The Vault Reviews: "Momentum" by Midnite

No shadows. I spoke a bit on the last installment of our running look back at albums from the wondrous Vaughn Benjamin & Midnite - about how it seems as if certain labels have so much of their musical identity tied to Midnite's music. When you take a glance at what they've done, the entire catalog, you'll certainly notice big names such as I Grade Records, Lustre Kings Productions and others which are initially synonymous with the music of Midnite to their fans, but what you may not notice are others, such as Higher Bound Productions in the aforementioned case, for the "Bless Go Roun" album, are perhaps even more the music because it is the vast majority of what they do. Similarly, today we look at another label which has done the same thing and is maybe even a greater and more vivid example of that. Over the past few years when you had a desire for a Midnite album, there is a pretty large chance that if you satiated that wanting, you've done it with an album from Rastar Records. They've made so many Midnite albums in the last few years and they've definitely been the main source of maintaining the entity's extremely active level of prolificacy when it comes to albums (and you simply don't see random singles on random riddims coming from Benjamin and company. Albums are just what they do) So, as I've said in the past, although those albums don't tend to be exactly the most popular of releases, the full union of Midnite & Rastar Records has been a numerically dominant one in recent times. HOWEVER, there has been 'space' in between those pieces and, by my most surely incorrect of calculations, the most active of space fillers (literally, not in terms of quality) has been Fifth Son Records who have also had a pretty healthy release schedule for Midnite albums, having pushed five albums to date in, roughly, the same timeframe that Rastar has done seven. Now, what is probably the most interesting aspect of the Midnite/FTR relationship is that, to my recollection at least, I don't think that the label has EVER done a project with anyone who was not Midnite. That isn't a situation which exists for Higher Bound Productions and surely not Rastar or, really, any of the other Midnite active imprints from recent years. When Fifth Son has a new album, you can be virtually assured that Midnite has a new album.  

"Standing Ground" [2008] & "Standing Ground Dub" [2011]

And they've [both] had some very good ones. The most memorable product of the link was it's second. Back in 2008, Fifth Son Records delivered what may just be one of the most popular and well regarded Midnite albums of all time, the… FUN "Standing Ground". That set was the first (and only) double disc release from the 'group' and it spanned twenty-four tracks and more than an hour and a half of music. There was also a dubbed out version of "Standing Ground" a few years on, the first Midnite/FTR piece, "Suns Of Atom" (a very nice album) in 2006 and just last year there was a record which I LOVE more and more every time I hear it, even still today, "In Awe". Also within that lot, from 2010, was a project which didn't receive the attention of "Standing Ground", but may just be the second most well known FTR album, the most fittingly and appropriately titled "Momentum". 

All of these albums, regardless of how well I know them and how much time I've spent listening to them, tend to stick out in my memory for their own unique reason. In the case of "Momentum", I always remember it for being a piece whose name so eloquently describes my own personal appreciation for it. Not only did I not enjoy it much when I first heard it (and I know exactly why that was and I'm going to tell you in a minute), but I didn't hate it either. I didn't dislike it. It didn't make me happy or sad or anything. It… really didn't do anything for me and, for one of the very few times, I had encountered a full album for which I had very little opinion and was almost wholly apathetic towards. It was just a an album from Midnite. But my opinion wasn't the prevailing one and, in its time and probably a bit beyond, "Momentum" seemed to do quite well for itself - and then I finally started to come along. When you actually got into the music of this album, you heard what I heard originally. Because of his style (one in which it isn't rare at all for the riddim track to be full-on ignored at times), Vaughn Benjamin's music doesn't lend itself particularly well to the construction and 'preservation' of MELODY. Because of his ability to be an almost overwhelming lyricist, however, you won't find too many people who care who is Midnite that mind that aspect too much. So, for that to be a point worth mentioning in the case of "Momentum", you know it had to be even more sans melody and dynamicity than is 'generally' the case. What would change for me in reference to the album's quality later was, along with paying a stronger attention to what was being said, I actually started concentrate more on what I was hearing. In doing so, "Momentum" began to pick up steam (forgive me, I had to) and become an album that I really started to like and all of this happened within a year or so and probably a little less actually. It became far more of an interesting listen than I had given it credit for being and while Midnite's entire discography probably STILL offers about fifteen or so sets which I would call even more dynamic and 'easier' spins, "Momentum" eventually would become a favourite of mine and has remained so in the relatively brief three years of its existence. Also, I really enjoy albums which not only provoke and promote thought (and you won't find a release from Midnite which does not do that), but also take a nice amount of time to really grip a listener and the journey to comprehension of this one, in particular, has been damn enjoyable. 

"Suns Of Atom" [2006] & "In Awe" [2012]

The production for this album comes via one John Juaquin Wilson who, I believe, is the head of the label, as well as Benjamin himself. Perhaps most interesting about Benjamin's prolificacy is that, unlike Sizzla, Anthony B, Jah Mason and other extremely (or formerly extremely) active artists, he almost always has a hand in production and it seems as if it is rarely the case where someone presents him with a bag of riddims, he writes and records and is done with the album. While we continue to wonder if there're maybe two or maybe even seven Vaughn Benjamins, what we can say that is that getting started the "Momentum" album from Fifth Son Records back in 2010 was a tune in the album's title track (also known as 'Stinga'), which really encapsulates my feeling for the album named after it. I didn't have much of a feeling for the tune, good or bad, the first few times I heard it, but I can remember all of that changing when, for some reason, I decided to really take a more thorough listen to it and what I got was a golden song. The melody here is subtle, but it is definitely present (I may even say it is one of the more lively songs on this album) and, of course, the knowledge is well intact on the brilliant opener. Second is a piece which has, arguably, become one of the most popular songs from this record, the lovely 'Life Is Sweet'. 

"Seet, sufferation come fi sift di chaff from di wheat

Regardless, conquer don't know wrong retreat

HAILE I SELASSIE I DISCIPLINE - RELIEF

Preserve the little good inside that life is sweet

Life is sweet!

Life is sweet!

That life is sweet!

Life is sweet!

Don't be overpowered by di wrong, be decreased

Let the goodness of Jah increase

Let the goodness of Jah increase

Every sound, every sound that lion shout out of mouth

Things that di urban jungle no prepare it about

Element of word, element of sound

So hurry up and make haste - come and chant it down!

Make the Inity coalesce around

Don't let the vibes of grudge hold, come in - 

Inna di scene"

Sometimes I listen to songs that have grown on me over the years and I get to a point where my lack of initial regard for it is just puzzling! I don't know why I wouldn't have enjoyed a tune like this ever. It's fantastic! On the other hand would be a song such as 'Strengthen Fully' and its LUSH riddim ["and they see they can't find di locks dem key"] ["and they see they can't find di locks dem key"] [BOOM!], which was one of just a few songs here which I did actually enjoy from very early. These days it hasn't diminished at all and, though I dare not to use the word "classic", personally it is a significant standout for me. Excellent start. 

As I have found to be the case - when you break down an album in a great amount of detail, it tends to reaffirm most of your positions and ideas and, because of that, I experience a great deal of reaffirmation in the case of "Momentum" which has even gathered more force for me now. Its most 'forceful' moment in my opinion was and remains the MAMMOTH 'Very Many' and that's saying a lot because, as I'm about to tell (and have already) there're some very nice tunes on this album, but none strike heavier for me than this piece which is a living and breathing form of musical meditation and education. 

"The whole world seeking donation not because you paying it

It's still a need

Therefore ah request and ah request demand specified manners and decorum

Like the difference between a demand and a command - and a supplication

Everyone straight-up -

DON'T ACT LIKE THE DIAMETER IF YOU'S THE RADIUS"

BOOM! Way back when I first heard it, I knew the tune was a significant one and it's only grown in stature from then. A big tune. Apart from that tune, close your eyes and pick a random track on this album, most likely you'll come across another good one. Try the somewhat edgy, but no less genius 'Corn an Bread' ["where your spliff and your lighter and your drink is - should be some place good to live"]. I listen to this song now and, again, I'm left wondering why I didn't hear it at first and… maybe it wasn't even on the album three years ago! It was, but time and perspective have given it spice and now it is excellence to my ears. Check the THICK 'No Doubt' as well. Here is the type of tune, exactly, which I would have pointed to as having a dearth of melody - but it is not. What I hear now is nearly a powerful sonic experience and although there are better songs on this album (I THINK), this piece is to be held in a very high esteem although it is a song from this album which has largely been forgotten. The same cannot be said for 'Hustlin', which was always quite well received if I recall correctly and rightly so. The delivery and the lyrics on this song are the real highlight (even though the riddim is quite lively) as Benjamin takes a finely detailed and very clever look at day-to-day living. Later on "Momentum", we also get a solid pair of tracks in 'Living One' and 'Sustainable Living' neither of which, even now, are not the most sonically pleasing moments on the album (they could both be completely sans music altogether and not lose a thing in my opinion), but like many of Vaughn Benjamin's songs, they both manage to strive, and strive greatly at some points, due to a level of lyrical dominance rarely if ever matched by any of his peers. Between the two I do prefer the slightly brighter latter, but both are very strong. 

"…In recent history, but at a different phase of 'just couldn't see'

Don't grudge these their chances to rise up and learn and be

How to make sustainable happiness free

Freer than corn, ethanol and ganja degree

How to make sustainable happiness free

Well, freer than corn, ethanol and ganja degree

Rastaman within a town, Rastaman out inna country 

Rastaman with credit card is access code simply"

The four lasting songs on the "Momentum" which I have yet to cover, at least to my opinion, along with 'Very Many', 'Strengthen Fully' and maybe one or two others, represent an even larger step-up from many of the other surely GOOD and better songs on the record. The first of them is the downright dangerous and BEAUTIFUL 'Don't Be Scared'. There is absolutely nothing not enjoyable on this song. It may not jump out at you, but if you give it the opportunity to, it does prove to be have a nice sound and the lyrics… well: 

"Don't be scared and scorned

How not to be scared and scorned -

When the life movie scary and the monsters are coming out of di barn

Today a man will tell you seh he is the born demon from start

And carry all symbology dat tell you seh he played his part to heart

What out of heaven and earth Jah Rastafari cast

As HE is the First and HE is the Last -

No man ahgo have no say deeper than that!"

It's not lacking at all in the facet either. 'Real An Raw' is another selection which really reached me greatly as well, although I will say that it took awhile and it wasn't actually until I really dug in to it that I noticed how much I enjoyed this song. There's also 'Stay', which actually 'halts' he "Momentum" (it's the album's last song), which also is a composition which had to grow on me a bit and I had to take a look at it from every angle I could think of to arrive at the conclusion that it was nearly massive. No such growth, at all, however, was required for 'The Quickening' (because there can be only one), which is awesome and always has been. 

"When can't see the road, yet the vision is sure now

Obey Rastafari who's been seeing all the anything -

Impulse and congratulated spontaneity

Where bout into complexity

Every present from in protein stored abundancy

EVERY LIVING CELL HAS A MEMORY 

Hear - Rastafari store up blessing

Indeed to vitalize nostalgia 

Creating good memory

YOU IS THE STORE HOUSE, HAVE TO CARRY ROUND THESE" 

It is probably my second favourite song on an album which offered up a healthy amount of favourites. 

Overall, while, like I said, I had already come around to the point of respecting the "Momentum" album a great deal prior to this breakdown, as has been the case with these, I have an even denser respect for it at this point. This was a very complex album (even on Midnite's own scale, which is several times more complex than almost anyone else's) and really it deserved three years worth of thought and it may deserve another three and three after that to make it entirely clear. Where it stands now, however, is very good and I'm happy to see that it hasn't been forgotten and a great deal of Midnite's fans had it resonate with them more immediately. "Momentum" stood and stands as a fine addition to the Midnite catalog from a producer who has proven very useful and fruitful over the years. And we continue…. 

Rated: 4.35

Fifth Son Records

2010

CD + Digital 

Review #420

'Still Evolving': A review of "New Veteran" by Lloyd Brown

Development for an artist isn't something which stops when an individual reaches a certain level in his or her career. For better or for worse it persists for as long as they remain active and can really continue to offer fans and the artists, themselves, continuous thrills throughout an extremely long career. Elder and much more established stars develop in different ways, of course, than younger ones who are generally in the midst of concreting their musical identities and creating things like fan bases and setting up relationships and, really just concentrating on getting their name around. For the more experienced, barring a complete career overhaul, I suppose (the likes of which I can't actually think of an example of, but I do allow for the possibility, of course), they tend to do other things. For instance, when you talk about someone who has been around for a very long time but has shown a great amount of development and expansion in what they do, I automatically begin to think of sweet singing veteran, Glen Washington. Now, you could listen to a Glen Washington tune from 198X and one from 201X and they're very likely to sound nearly identical, because what the veteran singer has done is to make very subtle and clever shifts, specifically in with whom he has chosen to work, which has managed to not only rebuild his fan base, but also to recreate it in many aspects. Perhaps that would explain a wildly popular album from him in 2012 with a very diverse audience, the appropriately titled "Masterpiece". And, because it's so fresh in my mind, it is difficult to talk about old names developing and progressing in 2013 without at least mentioning Super Blue who wrapped up a 2013 season for the ages. It does certainly happen and it can happen with good results. Someone else who has been around for quite awhile (despite the title of his new album) and has never been a shy one for making the 'next step' has been another sweet singer, Mr. Lloyd Brown, from out of the UK. Not entirely unlike Washington, Lloyd Brown has also seen a 'renovation' of his listeners in recent years (which made room for people like me to become fans) and, without making great changes in the final product has managed to stay current - making music which is pertinent to and appreciable by fans within a wide variety of age groups. In retrospect, last year he took another step (an extension of one made in 2010), one which was somewhat surprising, and this year, he's doing it again. 

Lloyd Brown & Cousins Records

I consider myself a fan of Lloyd Brown's music but, obviously, what I've mainly focused on has been within the last six or seven years, beginning with his very first album for Cousins Records, "Said & Done" from 2006. That album would be the first of a quintet of releases via that union (which would include the MASSIVE "Silver" from one year later) and, despite what you may say of Cousins at this point, they had a very nice run once upon a time and, definitely, their 'cornerstone' was the wonderful work of Mr. Brown. In 2010, with Cousin's almost completely gone, Brown would release his "Cornerstone" album via his own Riddimworks Productions imprint, which had been responsible for the music on his previous four releases. After taking 2011 off, he would return last year with "30", again on his own label, but that time, despite how absolutely COOL it would have been to have that cover on a CD, it was only a digital release and, presumably, he doing that again in 2013 with his new album, "New Veteran". 

Lloyd Brown & Riddimworks Productions 

Mixed emotions. I certainly don't mind the digital format (LOVE it sometimes) but, for some reason, it exclusively, doesn't tend to lend itself well to promotion. Because of that, despite the fact that "30" was well received, I don't know that it was AS received, in general, as it would have been if it were on a CD and that's just not right for an album from someone on the level of Brown (and, again, digital-only isn't a problem, biggup Jah Marnyah, but "30" wasn't well circulated, even on that side). In 2013, it appears that things have stayed the course as "New Veteran" also seems to be exclusively digital. I didn't even know that this album was going to be happening until we got a message from Brown's manager (a woman named Denise, who is, EASILY, one of the nicest people we have ever come into contact with in doing this) (biggup Denise) saying that there was a new Lloyd Brown album and it was called "New Veteran". Brown had, for a few years, made it a point to do all of his business in November, but apparently February is the new November. Now about that title… uhmmmm… yeah. Okay, last year was "30", which was meant to mark Brown's thirtieth year of making music. If my math is correct (and it is not), that would make 2013 his thirty-first year, which kind of makes it difficult to call yourself a "new" veteran (now that you've been making music for as long as I have been on the planet), in my opinion, but I'm going to assume that he had something else in mind. Again, the album comes via Brown's Riddimworks Productions which, looking back, has been very dependable and, really, regardless of whether you like a particular album or not, one of the last concerns you have going into a release from Lloyd Brown is its arrangement and direction. You basically know what you're getting into and I follow the lead of my Brother-In-Law (biggup Bredz) who, upon listening to the album and in response to my question of its quality provided me with this otherworldly level of insight: "It sounds like a Lloyd Brown album" (Bredz: Linguistic Wizard). With that set, the lasting questions are -- how many people will actually get to hear this Lloyd Brown album [?] and if it is a good Lloyd Brown album? The former remains to be seen, as for the latter - let's talk about it. 

If I recall correctly, the "30" album had around six-hundred songs on it, so I was, initially, rather happy to see that the track count, this time around, was kept to fifteen. But it proves to be, arguably, just as healthy as its most immediate predecessor and, by album's end, you have another winner for the lot of albums from the well accomplished vocalist. And he's still accomplishing a great deal is Lloyd Brown who begins his new album, "New Veteran", on a very familiar note, 'Crush On You'. The Heavybeat produced syrupy sweet love song is from a few years back and it finally pops up on a Lloyd Brown album. I enjoyed it from the very first listen and probably have as strong of an appreciation for it these days as I ever have and I imagine it will be a big winner from the album which it heads. Next, we get into one of the most interesting routes of a Lloyd Brown album. I always find myself wondering with whom is he going to work and in this case that was also the case. On the first of the six combination tracks on "New Veteran", Brown links with 'veteran' (although if he is a 'new veteran', I guess I should call her 'small child') and possessors of one of the coolest names in all of music, Kele Le Roc on the delightful 'Night Like This' (which I believe is a loose remake of an old R&B song). Le Roc probably isn't too much older than me, but she's been making music from the late 1930's or so. She's been around from FOREVER and what is the first (or the second) combination between the two UK stars is divine. It's a great song and an very easy listen - although it is worth mentioning that it is not the finest Brown/Le Roc link on this album. And rounding out the opening group of songs on "New Veteran" is the decent 'You've Turned Away'. As its title suggests, it is kind of a breaking up type of composition and, although not one of my favourite songs on the album (and, by far, its shortest piece), it is fairly good with a riddim, however, which is outstanding. 

As for those aforementioned combinations (all of which besides 'Night Like This, curiously, come on the second half of the album), they turn out well on this album. One in particular really got my attention I was damn interested in hearing it, 'Bada Boom, Bada Bing', which actually features Mr. Lloyd Brown alongside the genius Ms. Tanya Stephens (who needs to make a new album this year), and while this isn't at all what I would have expected from such a team-up, such a pairing could not fail, doesn't and seems an easy choice for a future single. After all of these years, the rush of hearing Stephens rhyme hasn't dwindled at all. 

"Mi hear you have two ring pon it

Mi still waan put di glisten, put di bling pon it

Whether permanent or mi ah fling pon it

Pop out di waist, gimme, mek mi swing pon it

And mi ah - put on blinkers, touch di scene

Know what I mean?

A one man ah beat di skin

And when it punch and mi ride di rim

Gimme a riddim, mek mi put it on pon him

Di gal dem ah watch you 

Man dem ah watch mi -

Everywhere wi touch 

Love how wi keep it tight, that's why wi blaze it so much

That's why mi ah Guinness and Purple Haze it so much

You have something mi crazy fi touch

A nuh nuttin if- 

Other man ah mek a bid, mi know fi get rid of di kid

 Mek him talk til him fed-up

Two drinks at di bar

Head back to di car

Bun something til mi eye dem red-up" 

Someone named Shanti Force guests on 'Melt Like Butter', which sounds like some old school R&B song and had a great distance to go, but grew on me just a bit. Shanti Force actually sounds a bit like a Kardinal Offishall to my opinion (biggup Nat) and he's talented and I don't think I've ever heard his name before appearing on "New Veteran". The words of the immortal Dennis Brown are featured on 'Lyin' Eyes', which is a remake of a song of the same name from 'The Crown Prince' of Reggae. The best thing I can say about this one is that it was just a great IDEA. You remake a tune and you involve its originator - something which actually happens quite often in the case of Dennis Brown - but it doesn't always sound this good. And someone named Mystro (a great name), who is almost surely a Hip-Hop artist from the UK joins Brown on 'So Long'. It's Mystro who dominates most of the song and, not at all being the Hip-Hop head, theoretically I'm not going to like a song like this, but the chorus is FANTASTIC and Mystro (biggup Maestro) ["They asking everywhere - how I coming next year. What kinda Calypso? Is it fast or slow?"] (WHAT!) (BOOM!) (okay back to it) - although I'm no expert at all, I think I know good when I hear it - and Mystro definitely has considerable skills. Still, the album's two finest collaborations come in succession (with another of its biggest moments), 'If You Want Good' and 'Blessed'. To my opinion, the former is the single best tune on the whole of "New Veteran" and it finds Brown, once again, linking up with Kele Le Roc and making a HUGE social commentary together. 

"In between the shades of black and white, it's obvious we are the same

Tell me why the need to fight and play war games?

There's a clear and present danger if we don't change

To restore our human nature to the way that Jah ordained

Look at what ah gwan in wi backyard

Minor beef and postcode war

Always seems to resolve at point-blank range

Report on the news and the radio

Another youth get shot, oh no

I DON'T WANT TO WEAR MY BLACK SUIT TODAY"

Hopefully I'm not the only person who walks away from this album thinking that Brown and Le Roc make a might duo and it would be fucked up if they never worked with one another again - with 'If You Want Good' being the biggest reason why. 'Blessed' has the incomparable Junior Marvin committing some type of crime on guitar and a name which I'm almost certain is new to me, Mikie Blak. Again, this selection is another top notch effort, this one combining the social element with the spiritual one on one of the finest sonic experiences here as well. And although it isn't a combination track, I have to mention 'Live and Let Live' here as it follows 'If You Want Good' and 'Blessed' on the album, making it the biggest fifth of "New Veteran". This piece is EXCELLENT and further expands and upon the ideas expressed in the preceding two songs in a much more specific fashion. 

"Why do we fight - over house, land and money?

Caan take dem ting deh when you gone

Why do we fight - 'gainst a next one lifestyle?

Lef dem to dem business, mek dem gwan

Why do we fight - in the name of God

There's no such thing as a holy war

No, that no right - caan wrap my head round that one 

Guess I'll stick to my vocation"

If you really wanted to call 'Live and Let Live' the BEST song on this album, I' would disagree with you, but I don't think I'd put up too great of an argument. It's a big, big moment here. 

The remaining third of "New Veteran" also offers up some big tunes, which are real highlights for the album and are sure to be favourites for a lot of people. On the tail of the five songs is a nice pair of love songs in 'Love Is On My Mind' and the RIDICULOUS (and I mean that I a good way) 'My Baby Loves Me'. 'Love Is On My Mind' is straight forward, but is backed by one of the nicest tracks on the entire album to my ears. Lloyd Brown uses it to deliver a something that isn't at all unexpected, but is no less sterling because of it. For its part, 'My Baby Loves Me' brings in all kinds of lovely and infectious old school-ness which is not to be missed. And speaking of old school-ness, Lloyd Brown also goes all Al Brown on the people by tuning up a remaking of  his uncle Al's (not really) 'No Soul Today'. Again, it's a nice IDEA as much as anything and one which proves fruitful. There's also 'Until It's Over' which is just about special and one my favourites. 

"Won't you listen up - to what I gotta say?

It won't take too long, so you can get on with your day

Nuff adversity, we face with everyday

Put our faith in Jah and HE will show the way

Small as a mustard seed is the space that faith needs

To fit inside our hearts, in our thoughts and deeds

Rest up if you must, but don't you ever quit

See, I don't want you ever just give in

Don't say it's over 

Until it's over

Don't say it's over 

Until it's over

Won't you hear me out and give I a chance?

Convey some faith to you, to change your circumstance

With simple ways and means, believe I know you can

Lifting your head up and help your brother man

Small as a mustard seed is the size that faith needs -

To fit inside our hearts, in our thoughts and deeds

Don't you ever quit

Rest up, if you must

See, I don't want you to ever give up"

That song is precisely the type of track which goes overlooked on an album like this and that's wholly unfortunate because it's one of the better efforts you're going to find on it. And lastly is the familiar and rousing 'Gwan a Yuh Bed'. I don't think that I've ever actually heard this song prior to it appearing on this album, but I'm not at all surprised to see it present. Last year, Lloyd Brown would make an appearance on the best compilation I heard in 2012, "Jah Golden Throne" ("and the throne HE sat upon was like a fiery flame!") (biggup Toussaint), with the sparkling 'Just So That You Know' (which was my favourite song on "30" as well) as well as 'Make It Work', alongside Tippa Irie. On that same album was a tune by the name of 'World Needs Love' by Jahdan Blakkamoore which came equipped with the very same Zion I Kings riddim that carries 'Gwan a Yuh Bed' on which Brown, essentially, tells all negative people who fight against him (and all decent people really) to go lay down somewhere. A big tune. 

Overall, what I'm thinking is that "New Veteran", odd title and all, is a noticeably better album than was "30" and that's saying a great deal, because I thought that "30" was arguably Lloyd Brown's best work following "Silver" ("For Your Consideration" was good also) and, although it didn't seem to find a big audience, the reaction that I did notice from that album was predominantly positive. As I attempted to point out earlier, no matter the platform through which the music comes, Lloyd Brown is about as dependable as they get when it comes to albums. Even some of his lesser pieces fall somewhere in the range of 'above average' and are entertaining, but I think that "New Veteran" is better than most of those. The album, while not being a deviation at all from what he typically does, is a beautiful and entertaining piece of evidence that while he has managed to change with the times in some ways which I may not enjoy too much (and I REALLY hope this album gets a lot of attention, it is too good to languish on a digital 'shelf'), what has remained is that "a Lloyd Brown album" is still a GOOD album and sometimes - it's even better. Very well done. 

Rated: 4.35/5

Riddimworks Productions

2013

Digital 

Review #419

Discography: Natty King

Sometimes I just don't get it. Much like the case of should-be superstar, Mark Wonder, there're certain others whom I look at and, when you take into account their career trajectory and overall skill, I have the surest of feelings that they should be much bigger names than they are. Such an individual would definitely be the ultra-talented vocalist, Natty King. Gifted with one of the coolest and strongest voices in the whole of modern Roots Reggae (which is saying a great deal), while the King has certainly made a very nice career for himself and has been afforded the privilege and working with some of the genre's most gifted producers and touching some of its biggest stages as well - I still think he should be more and, perhaps, one of the biggest and most revered of singers today - outside of the most hardcore Reggae fans. Going backwards, also, he's had the big hits as well, which makes it even stranger that he and his amazing gifts have, in some respects, been so woefully overlooked. Today we don't overlook them and instead take a look at the should-be-twice-as-large catalog of one of Roots Reggae's most shining players. Discography: Natty King 

The music of Natty King

"No Guns To Town" [Insight Records - 2005]

Wake the town. Perhaps a bit microcosmic of its star, Natty King's debut set, "No Guns To Town", in terms of its popularity, hasn't aged very well and one could make the case that it was never really that popular. That's too bad as the album was named after what remains his biggest hit to date, really included some fine additional selections and may still be Natty King's most complete album release eight years later. Other tunes such as 'When The Money Done', 'Environmentalist', 'Easy Officer', 'Cut Down The Price', the significant hit 'Mister Greedy' and others really made the album an enjoyable one from beginning to end, while supporting the MASSIVE title track. Sizzla Kalonji, Trinity [twice] and Earl 'Chinna' Smith all joined the King for the Jimmy Ricks helmed project which deserved, so much, a better fate than it received, although you're very unlikely to find someone who truly tuned it in who was disappointed.

"Trodding" [Tad's Records - 2009/2010]

Flava-ful. It would take four years to materialize and, at the time, I wasn’t even sure that Natty King would ever have an album #2, but it finally did arrive - "Trodding". The sophomore set would link the singer with someone who had, wonderfully, taken a great interest in his abilities at the time, Kemar 'Flava' McGregor and the duo would produce a brand of musical magic together. What it may've lacked in the 'spectacular' (save for its title track, which was just that), "Trodding" was solid throughout and came at a time when its producer could do no absolutely no wrong in my eyes (ears) and I still love most of the riddims on the record. Other standouts included 'Jah Name', 'Highli High', 'Good Vibes' and a tune which I now appreciate more than I ever did in the past, the poignantly delightful 'Weh Dem Love Gone'. "Trodding" is an album which did receive a bit more respect than its predecessor (and was actually re-released on more than one occasion (it actually originated as a digital-only piece in 2009, with the disc coming the following year) and even had a deluxe version) and thankfully it hasn't faded a great deal at all and is probably the most popular of this trio of albums.

"Born To Be Free" [House of Riddim - 2010]

Memories. Although I have, rather comfortably, come to the conclusion that the House of Reggae produced "Born To Be Free" is my third favourite album of Natty King's three album career, it is still a set which I, very much, look back on favourably. That is, specifically, the case because of the presence of two tunes. The first is the album's opener, 'Slu U In The Open' which is very interesting here. Originally, the tune was voiced on the gorgeous iLove Riddim from Rootdown Records (there were two hundred songs on that riddim and most of them were at least pretty good) and THAT version isn't the one on this album. Instead, what was here was an acoustic track and I believe I like the original so much, that even its streamlined alter-ego impressed me. The other song I was really interested in from "Born To Be Free" was, of course, 'Fyah Bed'. That golden bar of music topped an album which was fairly good. Besides the top two, also worth your time are songs such as 'Evil Surround Me', the moving 'Care For Life', 'Buzz Rock Warrior' and the increasingly good 'Don't Be Foolish' ["what dem establish is RUBBISH!"]. Fantan Mojah and Louie Culture featured.

Natty King

'Stronger-er?': A review of "Better Tomorrow" by Etana

Chosen. As nice as the experience always is -- stumbling upon an artist or an album or a song which you've never heard or even heard of before and finding absolute magic -- there is still something particularly extra special when you have every indication of greatness long before the arrival of something or someone and they still manage to impress. Now, I am not referring to those good feelings or suspicions you may have about a particular project, which not too many others may share, as I did last year in the case of Mark Wonder's brilliant "Working Wonders" album. What I am talking about are the very few occasions when we, as Reggae fans, or as music fans in general, get to relish the GUARANTEE. The prime example of such a… not now! I'll take the direct approach this time. The question you may have in relation to an Etana album or even a song these days is whether or not it is as good as _______. You can compare it to something else, you can even compare it to itself if you like, but you aren't going to be asking about its actual quality. You already know it is going to be good. In her entire career, Etana has become one of the very few consistently SPECTACULAR lights in Reggae music and she's progressed wonderfully to a point where, as I said, you simply do not have any need to question her work. At its absolute WORSE it is going to be somewhere in the range of 'pretty good'. However, with that being said, hearing her on the other side, at her absolute best, is a downright appetizing scenario and Etana has shone as bright as anyone in the genre when it comes to albums in recent years. While she may not be the type to release multiple sets in a single year (although that would be amazing), Etana, like Tarrus Riley right now and Capleton before them, has reached a point where their album releases, regardless of what else is going on at the time, is THE leading story as far as Reggae albums go and with good reason as well. They're fantastic.  And just as she has become a star on that front, Etana also stands as someone who we’ve, essentially, watched grow completely as a musician and for every artist who has come up and gone through the various stages that you just KNEW was going to be a star, but didn't reach those levels for some reason or another, there is Etana's story, on the other end - someone who everyone suspected would be great someday and "someday" has arrived.  

"The Strong One" [2008] & "Free Expressions" [2011]

Surely if you pay attention as closely to album releases that I do (I write about one hundred of these a year) (which is ridiculous!), then what Etana has done between her first two albums is about as remarkable of an achievement that I can think of for someone at the point she is in her career. In 2008 the STUNNING (every time you see her, she looks better and better) native of August Town would release her debut set, "The Strong One" - I heard no finer album in that year. Three years later she would follow that release with her sophomore project, "Free Expressions"… and I heard no finer album in that year either. Two albums, two bonafide Albums of The Year and the time in between has been spent dropping big singles for a variety of talented producers across the world and, really, just growing into her role as being one of the dominant and most respected figures in all of Reggae music (more on that later). 

"Reggae" EP [2012]

So what do you do to follow up a stretch like that? You take it further. Besides KNOWING that it would be some type of exceptional, whenever it arrived, you were also sure that Etana's third album would also be hailed as the full big deal that it was and that has certainly been the case as, even prior to its release, "Better Tomorrow", had become one of the more discussed albums in recent times. It's even managed to draw a significant interest in more 'mainstream' circles which is another testament to not only her enormous gifts, but also Etana's burgeoning popularity. Like its two elder siblings, the piece comes via VP Records and, this time around, is helmed by the venerable Shane Brown from Juke Boxx Productions (who, incidentally, also vibed the single best album from 2012, in my opinion, Busy Signal's opus, "Reggae Music Again") (as if this album needed any help) (it didn't). Also, it is definitely worth mentioning that , as has become their trend in recent years (if I recall correctly, "Free Expressions" actually had two), VP would also release a 'preview' EP for "Better Tomorrow" called "Reggae" in November last year, which featured three of its eventual fourteen selections. One of the early stories surrounding this release was the fact that "Better Tomorrow" would feature predominantly live instrumentation and would, very much, serve as a platform for Etana to pay a modern tribute to authentic and genuine Reggae music (which follows similar moves from the aforementioned Busy Signal and Mr. Vegas last year - a 'movement' which I am greatly enjoying and hope to see more of) and while such a venture doesn't represent a grand deviation from her style, at all, I'm not complaining in the slightest and you won't be either. I also want to mention the cover, which gave me quite a few different thoughts when I first saw it. When you think of Reggae music and Roots Reggae music, specifically, this isn't the type of cover you would expect, but I think it's perfect. Besides the fact that Etana is an extremely attractive human being, the cover gives the signals that she's very happy (and, if I recall correctly, she had a baby sometime late in 2012 as well) at that moment and with the work to be found within. It's something which definitely catches  the eye and is automatically vaguely reminiscent of the kind of beautiful stylized simplicity of the presentation of the "The Strong One" album - which is a good thing. So, the only remaining question of any importance is whether the GLOWING singer on the album of this cover had good reason to be so happy with it? Of course she did . It's an Etana album (she could have shot that cover picture four years before she made this album. She knew this was going to be great). 

In pertinence to (I guess that explains it), the album utilizing live studio recordings makes its sonic appeal amazing. I don't know the technical words to use to describe it or blah blah blah, but this album SOUNDS incredible and it probably has become my new point of reference for such a situation (overtaking Chezidek's awesome "Judgement Time" set from a few years back) (sequel to that album coming soon). For example, although it is, essentially, an intro, check the opener of Etana's brand new and third studio album, "Better Tomorrow, 'Spoken Soul'. Basically a Spoken Word type of poem, the tune kind of sets the stage for the album to come behind it, but it also is kind of a song on its own and although I use the term "intro" to describe it, it's quite a bit more than that. To my opinion, its most noteworthy revelation comes in its early latter stages where Etana seems to suggest that her idea of a 'better tomorrow' is one which includes a far more simple approach to life and, thus, this album. I could have so much fun over-thinking 'Spoken Soul' (and I think it's worth it), but that piece is followed by what is, in my opinion, the single strongest selection on the whole of this album, the MAMMOTH 'Queen'. While you won't confuse Etana's style with that of the BRILLIANT Trinidad Roots Reggae queen, Queen Omega (those two on the same song simply HAS to happen while I am still on the planet), who gets full-on angry in a great deal of her work and it helps her, I do so enjoy when she brings the bite and 'Queen' is exactly that. I like to think that song is, at least in part, about Etana claiming her place and demanding respect from the tiny remaining faction of unconvinced zombie-like individuals who refuse to give it to her and one could also take it broader as far as further recognizing and appreciating a feminine power, in general. In either case, it is a fantastic song and not only the best tune I hear on this album, but one of the finest Etana has ever done in my opinion. 

"I am the Queen of the concrete jungle

Lion on the scene, it's dangerous oh

I am the Queen of the concrete jungle

Lion on the scene, it's dangerous oh 

They were underestimating, now they're rating

They were on the other side, now they're debating

But it's alright -

Cause when I rise

They'll be surprised when the lioness roar

When this lion ROAR! 

I am the Queen of the concrete jungle

Lion on the scene, it's dangerous oh

I am the Queen of the concrete jungle

Lion on the scene, it's dangerous oh 

I'm watching, even when you think I'm sleeping

It's gonna be too late, when you see me coming

Cause when the time is right, all my enemies will be weeping

The world will know my name

The world will know my name!"

The brilliant 'Reggae' [TEARS!] is a song which appeared on the previously mentioned EP named after it (DUH!) and has been a tune which garnered a nice amount of response from last year. It isn't the first that I've heard of its kind, but it may've never sounded this good. It is a composition written to give thanks and praise to the music, itself and it is also a 'LOVE SONG'. Etana gives the music human characteristics -- she dances with it, she dates it, she charms it, she breaks up with it, they get back together -- it's just a wonderful concept for a song and it also features one of the strongest vocal performances on "Better Tomorrow". Of all the interesting things about Etana, one of the most often overlooked is that her voice, when she chooses to max it out, is probably one of the best the genre of Reggae has ever heard and she operates it to prime capacity on 'Reggae'. And I'll also mention the other two songs from the EP here. One was a track in, '4 Play 2 Love [Start Over]', which is golden, although a bit complex. It's about rebuilding a failed and broken relationship to be better than it was, while both parties have moved on to new (good) relationships. Maybe it isn't that complicated and I'm just not that smart (I'm not), but the journey to comprehension has be a joyous one. And I should also mention how the lengthy song ends with a running musical display with occasional blips from Etana which was an excellent touch. Speaking of lengthy tunes, the other song from the "Reggae" EP is this album's title track and longest piece, checking in at more than seven and half minutes long. BOOM! 'Better Tomorrow', the song, has a LIVE experience to it as a listener, listening to an album. It is extremely colourful and infectious, so despite being as long as it is (on an album containing four other tunes more than five minutes long and one just a second less), you don't get that feeling that it is too extensive. If they wanted to continue for another hour or so, in fact, I wouldn't have minded at all and it has the 'capacity' that it should as the title of an album of this significance with singing and chanting and great instruments and everything. A beautiful display of music.

'Reggae'

As it progresses, "Better Tomorrow" shows itself to be an album which includes more than a few truly spectacular moments. Almost everywhere you stop is not only an impressive offering, but a greatly remarkable one as well. The delightful 'All I Need', obviously, is such a moment. Reportedly composed by a touring and rampantly homesick Etana, the song is one espousing on the wonders of Jamaica and everything she misses while traveling. I look at a tune like this and besides loving it, I just think of how great of an idea it was and how well it ultimately came to fruition. I don't know how strong of a reaction it will get, but I also really liked 'Silly' with its pleasant old school charm - the riddim on this tune is LUSH and easy to get lost within. 'The Prayer' has a slight Gospel appeal to it in terms of sound and definitely subject. This piece was about the ever presence of His Majesty ["24/7 Jah will be there! I've got assurance HE's always there"] and HIS influence on life. It didn't take very long at all for this one to grab me and it did to the level of becoming one of my favourite songs on the album. It is a downright magical praising piece and one sure to win over many listeners (including YOU!). 'Beautiful Day' also won't have many problems doing the same thing and if it were going to, perhaps Etana and company took care of that by enlisting the legendary talents of Dean Fraser whose equally renowned saxophone finds itself highlight the riddim carrying the lovely song. It's somewhat straightforward, but I do hear an excellent diversity as well (notice the pace of this song and how much it changes throughout) on a very inspirational song and one which kind of gives the feeling that nothing is ever actually completely hopeless (if you can't appreciate anything, you can appreciate the sun in the sky). And then there is one of the songs I was most anticipating hearing from "Better Tomorrow", the stirring call to action 'Strongest', which did not disappoint.

"Not everyday is going to be a paradise

There comes a time when you will have to pay the price 

And if you waan good, make that sacrifice!

They say good things come to those who wait

But the greatest things abound to those who will create!

Put your mind to good use

And put some food on your owna plate, owna plate

Cause only the strongest of the strong will survive

And only the fittest of the fit will stay alive

You caan ready for the gideon with no fire in your eyes

And if you wanna get to Zion, you need a will

You need that drive

So when life test you - 

No get up and run fi no cover

And if you wanna live, stand up and fight fire with fire

Dem seh when trouble tek you, even pickney shall fit you

All di people dem round you realize nuff a dem no really with you

Everything won't come so easily, but in time you will have to learn

WHEN YOU STRUGGLE YOU WILL FEEL THE HEAT, BUT YOU CAN RISE WITHOUT A BURN!" 

That's the second best song on the album to my opinion and, again, it really shows the singer with more flames and passion which she does, like everything, so well. 'Til You Get Old [Life's Gift]' was a track created for Etana's likely then still unborn child and, as you can probably deduce from such a set of circumstances, it is a very moving and personal tune and you almost want to thank someone for choosing to share such a private moment with the rest of us (and pay very close attention to the riddim on that song. It is better than you're going to think the first few times through). A later big tune, 'Smile', another inspiring selection, comes with its own 'opening act', an interlude called 'Be Alright' (which is very good on its own). Between the two you have something really special as Etana goes the way of Junior Kelly, saying that no matter what you go through, keep a smile a face because "there will be nothing left to do". And finally (not really), also check the somewhat Jazzy 'Whole New World'. This one took me a while to appreciate fully because I was trying to figure out the song's exact course. It is a love song at its core, but despite its title I don't arrive at the thought of it being about a "new" love. I actually think it is centered around finding new experiences in a further developing love. If it gets the opportunity, regardless of its intended course, it would likely shine on a variety of different platforms because of its multifaceted and healthy sound. 

There is also a WICKED bonus song attached to some versions of "Better Tomorrow", the well passionate and intense 'I'll Fight' [Hey World]', which is well worth tracking down and one of the better songs on the album. 

"Til the last tear I shed!

Til injustice is dead!

Til the last hungry belly is fed -

I'll fight for my world 

Til the last war is won

Sufferation is gone

Til we sing victory song 

I'll fight" 

I did want to quickly mention, as I alluded to awhile back, something about Etana's role in Reggae music right now, in general. With a large amount of respect going towards Queen Ifrica (who we'll also hear from later this year reportedly) and a few others, Etana is now, arguably the most respected and revered female in Reggae music and that's saying SO much. Hers is the dominant figure and, looking back to her musical beginnings, watching her reach this point, with presumably further crossable bridges in her future (and I've always thought that she would have a legitimate opportunity to be the one who FINALLY took Roots Reggae music to the 'mainstream'), has been one of the most fascinating experiences of being a fan of anyone in recent years. What is to be heard on this album and the two preceding it and most of her work has been exemplary and a revolving and evolving testament to her hard work and how much people (including You and I) LOVE her work. 

Etana

Overall, as for this album, what did you expect. It's an Etana album, that means that it is very good AT LEAST. How good is it exactly? I'll compare them this time: I think it's a better album, all around than "Free Expressions" and I think that it is on the level with "The Strong One". "Better Tomorrow", from beginning to end is fantastic and it is anchored by being not only such a fine sounding project, but a finely WRITTEN one as well. I'd go as far as to say that it represents a lyrical step-up for the vocalist as it includes such a impressive assortment of songs which make their point, but also lend themselves, so nicely, to the interpretation of her audience and I love an album which challenges the listener to not only sit there and listen, but pay a special amount of attention as well because doing so makes the experience even greater. And should Etana prove to be "even greater" and should her "tomorrow" prove to be "better" than her right now, well then her quality guarantee will become a guarantee of greatness. "Better Tomorrow" is huge, but I didn't even have to tell you all of that. You knew it already. AMAZING! Buy six copies!

Rated: 5/5

VP Records

2013

CD + Digital 

Review #418

The Vault Reviews: "Bless Go Roun" by Midnite

In some aspects, I definitely think that things would be so nice if we had more connections such as the magic that is performed between superstar, Tarrus Riley and musical genius, Dean Fraser. To have a link like that, which prevails from an artist's earliest of years and leads him directly into superstardom and beyond, is amazing and something increasingly rare in Reggae and probably most other genres as well. With that being said, however, taking a route which is directly opposite of that situation is also, arguably, just as remarkable. Take an artist who can musically pour themselves into a variety of different maestros on a large scale (speaking of albums, of course, as Riley also will voice tunes for a wide array of producers), and definitely just as many different styles and opinions, and still have them excel and thrive is a wholly interesting occurrence as well. Call that yet another fascinating aspect of one of the most fascinating careers throughout the history of Reggae music, Vaughn Benjamin & Midnite. If you look at their catalog (and we did, "Discography: Midnite"), what you see is not only such a diverse group of different names and labels involved in production, which is a testament, first and foremost, to 'their’ activity as we've said in the past, but also their popularity and talent. Who doesn't want to do a Midnite album? Apparently that list is quite short because as every few months what you see is either a new label doing a new Midnite album or a familiar imprint becoming an even more reliable stop along the most impressive of musical journeys. More interesting still, in many cases, is when you look at the work of some of those 'stops' further. I Grade Records (more on them in a second) and Lustre Kings Productions have different identities. They've done a ton of work with many people and you'd never get to the point where you singularly identify their music with a single person or group. Almost everyone else, however, who has ever done a Midnite album either has not done very much else or, even if they have, they're almost completely associated with their work with Benjamin and co. We've dealt quite a bit with Rastar Records lately and despite voicing bonafide superstars of the genre, and doing full albums for the likes of Jah Mason and Lutan Fyah, I don't think they'll ever not be known, mostly, for their stream of Midnite albums (and, clearly, they enjoy it that way. The same could be said for less active stations such as Natural Vibes, Full Grown Records, Fifth Son Records ["I hold His Majesty in awe"] ["in awe"] ["in awe"] and, of course, Afrikan Roots Lab (new album, "Lion Out Of Zion", coming soon) and Rastafaria. All of them, no matter what they do, are unlikely to ever be most known for doing anything other than Midnite albums, regardless of how many they've done, and I think all of them love that fact.  

Having done, now, three albums in about five and a half years' time, definitely one of the more dependable of these labels is Higher Bound Productions. As we sit now, in the early stages of 2013, the label is still well within the minds of Midnite fans, being less than a couple of months from the early January delivery of the increasingly WICKED "Free Indeed" album, which was probably their most high profile set to date, from anyone. Prior to that, HBP would deliver a pair of albums which, although they weren't the most well regarded of Midnite albums, definitely showed that there was a building rapport and chemistry between artist and label and that something of the quality of "Free Indeed" was on its way. In 2010, in conjunction with Lion I Music, they would do the "Ark A Law" album and three years prior, HBP would make its Midnite debut with "Bless Go Roun". 

By comparison, the "Ark A Law" album (which I cannot wait to review, because I didn't like that album and I'm wondering, greatly, if I review it, will it open up more to me now) has faded considerably. It wasn't the most popular album even in its day, and as far as recent albums go, that album, in particular, is definitely one of the least popular they've done. As for its predecessor, "Bless Go Roun", on the other hand, has enjoyed a relatively decent 'lifespan'. It is arguably as popular and well regarded as most of the albums from Rastar Records and probably ranks, very solidly, in the lower top half of well known Midnite albums. Personally, "Bless Go Roun" has been an album for me which has, as its title suggests, gone through my tastes and opinions several time. When I very first heard it, if I recall correctly, I actually enjoyed it, but soon thereafter it had faded, only to come back, then go away then come back again and, before I decided to dig into it for the sake of this review, I had a generally nice opinion of the album. As was the case during our last look back at the work of Midnite, "Better World Rasta", "Bless Go Roun" was afforded a pretty nice set of circumstances in which to succeed. Once again, the album was primarily recorded at the studios of the aforementioned I Grade Records and Laurent 'Tippy' Alfred also did some production and a great deal of musician work for the project as well. Most of the work on the album was done by Ishence, an accomplished artist himself, who also did his own album for Higher Bound Productions in the same year. Also, and this has absolutely nothing to do with the music to be heard on "Bless Go Roun", but I may be of the opinion that it has the single finest cover of any Midnite album to date, it is really something special. How about the music behind it? Do I still enjoy it and how much? Let's talk about that.  

"Ark A Law" [2010] & "Free Indeed" [2013]

"Bless Go Roun" was very much an album defined, musically, by its versatility in sound. That doesn't tend to be a running trait of many Midnite albums (although the more I do go though, I see that it isn't a concept which is completely rare), so when it is actually worth remarking on, you know that the sound has to be quite varied. And I do not necessarily mean that in terms of leaping outside of a genre (or two), but it's just a very interesting and colourful sound throughout. For a vivid example of this, check the album's opener and likely signature (signature, not best) tune, 'Ye Lands'. This tune is as about as COMPREHENSIVE of a piece as I've ever heard and Benjamin hits new heights of delivery, even for himself. 

"Israel know The Lion pon di flag

Yes, this is the true Judah

Judge and judiciary, jurisprudence and jury 

All thee are simultaneously claiming Ithiopian legacy

These are not aspirers

These are not converts in Ithiopia

These are the ancient bloodliners -

Kinsman, blood relatives of the biblical entire

Selassie I, I night all the law, who nah hear

Oh hey you inna Aksum and dem in Geneva -

All are still being punished, from dem no listen to dem Dada, yeah

Geneva Convention, still refer to inna mass media

Just to remind dem of dem treachery, inna di same Geneva said

After dem sit down and smile up and speeches and toast to The Most High

The governing body deserted the lord of house only to be forced to come forward to be helped meet upon Selassie I course

When they hear, when they look, they see relevant dynastic ability information for them to ignore

To dem own decimation come 360 make reason come stand" 

Benjamin, as focused as you're ever going to hear him (which is saying something), does what he tends to do and ignores the track (which is quite nice) behind him at all times during the tune outside of the chorus, but in doing so, he delivers a scalding lyrical performance and one for the ages. Next we have a tune in 'Nomo', which I've never been a large fan of, but is a pretty nice song. Coming from what precedes it, it's a definite change in emotion and focus (to a degree), but is clearly a better song than I used to give it credit for being. Things pick back up, significantly, on the next tune as the fire returns for 'Starting From', which is backed by a downright majestic track I know I know from somewhere. The delivery and scheme of this song is all kinds of impressive. You listen to the first line and know that every line following it, in pattern and in cadence, is written the exact same way. The results make for one of the most pleasing and full-on DAZZLING tunes on the whole of "Bless Go Roun"

Although 'Ye Lands' has probably overtaken one of them, historically (all six years of it) (that's a lot of history Achis) two songs on this album have really stood out for me. The first ("probably overtaken") is the album's sterling title song. This selection is just a pure knowledge piece and when you compare it to a few other songs here (including the opener), it stands in a favourable light in my opinion, even now. 

"Rastafari ah seh bless go round

Yeah, bless go round

Rastafari ah seh bless go round

Yeah, bless go round

As if it hasn't been enough

Look, ya soul combat inna di clutch 

And dem, dun know how things dun rough 

Hey, it could be anything, I suppose, but it usually impulse

Upon di principals of heaven and earth circuits and run gone make it up

Gone make it up

Enough is enough

Enough of the pointing of finger which make all of the times stay hard

Stand up

As emotion stuck, yeah

Inna di age of chaotic dispersion

LOOK AGAIN, WE WERE ALL MESS UP, EVEN BEFORE THE SLAVE SHIP STARTED UP

All kinds of relish war stories of when neighbouring clan clash up and who did get mash up

And when di chips are down Selassie I, Jah come rinse with equated residue inna earth -

Rinse out the dirty cup, yeah hey

But suppose you assuming wrong -

When it's just to receive the fullness and re-store the cup

He who sitteth with equity in judgment, come forward

Selassie I come forward

Stand up yah, open up

HIM who open and ah relay the thunder and upon the lightening, come forward

Selassie I come open up

As never before an Ethiopian Emperor make all the eyes of the world, and all their hearts swell up

Make even the faith of all come stand up" 

Still, my single favourite tune on "Bless Go Roun" is and has always been the MASSIVE 'Giddeon'. That song has quite a bit of BITE to it and really hit's a point, with a riddim behind which is almost painfully captivating and KNOCKING and it also brings a well crucial message ["Each one haffi mek all dem owna decision. What is fi left out dem life conversation. Inna di gideon, it's sufferation, Greedy multiple choice haffi blow up dem vision. Inna di gideon is naked and degradation"]. I'll also add to this lot a longstanding favourite of mine from the album which is still quite nice in 2013, 'All Out', a very nice song. 

Again, when I beat down an album for the sake of a review, I really just start to over-listen to it which, as we've seen, really makes it more pleasant (at least so far) to an over-thinker like myself. Because of that, I now find JOY in songs which I'd previously left as mediocre. Along with the aforementioned 'Nomo' (although to a lesser degree in that case) I'm really now taken in a very varied pair of tunes in succession on the album, 'Exodus' and 'Mawai'. The former, basically, is a Hip-Hop song and while typically I don't enjoy that type of tune (which makes it an obvious one to have gone around my tastes), I do like the delivery here and even the riddim. As for 'Mawai' - you can call it a spoken word piece (biggup Etana). Now! That's interesting because you can call almost everything Benjamin does 'spoken word' and while it does have a melody (and may be one of the more melodic efforts on the entire record), to me it stands best as a kind of a presentation of lyrics (brilliant lyrics) with words behind it. The very curious 'Homing Zone' is another which has grown on me a great deal in listening to it for the sake of a review. In this case, however, I'm now wondering what I was thinking for the past few years. This is a special song and one right on the kind of style of Midnite song I typically enjoy. "Bless Go Roun" comes to its end with two more songs which have done a bit of 'traveling' for me throughout the years 'Here On' and 'Raining King'. The latter (and simpler, by farrrrrrrrr), is a very clever and straight forward and acoustic piece about the 'rain' [reign] of His Majesty and how far it stretches. The listening experience here, even as far as acoustic songs go, isn't the greatest, but I do now hear things from this song that I didn't before as a result of tuning directly into what Vaughn Benjamin is saying here. It's beautiful. 'Here On' will almost certainly never be a favourite of mine, but that doesn't make a bad song. It is not. With a computer-ish riddim which does not alter itself or change very much throughout the tune, but again, its saving factor is how the song is written. The delivery isn’t the greatest (he even appears to stutter once or twice), but you cannot go around what is being said here when the tune reaches its pinnacling moments. 

Finally is another pair of songs which I also have liked for the majority of the time I've been listening to this album. First was 'Victory' which is beautiful in almost every way. I wouldn't necessarily call it SPECTACULAR, but it has a lovely arrangement and is a solid composition. And then there is the even stronger 'Ancient' which easily ranks as one of the best songs that you'll find here. 

"When dealing with more now than then

If it's Selassie I - no blasphe-men can approach to -

HIS sovereign whim

Where the thoughts bring, to earth - heaven

If you feel life and confidence, bring out your insight - pure implement -

Chastisement, destruction and compliments all include -

Temple of decadence

So if you're welcome - bring happiness

Seek precept of the spirit of happiness

And make yah whole day - feel balance bless

Over heathenness and sheathenness

Jah Rastafari speech reappear the address of this addressed to 

The wrong authority make mess

People crying for knowledge and leadership

Only Selassie I, come through all the test 

Whole heap a one now contesting for his place

Even with this holy name ashamed

FOR I & I IS NOTHING UNLESS ALWAYS -

I PRAISE SELASSIE I 

ANCIENT OF DAYS!"

BOOM! The song is another piece of lyrical mastery on an album whose actual identity I don't think resonated within me until I took it for this review (which means that certainly there is more to come).  

Overall, what do I say? Looking back now, "Bless Go Roun" was much better than I've given it credit for being for the past half decade and a year. I'm not going to go to the lengths and say that it is one of Midnite's finest lyrical efforts, but that's the course of thinking that I currently have. From a lyrical aspect, this was a GREAT album, even by Vaughn Benjamin's most lofty of linguistic standards. And, when you combine that with a diverse and colourful musical arrangement, you have a winning formula for an album which, although it did receive a nice amount of attention, probably didn't get as much credit for its quality that it deserved. Albums like this, of course, come beneath ones which are truly great and are widely lauded as being so, but they come in the 'body' of a catalog which has had so many interesting stops along the way and only gets bigger and stronger as time passes. "Bless Go Roun" from Midnite was a blessed set and still is. Well done and let us continue… 

Rated: 4.20/5

Higher Bound Productions

2007

CD + Digital 

Review # 417