for something - end up, dying for nothing

So many innocent life have been wasted

I no si no reason for di killing, too much blood spilling

So I deh wonder what they're meditating

It's the choices that you make, now yah trouble come

When yah trouble come, tell mi where you ahgo run?

You neva listen, how could you be so brave?

Now you get caught up in di mess, what more can you take?

Yah owna dirt splash up in yah face

That's all on you!

He that exalt shall be abased

LOVE IS THE TREND WI COME FI SET INNA DI PLACE

So if you come yah wid ya violence, gallang yah ways

Wi nah tek no money bribe, wi won't mek di same mistake

And dem ya youth no really want no gun pon dem waist

Wi need love and peace for righteousness sake

Hey, gi di youths dem a break"

BOOM! Lutan Fyah is 'dangerously' nearing the levels he had attained a couple of years back where it seemed as if creating a substandard VERSE was just something he could not do. This is BRILLIANT material from the chanter whose wordplay, as a whole, remains nearly without peer. For his part, Luciano reaches an almost vintage level with the trumpeting and MASSIVE 'Jah Army', which is my favourite song on the Raspect Riddim altogether. This track, somewhat in retrospect, is right within The Messenjah's area of expertise and he shows exactly why that is on a song where, for the eight-thousandth time, the legendary singer makes his highest of allegiances crystal clear! 

Nicely, the Raspect Riddim album also includes a clean version of the riddim (so you can try at home) and, for what it is, it's also a highlight here for me. Always love those.

Raspect Riddim Mix

Overall, my only real critique here is that the album for the riddim probably could have been a bit more streamlined. Checking in at eighteen songs with the instrumental, if that was pushed closer to fifteen or so, it would have been better and that's not to say that the album is tedious at all because it isn't. With that being said, however, what we have here is yet another stellar riddim album and one which leaves me with a bit of homework I suppose (as if writing these things wasn't enough) (currently checking it at 2,718 words). Along with appearing on just about everything that Oneness Records does (including what is very likely to be the next review I write), Fyah T just did something pretty special, put his name on it clearly and put it directly in my line of hearing with the Raspect Riddim. So, for you I'd suggest you pick it up today. As for me, I'll be somewhere in "Family Wise"… FINALLY. I'm convinced. Well done. 

Rated: 4.35/5

Oneness Records/Family Music

2012

Digital

Review #392

Coming Soon #56.5: The Double Up!

"One Love, One Life" by Beres Hammond [VP Records]

Disc 1

1. No Candle Light

2. Can't Waste No Time

3. In My Arms

4. Crazy Dream

5. Lonely Fellow

6. My Life

7. Keep Me Warm

8. More Time

9. Shouldn't Be

10. The Song

Disc 2

1. Still Searching

2. Don't You Feel Like Dancing

3. One Love, One Life

4. Can't Make Blood Outta Stone

5. You Stand Alone

6. Not Made of Steel

7. Family

8. The Truth Will Live On

9. Prime Time

10. I Humble Myself

Okay so, I held off on this one from the last time because I was going to do an own post, but thankfully there's even more to mention now. The reigning World's Coolest Man, Beres Hammond, is set to reach shortly with his brand new album and first in more than four years, the potentially AMAZING and guaranteed SPECTACULAR "One Love, One Life" from VP Records. The album comes with a bit of an 'inherent' twist as, checking in at twenty tracks, it is sprawled across a couple of discs and two discs worth of new[ish] material from the great vocalist may just make someone's year and yes, my name is "someone's" (and so is yours). Really, really excellent output is expected… You know what…? You don't need me to tell about this album. It's a Beres Hammond album - don't be stupid. Buy it!

Potential Rating: 4.999999999/5

2CD + Digital

Releases on November 13

"Strictly The Best Vols. 46 & 47" [VP Records]

Next, if you haven't noticed it is almost November which means that… it means that it's almost November and it also means that it's nearly time for one of Reggae's most popular and populous flagship series to return, "Strictly The Best". This year we're on 46 & 47 and while the trend of the series is essentially intact, there is a twist here as well. As always, the even number of the series features the slower pieces - the Lover's Rock and Reggae and this year we find the likes of the aforementioned Mr. Hammond, the returning Morgan Heritage, Freddie McGregor, Tarrus Riley and Etana headlining, while the odd number deals with the Dancehall and more 'crossover' type of sets and for its part, #47 is bringing in Mr. Vegas, Aidonia, Tommy Lee and Sean Paul w/Kelly Rowland, formerly of Destiny's Child.

ALSO, the "twist" here is that both come with second discs which follow the categorizing as well (VP has to do something with that catalog after all). So you'll find a VERY interesting mix on the second disc in both cases. They both feature rather odd and almost random-looking "classic hits". A good idea by VP Records I would say - something to liven up "StB", although it very likely will not need the help. 

2CD + Digital

Releases on November 13

"Marcia Griffiths & Friends" [VP Records]

And finally we revisit someone who we had the fortune of stumbling across just yesterday on the Moving Riddim album, the legendary Marcia Griffiths who is bringing an album which has… a twist, and a bit of history as well, on a couple of different levels, "Marcia Griffiths & Friends". Okay first of all, this album, itself, actually released back in February as an exclusively Japanese release. Secondly, a loooooooooong time ago the singer also had an album named "Marcia Griffiths & Friends" as well, so what we're looking at now is really the third releasing of this piece. Now unleashed to the rest of the world, the album has changed as it has gone from an eighteen piece collection and is now THIRTY-EIGHT songs spread across two discs, featuring Griffiths singing alongside everyone who has ever recorded a Reggae song, EVER. Definitely one for the collectors and those with good common sense (biggup Black Am I). 

2CD + Digital

Releases on October 30

'No Barriers': A review of The Moving Riddim

Something even greater. While it remains a most rewarding and pleasant experience, listening  to all of this wonderful music, in general, it is still frequently worth mentioning and celebrating the absolute leaders of the genre - those whom we 'charge' with doing special things. Ultimately, or presumably ultimately, it is the goal of every artist, producer and label to arrive at that point in their musical lives and watching them try to get there (or not, even,  in some cases) is one of the most interesting things about being a fan of music. As for those currently at that top who have no plans on vacating the positions to make room for any peers or potential new contemporaries, they continue to dazzle and will hopefully do so for some time to come. In the case of the producers in particular, which is why we're here today, I may get exhausted by saying this over the years, but you really must not be paying any attention at all if you're currently under the impression that the aces of today's era could not 'hold their proverbial owns with those of many eras gone by. I absolutely refuse to believe that someone like Don Corleon could not have been a massive success forty, thirty or twenty years ago making that style of Reggae music and Dancehall. Similarly, I don't believe that I have the PHYSICAL STRENGTH [!] to hear an argument saying that someone like a Dean Fraser or a Tuff Lion or even some of the lesser known maestros, now and going forth, would not have been able to make a just as sizable of a contribution to the music or even more in those two cases, if they came around in a time much ahead of their own. Today we focus on someone else who very much fits into this class and someone who, again presumably, has the time to prove me correct, the masterful Stephen 'Di Genius' McGregor. No matter where you turn, if you listen to Reggae and Dancehall music in 2012 and several years prior, the young McGregor is virtually inescapable and that is a good thing because I would make the point and do so with an extreme level of confidence that if he retired RIGHT NOW and rested on his laurels of a career already completed, McGregor would already assume a class of some of the greatest producers the genre has EVER seen. Like right now. Fortunately that isn't on the itinerary (at least I hope it isn't) and instead he's delivering his latest set, which may just be one of the very best of an already storied and almost over-highlighted career. 

Stephen 'Di Genius' McGrgegor

Stephen McGregor is certainly someone known for a grand amount of versatility in his music. Besides making riddims of a different variety and sounds, he's also produced for almost anyone who is anyone in Reggae and probably more artists than I even know about outside of the genre. He's likely to have orchestrated as many hits as most of his peers combined over the past few years and in 2012, he's well continued his winning ways. But all of that doesn't mean that you can't change the course once in awhile. Usually, although he does deviate, McGregor focuses on more hardcore Dancehall music and recently I'm happy to say his output has beautifully drifted further and further away from that… Hip-Hop shit everyone was making for the last few years and even if you disagree with that, surely you'd agree that his latest release doesn't have a damn thing in common with Hip-Hop - AT ALL. 

The Moving Riddim. In the past Stephen McGregor has done, as I said, a variety of things, but one area in which I'd certainly like to hear more from him is on the more 'traditional' Roots Reggae set. Previously he has done several things (again, probably more than I know about), but what stands out most STILL for me is the fact that the younger McGregor did vibe much of the 2005 album of his legendary father, Freddie McGregor (which, I believe, most unfortunately, remains Freddie's most recent studio album - someone needs to do something about that) (good album still, check it out if you haven't already). In 2004-2005 when that work was likely mostly completed, Di Genius would have probably been all of two or three months old at that point, so clearly you shouldn't allow your mind to think - if you haven't been paying attention - that the creator of such Terror-ridden tracks like the 12 Gauge, Red Bull & Guinness and Tremor riddims ("gagagagaga") is unable to do something different… or you can if you like, but if you do, you risk missing out on one of the finest riddims 2012 has had to offer thus far. The Moving Riddim is an old school vibed piece of bonafide mastery. A few months back the riddim was teased and it was very well received and now it comes to a full official release and as the entire project rolls out, it is no disappointment at all and it even manages to impress 'despite' the very high expectations. McGregor, as you might expect, also took this one in a bit of a different direction than normally. While you won't at all find names such Mavado, Ele, Aidonia, Bramma and Laden who generally appear on Di Genius' compositions, it seems like there was more of an initiative to 'capture the moment' (biggup NiyoRah) and really make a Roots track which stood up like a Roots track (although I would LOVE to hear Agent Sasco on this riddim) and the names who did voice the Moving Riddim, for the most part, are names who would expect to hear, and do hear, typically on such pieces. The results are absolutely shining as Stephen McGregor ultimately isn't the only one related to this project with a talent which is bound to no era. Let's take a listen.  

Di Genius Records 2012

It's so interesting that, typically, Stephen McGregor's more Dancehall-centric creations are these kind of stunning and highly detailed musical journeys and when you get into this piece, it's beautiful and it is stunning, but its more of a 'less is more' type of piece. It sounds so familiar, so comfortable (but still deceptively ACTIVE in some aspects) and it doesn't come off in the same manner as its Dancehall 'siblings' which, for it, is a good thing. "It", of course, would be the Moving Riddim, the latest from Di Genius whose brand new album gets started with one of its biggest names, Jah Cure, checking in on the SWEET lover's tune, 'How Can I Forget'. I don't think I'll ever actually tire of listening to the Cure sing songs and if I will at some point, it's still far off, because to my ears the owner of the greatest voice I have EVER heard in my life continues to turn in winners and this tune is no exception and one of the riddim's finest. Anthony B a veteran (in every sense of the word) of McGregor's output is in next with 'Give Praises'. It's been a few months from the last time I've been REALLY impressed by Anthony B (check out his most recent album, "Freedom Fighter", which is excellent, in stores now), but that all stopped here, 'Give Praises' is really strong and a nearly (not quite) vintage level of Anthony B with the free-flowing nature of the track which is not to be missed. And then there is the BOOM!

"All Ganjaman mi waan si every spliff ah light

Spliff ah light

Mi fi light mi deh pon a Afrika flight

If you suffer from insomnia this mek you sleep at night

Nah go si mi touch di Charlie Brown or touch di Mr. White"

Unsurprisingly taking top honours on Stephen McGregor's Moving Riddim is his brother, Chino, who ABSOLUTELY DESTROYS things with one of the finer herb tunes you'll hear this year (and I'm only saying that because I haven't thought it out yet, it may just be THE finest of them all) 'Boom Draw' (biggup Jr. Kelly). I'm sure I've said it at some point, but I really 'slept' on Chino for far too long, but not these days. This is exceptional!

Looking at the roster of artists on the Moving Riddim, I'm just pretty happy by the fact, alone, that such a riddim would exist that would make enough sense for all of them to have a place here. And while, like I said, I would have liked to see one or two more of the regular 'hands' of the Big Ship, who Di Genius does manage to bring together more than works here. Of course we first  look at the bonafide members of the ROYAL Reggae ranks, the aforementioned Freddie McGregor and the timeless Marcia Griffiths who come through with 'Be Alright' and 'No No No', respectively. Is it awful if I call the former a 'potential classic'??? It is one divine piece of spiritually accessed social commentary. 

"I know things would be better - 

If we could only work together

Now what is the matter?

Peer negative thoughts and wasted chatter

Now who must we turn to?

Is it fear that someone could hurt you?

Or even desert you?

But Jah, HE cares for you

Each day I awake, I give praises to The King

Never lose a thing -

Jah always make me sing

In every way, each and everyday I pray

I give praises all the way

Jah alone will do yeah!" 

For her part, Queen Griffiths turns in another big winner with the defiant 'No No No'. There's just something so sublime about this woman's voice which is just so damn… It's like a blanket! It doesn't even matter what she's singing about, it just makes you feel good and I love when she just kind of appears on modern tracks, although her presence here certainly is not a surprise. 

Joining those two is a wonderful cast of 'supporting artists' which features the likes of singers Mr. Easy and Chris Martin. Mr. Easy is someone who I just like to hear from. I wouldn't necessarily call myself a big fan of his, but I generally enjoy his output these days and the selection he brings here, which is the riddim's title track, is another stellar effort from the singer and for the riddim as well (LOVE the chorus on this tune). It seems to be taking much (much) longer to warm up to the music of Chris Martin than… pretty much everyone else in the world apparently, but as long as he continues to push up pieces like his superb love song here, 'What Can I Do', I'll join the crowd and do so very happily. Someone of whom I very much am a fan already, Hawaiian sensation J-Boog, also has a nice tune on the Moving Riddim in the form of another social commentary (which I think is somewhat rare for him), 'Change Up Your Evil Ways', which calls on everyone who may not be living in the right way to really make an alteration in their behaviour "before the trumpet sounds". J-Boog's voice is also worth mentioning here, because it may just be one of the better sang songs that I've heard from him so far which is definitely saying a lot because he always sounds very good. Di Genius, himself, also finds a proper pitch on his own vocal offering on his riddim, 'Need My Love'. You can imagine already I'm sure what this one is about based on its title and what really strikes here is just how infectious this song is. Is may not be amongst your favourites here (but it may be), but chances are high it'll be THE song most easily stuck into your head after listening through. Black Am I continues to demand attention and respect via his tune on the Moving, its final vocal selection 'Common Sense'. While normally the concept of common sense and its actuality are things I RUN from on sight, I'm completely in agreement with BAI on this antiviolence set and well do keep some attention pointed in his direction because he is poised to do MASSIVE things in Reggae music in my opinion. 

"I & I born with common sense

Mi coulda neva mix up inna no nonsense

As far as mi si it, it no mek no sense

When gunshot ah beat and man ah tear down fence

Like dem no born with common sense

Ah roll without dem soul and no conscience

And nuff mi si come inna unda false pretense

But Natty Dread ah burn out bad influence"  

And lastly is a personal favourite of mine as the eternally flaming Lutan Fyah reaches the Moving Riddim with his normal brilliance, 'Hold A Medz' which rises near the top as my second favourite tune on the track. 

"Tell dem seh mi humble but wi neva soft

Wi no lamb to no slaughter

I'm working so hard, for my son and my daughter

Let the future be secure from this time forth and after

NUH LIVE LIKE PAUPER!

And tell dem wi nuh idle, no wi nah go waste no time

Early morning as mi rise - I'm on the grind!

Then I put the wheels to my shoulder, ready to take what is mine

Then lifestyle so dandy and fine”

"Tell dem seh mi always ready to perform

MI SHOW SOME HUMILITY AND GWAN KEEP MEH CALM

Mi neva work no inequity from di day mi born

And who dem ah try diss up wid a scorn?

Tell dem seh mi write and mi bun dem wrong

Mi nah go follow no Rudeboy, mi nah join no gang

Hey, a love man come fi show and a just so mi tan

Hey, hear mi out"

And the riddim album also contains a clean version of the Moving Riddim (so you can try it for yourself at home), which is excellent and is always a nice touch so biggup Stephen McGregor for including it (because they don't have to). 

Overall, the only real complaint here is that there isn't more. Checking it at only eleven vocals, I definitely could have gone for two or three others on the riddim, but judging it for what it is, the Moving Riddim is, quite easily, one of the best riddims of the first nine months of 2012 and we've had some nice ones, so that's a pretty large distinction in my opinion. On top of that, because of how it is vibed, and this goes back to our premise: There doesn't exist a period in the history of Reggae music where this isn't an excellent riddim. I'm not going to try and tell you that it is one of the greatest of all time… but it fits into so many different segments of the music and does so by virtue of just being exceptional really. It is also worth mentioning that despite its very straight forth style, I think that the Moving Riddim is also relatively accessible to non traditional fans of Reggae music, who should be able to appreciate it as well. The set becomes yet another testament to skillful nature of the producers of today, in particular someone who will also be amongst the engineers of tomorrow - The great Stephen 'Di Genius' McGregor. Superb. 

Rated: 4.5/5

Di Genius Records

2012

Digital

Review #391