'For Good Ideas': A review of "African Union" by Screwdriver

Inner circle. In pretty much all genres of active music, there is an interesting hierarchy at work. In order for a style to thrive, you need artists at various stages of their respective careers and you need them to be active and involved. When you have something like that, it makes for, most importantly, the potential of longevity and influence. On the highest end, obviously, you have the stars. These are individuals who, for one reason or another, have not only managed to secure a very large audience which loves (and will support) their music, but they've also become the actual faces of the music. In Reggae, specifically, today we look at people such as Etana and Tarrus Riley who occupy those positions today and are relatively new 'additions' to them. Next you have up and comers. These are artists who hope to someday become big names and although most of them will surely not even come close to reaching those levels, their collective presence is also most necessary and is just as important as the stars for the sake of keeping the music fresh and avoiding staleness. You also have elders and it also applies to producers as well. All of these people keep music running, in one way or another. Today, however, we're going to look at a kind of a middle group - which, again, is just as important in making the music what it is. Part of what, to me (and everyone else in the world, because they all agree), makes Reggae music SO great is that we have artists of so many different levels who are amazingly talented. Along with the stars, and elders and up and comers, we have such a solid group of musicians who fit into this healthy center cache of people who, many times make some of the absolute best music in the genre. Of the most well known of this pack are the likes of Bushman and Chezidek and, personal favourite, Mark Wonder. There are so many artists who are more popular than they are and will always be, but ascertaining exactly WHY that is - is another question. There isn't a great distinction in terms of being such a vast difference in the final quality of their music. They are as skilled as most of their peers, well known and under known, alike. Today we take a look at someone who has been within that middle group of artists (for a very long time), who may not be as well known as some but, at least amongst more hardcore fans, are as respected and revered for their amazing talents - Screwdriver.  

"Road Block" [2007]

Screwdriver has probably been making music for the better part of my lifetime and the past three decades or so I would guess and over that period of time, again, while he hasn't become this legendary household name, he has become someone whom is held in a very high regard by many, many fans and, while he isn't one the more active artists on the scene (this is a very long sentence), I would include myself as one of those people. In the latest stretch of his career, Screwdriver has very much become someone who has focused, primarily, on cultural and spiritual topics in his music and he has been very good at it. I have no idea how many albums, exactly, Screwdriver has made to date, though his most popular set to date is probably 2007's "Roadblock" for VP Records and produced by Joe Fraser Records (that thing seems like it came out in the late 1990's) (a very loooooong six years), but he's also had releases such as "Prophecy" from way back in 2001 (more on that in a minute) and his most recent piece (at least to my knowledge) was "Child of The Universe" from just a few years back. Screwdriver now adds to his catalog with a fine brand new album, "African Union".

"Prophecy" [2001]

As its title suggests, the new album is one which pays tribute to the Organization of African Unity (OAU), which was founded fifty years ago (if you're bad at math, that was 1963), which would eventually become the African Union. As I alluded to, this isn't actually Screwdriver's first time dealing with the subject. The single best song on the previously mentioned "Prophecy" album (which came via the once VERY useful Artist's Only Records), to my opinion, was its golden closer, which was called 'O.A.U.'. That definitely shows that he had a great bit of interest and passion in the topic and I just really enjoy when something 'fits' so perfectly like this. I would imagine that if in 2001 you made Screwdriver aware that he was going to be doing this album a dozen years on, he would have been absolutely delighted. And also, as I spoke about this kind of hierarchy when it comes to people in music, I think that it also applies to IDEAS. In Reggae music, and in Roots Reggae in particular (although it definitely applies to Dancehall where you tend to have the prevailing '3 R's' of subjects - girls/guys, guns and ganja), you have very much a 'template' of what people sing about, generally. The broad concept of Africa would be at the top of it, but what happens here is one SUPERSTAR of an idea in my opinion. The project was helmed by Danny Breakenridge of Upstairs Music who is certainly no newcomer and has worked with the venerable likes of Ken Boothe, Marcia Griffiths, Bob Andy and others throughout the years. Upstairs has also done more than a little work, previously, with Screwdriver - most notably in releasing the single from a couple of years back, 'Sweet Collie Weed'. So, to sum it up to a degree (biggup Degree), what we have here is a very talented vocalist with an extremely good idea in his hands and is one which he has previously explored on a smaller scale, working with a producer with whom he has already demonstrated quite a bit of musical chemistry and one who clearly supports the work and has, already, for some time. I didn't know all of that at the time, but I had a pretty good feeling about this album when I initially heard about it (biggup Susan) and it did not disappoint. Let's discuss! 

Screwdriver is someone who, very much in my opinion, has what I would call an 'old school approach' and what he does is to combine that with a slightly modernized sound and, when at his absolute best, he can produce some really impressive material. Such output is to be found throughout his latest creation, "African Union" for Upstairs Music, but particularly at the head. The album gets started with its title track - on of its bonafide highlights. Exploring the concept of a "United States of Africa" is surely no new course in Reggae music. If I recall correctly, both the great Luciano and wicked Cruzan chanter, Xkaliba have even had albums carrying that title within the last few years or so and that is, as expected, the direction of this tune. However, with that being said, what you couldn't expect was just how strong this track turns out to be. It is exceptional.

"We are the heartical Africans 

One destiny is our only plan

United we stand, divided we fall

We've waited so long, no time to stall

We are the victims of division -

Someone else making our decisions 

'Divide & conquer' is their sponsor

Unite and survive is our answer!" 

As strong as it definitely is, however, the title track doesn't reach the heights of the next tune in which is, in my opinion, the album's single greatest moment, the MASSIVE 'Sweet Mother Land'. This tune, for me, is one which just exudes pride and responsibility. What Screwdriver says here is that Africa has given so much to Her children who have fought in battles all over the world, but now it's time to stand up and fight the best fight, for HER! From the very first words uttered on the tune: 

"All Africans have got to stand up and defend The Motherland"

You know what you're going to here is special and, again, it does not disappoint. And also near the head of the album is another strong selection in the FULL social commentary, 'Terror In the Ghetto'. This is a big tune which actually reminds me of something you might hear from the aforementioned Mark Wonder and if you know how much I revere him and his music, then you know how much to expect from this tune and, altogether, a fine start. 

Though the majority of the "African Union" album does focus primarily on more social and cultural and spiritual themes, there is a stretch of three tunes in the album's second half which feature love songs which isn't really too unexpected and, although they do not rank amongst my favourites here, they are decent tracks. The first is the very straight-forward 'She Is So Pretty' (VERY straight-forward), which is probably the best of the three. It is then followed by 'She Is A Pearl', whose riddim is outstanding and the Country-ish 'I Want You Back'. Like I said, nothing here dazzles me, but I found all three to be enjoyable and rather decent ideas to kind of change the vibes of the album and they don't at all diminish the running quality and certainly one could make the case that LOVE is a matter of culture as well. And I suppose now would also be a good point to mention another song which kind of falls outside of the others in terms of its direction, but most certainly is a favourite of mine, 'Exercise'. Plain and simple! Screwdriver is tired of looking at your bellies and he thinks you should work out. I saw the name of this song and I immediately began to over think it (that's just what I do) and then I heard it and was so wonderfully impressed by the simplicity of it. It isn't about exercising your mind or exercising yourself spiritually - just get off your ass and start moving (there exists no finer companion to physical fitness than Soca) (just so that you know) (biggup Lloyd Brown). 

Back on course, "African Union" continues to offer up very interesting music and nice songs. Of the remaining, one of the biggest would be the gorgeous 'Mark My Word'. 

"Everything fi babylon a war

Deep, opened wounds and permanent scars

Everything fi babylon a war

Deep, opened wounds and permanent scars

And all the long nights of showers -

Can't erase that pain and sorrow, oh no

Put down di guns and see di war

We no want no more tribal war, oh yeah

GUN WICKED, BUT MAN WICKEDA

AND MAN ALONE AH SQUEEZE THE TRIGGA

GUN WICKED, BUT MAN WICKEDA

HIM ALONE AH SQUEEZE THE TRIGGA"

This tune seemed very familiar to my ears, but I don't think I've ever heard before. I do think, however, that I'm unlikely to ever forget hearing it again. Speaking of familiar, I definitely do know the very jovial 'We the People'. This piece comes through on Upstairs' delightful Home Bound Riddim from a few years back (big tune by Glen Washington on that riddim) (Everton Blender also) and is pleasantly difficult to get out of your head. It kind of stays with you and that's a good thing for this one. You'll also recognize the track lifting 'Jungle Society' and, again, you're going to have a hard time getting this one out of your head as well. It's always nice when someone can make a tune which not only delivers some type of poignant and crucial message, but also be ENTERTAINING as well. Music is a form of entertainment to most people, including You and I, and although such things won't be cornerstones of the perception of this album (and they probably shouldn't be), "African Union" is fun at times as well. Check the final three efforts on the album (all of which, essentially, deal with the same topic), which're quite dynamic as well. 'No Separation', 'Come Together' and the final song, 'One World'… I guess as EACH title would indicate (I just noticed that), all deal with the theme of unity which is, obviously, one of the pillaring ideas of the album. The finest of the three to my ears would be 'Come Together' with its large sound. I found it so fascinating that Screwdriver chose to hit this issue as hard and as often as he does on the album because, with it being such a clearly defined piece of comprehension here, I think that you take the risk of covering familiar ground too often, but apparently it was that important to Screwdriver and Upstairs to really stress that point here. 

Finally, I'll mention another of the standouts on "African Union", 'Third World' (sometimes these things can be difficult to write, but definitely after writing all of that Midnite, it's gotten easier). I really like this one because it is an homage to the actual music which ultimately goes just a little deeper as it speaks on how music has been such a powerful force to oppressed and impoverished people throughout the world and throughout history as well. It is a BRILLIANT point to make a song on because, though it may not be as discussed, so many of the world's most popular forms of music were born, just as some of their greatest practitioners, in some form of poverty. And that is also an example of something which is easily tied back into the prevailing thought of the album. 

Overall, "African Union" isn't the greatest album I've ever heard, but I think I could probably talk LITERALLY endlessly about it because so many aspects of its structure are all kinds of interesting. While I don't see an album like this providing Screwdriver with some type of large boost in popularity (and I'm sure he wants to sell albums, but I don't think that he cares if he is one of the most popular singers), I do see it bringing in a great deal of respect and appreciation from people like You and I. This is a matter which should be receiving a great deal of interest within the Reggae listening community and it took someone like Screwdriver to give it the prime showcase it deserved. "African Union" is an album which finds Screwdriver delivering a supreme amount of common sense and respect to listeners and, while he may not be the biggest name on the scene, Reggae music simply would not be as fantastic as it is without people like him. Well done. 

Rated: 4/5

Upstairs Music 

2013

CD [I THINK] + Digital

Review #423

Coming Soon: "The Order of Melchezidek" by Chezidek

"The Order of Melchezidek" by Chezidek [JahSolidRock]

1. 'All My Life'

2. 'All My Life' Version

3. 'Faya Pon Dem'

4. 'Search and You Will Find'

5. 'Rain Come Falling'

6. 'Jah In Our Heart'

7. 'Tumbling Down'

8. 'One Family'

9. 'Plant A Tree'

10. 'Praises To Jah'

11. 'Hail Up the Roots'

12. 'Rootical Reprise' 

Big, BIG news today as we are now about a month and a half away from a potentially HUGE forthcoming set. "The Order of Melchezidek", by veteran vocalist, Chezidek. The album is the direct followup to what is likely the singer's finest album to date, "Judgement Time" from 2010. Like that set, production here comes via the very well respected JahSolidRock imprint, which now returns with 2013 well underway to push a project which will hopefully take us back to its remarkable predecessor.  

"Judgement Time" [2010]

One of the greatest things about "Judgement Time", was its off-the-scale sonic appeal. I've heard very few Roots Reggae albums and albums of any genre, really, which SOUNDED as strong as that set. From beginning to end, it literally sounded as if the artist were standing in the room next to you singing the music and -- as for the music -- it was also exceptional and, particularly given the label's activity at the time, definitely made you want and expect more. And speaking of "MORE" [!] the only legitimate critique of that album was the fact that it had so many instrumentals, that it dwindled the number of tunes on it… so you wanted to hear "MORE" of it! Now, JahSolidRock takes care of that problem! 

Listening through some of the clips and my expectations are still very high as it appears as if, once again, we have Chezidek in a fine form singing with a label with whom he, obviously, has a significant amount of musical chemistry and I CANNOT WAIT TO HEAR THE RESULTS! And the wait won't be too long, as JahSolidRock presents Chezidek's brand new album, "The Order of Melchezidek" on April 22 - and we return to The Highest Region. 

Discography: Spragga Benz

Without a hint of a doubt, Spragga Benz is one of the most gifted deejays to ever pick up a microphone and his career, and all of its many twists and turns, has been one of the most successful that the Dancehall has ever seen. Now into his third decade of making hits, Benz has done what very few of his peers have managed to do in showing an intense level of consistency throughout the years and, seemingly, in every phase of his career he has also remained one of the most in-demand stars on the scene as well. His popularity has also extended to more mainstream circles where, although he may not get as much credit for it, Spragga Benz has also established his name in other areas, working with some of the biggest names in the Hip-Hop world, while not at all sacrificing his musical base. Today we take a look at the album catalog of one of the genuine and bonafide stars of the Dancehall. Discography: Spragga Benz  

The music of Spragga Benz

"Jack It Up" [VP Records - 1994]

Mind & soul. Spragga Benz' debut set, "Jack It Up" would come wayyyyyyy back in 1994 (I turned thirteen that year) via VP Records and, in retrospect, was just an extremely FUN set and still very much is, even now, almost two decades later (damn, when did I get so old!). It is, at least by me, regarded as one of the better Dancehall debut albums in the history of the genre and it really hasn't faded much for an album of its age and class - it remains quite popular to this day. Of course that shouldn't be surprising as, constructed on the quality of tracks such as the title tune, 'Could Ah Deal', 'Who Next' [Grrrr!], 'Dem Flop' and several others, the "Jack It Up" album is a classic.  

"Uncommonly Smooth" [Capitol Records - 1995]

Cross-under. Obviously encouraged by the  enormous successes of Shabba Ranks, Super Cat and others at the time, worldwide major, Capitol Records, came calling on Spragga Benz to see if he could duplicate their achievements. Maybe he couldn't, maybe he could, but I'll maintain that, despite producing an album for the label, "Uncommonly Smooth", he never really received a fair opportunity to prove himself in either way. Although it probably isn't as bad as I've always given it 'credit' for being, Spragga's sophomore release wasn't a very good album and is, without question, the single worst album that he has ever done. While it did have its more 'organic' moments, such as 'Body Good' and 'No Matey' (both of which would have fit well onto the "Jack It Up" album), this project was clearly aimed at introducing the deejay to a more mainstream and international audience and it kind of presented him as this kind of 'streamlined' romantic musician. In the process, much of the aggression, the passion and, ultimately, the FUN of "Jack It Up" was also trimmed away. Cocoa Tea, Chevelle Franklyn and others guested.  

"Fully Loaded" [VP Records - 2000]

'Weh Ya Say Star'

Conqueror. Spragga's third album altogether and second for VP Records, "Fully Loaded", in my opinion, remains his opus and if it released a year later, I would have probably slapped a "Modern Classic" review on it. Where its 'natural' predecessor, "Jack It Up", still strikes me as being such a fun listen, "Fully Loaded", as its title would suggest, had such a great deal of material to offer [twenty-one tracks] and was a fantastic display of an entirely undeniable skill and is one of the finest Dancehall albums I have EVER heard. Highlighting were a variety of tracks such as 'Wi Nuh Like', the inventive 'Weh Ya Say Star', 'She Nuh Ready Yet', 'Some Bwoy', the hilarious 'Pum Pum Conqueror', 'Peace', 'Mur-Da-Rah', 'Do It An Done', 'Too Stoosh' which featured Hip-Hopper, Foxy Brown, and, of course, the infamous 'Backshot', alongside Lady Saw. HOWEVER, with this album, Spragga would also manage to surprise and he did so in the form of the spiritually guided 'Call Upon Jah Name' and my absolute favourite track he has EVER done, 'Sleep With Angels'. TEARS! 

"Thug Nature" [Empire Musicwerks - 2002]

Clear? I don't want to, AT ALL, point you in the wrong direction: "Thug Nature" was VERY good! Skimming briefly, I can confidently say that there're only two albums here which I can DEFINITELY say I favour greater than it (both of which I've already told you about). Checking in at twenty very healthy selections, the album, although poorly promoted and never very well known, was a nice addition to Benz' catalog and it carried more than a few big songs. 'Analogy', 'Bait [Mek Dem Talk]', 'Spin Yu Roll', 'Gi Wi Dem' with Red Square and definitely my personal favourite, 'Playa' were starring moments along with several others. HOWEVER! What was so unfortunate about "Thug Nature" was the fact that (at least to my knowledge), there did not exist a version of it which was not frustratingly edited. Take that and combine it with the "Undiluted Dancehall" portion of the cover and you have a perplexing moment on an album which was still very good.  

"Live Good" [Victor Entertainment - 2007]

Rising one. Just a few short years ago, in the mid to late 2000's, it was well the trend for some of the most talented stars of the Dancehall to head to Japan to do albums. While, in the rest of the world, Dancehall albums seemed to be on a great decline (and they still are, in my opinion, with just two or three, at the most, big names doing albums annually), Japan remained not only interested in putting out such projects, but remained capable to do so as well. So, Spragga Benz would join the likes of Voicemail, Chino, Vybz Kartel, Munga Honourable and others and the result of that was "Live Good" - an album which I'm still sure isn't even known amongst some of his more faithful supporters. That is too bad because, while it wasn't the greatest and was rather fitting for its time and just a while before - where the set was, essentially, just an amalgam of previous singles - "Live Good" was… pretty good! Containing well known tracks such as 'To The Right', the dominant title track, 'Gonna Fight' and 'Guns & Girls & Ganja', there was a great deal here worth hearing for what it was. Furthermore, the album would also carry a pair of big combinations in 'One Two Order' and 'Bedroom Slaughteration', which would feature Frisco Kid and, most interestingly, the aforementioned Vybz Kartel, respectively. 

"Prototype" [Drop Di Bass Records - 2008]

Triple up. The "Prototype" album forever be remembered (at least by me) as being part of trio of releases which the label, Drop Di Bass Records, used to make their formal introduction to the world back in 2008. Released at virtually the same were "Madd Bwoy Anju" by… Madd Anju and Sizzla's "Addicted". One label, at the same, does an album from Sizzla Kalonji, Spragga Benz and FINALLY Madd Anju's debut. DAMN! That is one of the most memorable ways of making an 'entrance' that I can recall (although perhaps it is somewhat interesting that, at least to my knowledge, while they have made tracks from then, they've yet to produce another album in the subsequent half decade) (and if I recall correctly they were going to do something with Calibe, who also appears here). For his part, Spragga delivered what was, easily, the second best out of three. "Prototype", like its two siblings, was inherently somewhat odd. It contained THREE tracks which were combinations between legends, Spragga and Kalonji, none of them had any lasting value and while it did have its moments, "Prototype" was far from Spragga's best. Far, far from it.  

"Shotta Culture" [BoomTunes - 2010]

'Shotta Culture'

The piano. I think that it says a great deal about someone when they can release what is, unarguably, their most high profile set to date, more than fifteen years following their debut and do so with an album which has still never (and will never) reached CD form. That is precisely what Spragga Benz did a few years ago when he reached with the much, much anticipated "Shotta Culture". Produced by the famed Salaam Remi, the album was reportedly years in the making and there was a documentary and multiple videos and singles and really just an intense level of promotion for the project. As for the actual music, that was something else. I don't like this album as much as I once did and I also don't dislike it as much as I once did. In fact, the reason Spragga's name jumped up for a feature was because I recently went back and had another listen and was impressed again. "Shotta Culture" was solid. It was kind of DARK, with several tunes coming with a similar kind of heavy pace (including my personal favourite, the MAMMOTH 'Duppy Nuh Frighten Vampire' and two of the piece's most recognizable moments in the title track and 'Protect Your Culture'), but it had a few BRIGHT moments as well. It also had a healthy guest list, with everyone from Marcia Griffiths, to Stephen Marley, to Shabba Ranking, to Sizzla Kalonji, to rapper Nas and someone everywhere in between joining up with Spragga Benz for his most recent release to date, the very popular "Shotta Culture". 

The Vault Reviews: "Standing Ground" by Midnite

Building. To date, by design, it has very much been my attention to focus back on albums from Vaughn Benjamin and Midnite which either weren't necessarily the most popular of their catalog or, as was the case of "Ark A Law", were just not well known, in general. While I certainly do not feel that the 'Reggae media' has been very kind to the group, you're still very likely to find much written and much discussed about particular albums that they've done, while others, despite being relatively well known in some cases (such as "Bless Go Roun") just never really seemed to draw that type of semi-formal interest from anyone outside of the most hardcore of Midnite heads (and people like me who… will listen to everything). Today, however, we blend things a bit and take a look at an album which, although rather surprisingly, didn't elicit a great deal of media coverage, was and remains extremely popular to Midnite fans of all stages and has, musically, aged very well, "Standing Ground". Back in 2006, Vaughn Benjamin began a working relationship with one John Juaquin Wilson of a label by the name of Fifth Son Records. The first fruit of that union would be the "Suns Of Atom" album from that year. I'll have to get to that set one day as well because it perfectly fits into what we've been doing as of late. It was a popular album amongst Midnite fans, but didn't have much of a further reach. It was also a damn good album and well worth checking out if you haven't. Where "Suns Of Atom" would definitely do a great deal in showing that Midnite/FSR could make nice music together, "Standing Ground", which would reach just a couple of years on, would show that they could be special together. The most noteworthy aspect of this release was that it was the BIGGEST album that Midnite had ever done. I do not mean that it was the best, you can draw your own conclusions on that, but this was literally the biggest album with the name "MIDNITE" on it that has ever existed. Checking in at twenty-four tracks, spread across two discs, "Standing Ground" was more than an hour and half worth of Midnite music on one project and if you know Midnite fans (and, again, you do), the reaction was exactly what you would've expected and, half a decade later, as far as albums from that same timeframe and MOST of the ones which have since followed, it easily ranks as a kind of pillar and one of the most well regarded of their projects of all time.

"Standing Ground Dub" [2011]

For me, besides just being a big album, "Standing Ground" 'stands' best as a testament to PASSION. You'll never hear me question the passion of Vaughn Benjamin who, seemingly, donates every single piece of free time he has to writing these wonderful songs, but this album was just as much about the enthusiasm of Wilson and company. Along with being a joint release with Fifth Son and Lion Tribe (which, I think, is Wilson's band and "Suns Of Atom" came from the same origins), "Standing Ground" was also just the beginning in some aspects. In 2011 FSR would release a dubbed out version of the album which would also be fairly popular. And they continued just last year with oft-discussed "In Awe" album ("oft-discussed" by us and only us) and, apparently already loaded is that album's followup, "Be Strong", which we'll likely get in May (biggup Bredz) (biggup Ras Elijah Tafari) (consistently genius artwork). So, this album, although not the start of it all, very much showed that Fifth Son Records had big plans - plans which have played out incredibly well and you could very well look back at this album as the beginning of a next level of detail (although respect does go to "Suns Of Atom" and, as I said, I'll probably tell you about it someday).  

"Be Strong" [Coming Soon]

"Standing Ground" has been an album which has just interested me in so many ways. Of course there is its size, but the most fascinating aspect of it is merely a 'side-effect' of how wonderfully large it is. Generally speaking, Vaughn Benjamin's music can require quite a bit of work on the part of the listener. He is one of an unfortunately tiny group of artists who almost always, in my opinion, challenge their audience to bring something to the proverbial table in terms of what they are aware of and if you aren't educated on certain other things, he will fill you in, but you're definitely going to have an INVOLVED time in listening to his music. For someone like me, that's GREAT and "Standing Ground" has been a very nice challenge and a fun journey to comprehension over the past five years. I've also gone up and down and back and forth in my appreciation of its quality, but I am damn happy to say that these days I probably hold it in as high esteem as I ever have and for good reason. "Standing Ground" is an album which, despite its length (which can be a bit much in some cases, but isn't here) not only manages to hold interest throughout, but is also a compelling set from beginning to long-ranging end. Let's discuss!

Disc 1

As a whole, I would say that the first twelve selections of Midnite's "Standing Ground" represent the better half. The second half is definitely not far behind and does have its moments (on in particular), but the first is just slightly better in my opinion. The biggest example of this, DEFINITELY, is its opener and the record's title song which is absolutely magical!

"True courage in di standing ground

Is how you live it in di standing ground 

Fox wid canary feather pon dem mouth

Something fi consider and sit out

Should have not go in dah

What could I have seen in dah?

Many ones have been dah

Run, go assume and get dem feelings bun to cinda

When a decision need true, true -

True courage in di planting round

True courage in di standard of di Crown

Fi push your principle to reach stand down

And push your principle out of bounds

And push your reason out of bounds

Keep cool, keep cool yah

Meditate and counsel in di 'how to calm down'

From it reach drastic and dun moving around

What can diplomatic when things fall out?

SELASSIE IS THE MISSION IN SOUND" 

The tune thrives on every surface. The message is amazing and presented in such a beautiful fashion, but that riddim is also so HEAVY and GORGEOUS [!] that you have to pay attention to it and I like how it progresses to the point of even disappearing at one point for a prolonged period of time and then reemerges to wrap up what is my second favourite song on the album named after it. BOOM! 'Splendence' is a… splendidly clever social commentary until it nears its latter portions where Benjamin begins to kind of abandon the idea of making the song in the standard way and, as he does, just begins to TALK on the track and, of course, what he is saying is wholly crucial and not to be overlooked. 'Adon-I' is one which has well giving me a great test over the years (and it also reminds me of my favourite song on this album) because although it is the single shortest song on the first disc (and the second shortest in full) and it is HURRIED in delivery as well, Benjamin makes a lot of points in its brevity. Where I am today with it is in seeing it as a praising tune which seems the obvious choice, but you listen to this song and its many directions and it is not as clear, at least not to me (and, for the millionth time - I'm no genius), as it might otherwise seem to be. It is a signature from this album as well and one of its biggest and most thrilling moments. Speaking of thrilling, although on a much slower scale, check the next song on "Standing Ground", 'Inspiration', another clear highlight for me. Here is another song where the prevailing statement, is not as obvious as it seems to be. Here, despite the tune's title - is a social commentary. What he says is that there is a significant lack of PERCEIVED inspiration in the world, especially for the youth, but His Majesty has placed inspiration everywhere ["How could the inspiration not be live? THE VIBES TRAVEL INTO ANY HOUSE WHICH ACCEPT THE VIBES"]. Because of its sound, 'King of Kings' does well call for some intense level of attention-paying and it is well worth it, ultimately and wrapping up the first half of disc one (yes, that's how we're doing this one today) is a similarly interesting, and entirely productive, effort - 'Mass Appeal'.

"I would not like to appeal to the masses of mass ignorance

Unless it's to learn, like I humble myself before Jah to learn

I would not like to appeal to the sentence of mass ignorance, yeah -

That keep happening to reoccurrence in our life situation

I would not like to appeal to the hearts that are the robbers of emotion

The vacuum cleaners of spiritual dissonance

I would not like to appeal - 

I would like to appeal, to the children who are in coherence

Or who wish to be - in one accord with His Imperial

With His Imperial

I would not like to appeal, to the elitist pragmatist -

Who are sitting in control of the vandals- believe it or not, 

I would not like to appeal, to those who are sending dem pon di gun rampant

Yeah, with the full authority of the state and everyone in full concurrence

I would not like to appeal, to displacement of spiritual principle 

Whereas di people caan find demself and dem immobile 

Even though they're moving all around in di earth, as commuters

I WOULD NOT LIKE TO APPEAL TO BE MASS APPEAL"

To my opinion, this song is a big slap back at critics who refer to Benjamin's music as 'cryptic' and 'puzzling' and not being appreciable by a great deal of fans (and I have been one of those in the past and may be again in the future, so I take part of that slap also). Here, he seems to, in a predictably brilliant style, outline who, exactly, he makes music for and who he does not. The single most powerful portion here is when he says, "I would not like to appeal to the masses of mass ignorance, unless it's to learn, like I humble myself before Jah to learn", which may reach very far, but at its center is a correct statement in my opinion: Humbling yourself is a significant step to take in being able to fully enjoy this man's music.

While less impressive than the first, the second half of the first disc also offers up some really memorable moments. One of which is 'Whirl-A-Fya' (biggup Ahfyah), a tune on which Vaughn Benjamin and Fifth Son Records turn things over to three others, Bluff, Heads and, of course, Jah Rubal (who was also on "Suns Of Atom"), who join Benjamin on the stirring track. There's also 'Herd' which is probably my least favourite composition here, but is a sign of this album's quality, because it is still very good. And there is 'Make Up Dub' which, puzzlingly (OOPS!), is a dub of a song on the second disc! All three of those tracks are strong, but pale in comparison the SCATHING trio which conclude the first disc of "Standing Ground". The best of those three, to my opinion, is the second - the MASSIVE 'Playbak'. Although not on THAT level, the song, because of its almost curious straightforwardness is somewhat reminiscent of the infamous 'The Gad', with its streaming lyrics and somewhere just outside of the song's second half, Benjamin hit's a level of full-on linguistic perfection on the relatively short track. 'Chant Out' is also extremely impressive as is the disc's closer, 'In Front'. Both are selections here which exemplify what I mean when I say the journey to comprehension of "Standing Ground" has been such an enjoyable one - as they both necessitate multiple and multiple spins to really grasp and will continue to as well.

Disc 2

As a full album, the first disc of this album would have done very well, in my opinion. There wouldn't have been very much to complain about, but when you take that and then combine it with the finest material from the second batch (biggup Ras Batch) of songs, then you have something truly special at that point. One of the standouts in the next group also gets us started, the very organic 'Spruce'. I've taken a lot from this song through the years and today where I am with it is at the point of seeing it as a form of a WELCOME! What Vaughn Benjamin is saying is to WELCOME His Majesty into your life. "Adore" HIM and see the splendours that HE then can bring to you. Part of the track is hearing water running and, obviously, it was intended to make it sound more natural, which is a very fitting 'bed' in which to lay such a song. 'Medi' is an extension to the tune preceding it here to my mind. It features the chanter, in a VERY relaxed manner just going through what stays heavy in his mind. You could take this one further (and you know I do) and use as, perhaps, the script of how he manages to write songs like he does and if that is the case, then more of us need to follow his example. And then there is the DAZZLING 'Hunger & Thirst'.

"The sound train that cut off the Oxytocin to their brain

The ostrich inna the symptoms - sand head inna di plain

It was the deep ocean laser satellite beam the same

TO DISCREDIT A SOCIAL SITUATION IS A MILITARY GAIN

For some kind of constant bragging, contact they need to -

Draw near to the feet of the mystery, destitute, delicious and defeat

These are usually in contact with two side - here and there

Here and over there!" 

This is another very HEAVY piece which demands that you pay a keen attention to detail to take from it what was intended. I also really enjoy the full sound of this tune as well and I wasn't the only one as the riddim is left to play well after the vocals have finished. The praising 'Feel Like Praise' and the afore-dubbed 'Make Up' appear here as well and are fine efforts (the latter is a great, great song), but I have to focus on a song on the first half of the second disc of "Standing Ground" which is my single favourite song on the entire album (and probably only mine, but who cares), the downright haunting 'Ever Was So'. TEARS! This song on spin #50 or so just started to open up and develop to my ears and what I heard underneath was about as mighty of a tune giving praise that I've heard in recent times. Benjamin speaks to the consistency and the longevity of His Imperial Majesty and it is a humbling experience of a song. And, if I didn't stress it enough, you should check 'Make Up' - it's excellent. 

The final quarter of "Standing Ground" features a few twists and turns in its six tracks, which do a great deal of things. First is 'No Evil' which completely features a female artist by the name of Omo Lioness. I THINK I've heard one other tune of hers and I do not really know what happened to her from this tune (at least I don't think I do). It isn't my favourite song here and it is very straight forward, but she did have some skill which was worth seeing through. Jah Rubal obviously couldn't get enough (and I don't think he ever will, although I do think it has been awhile since last we've heard from Rubal) and he returns to this 'ground', with his own tune, 'Survival', which is slightly better, as a whole, than 'Whirl-A-Fya'. Rubal is someone who is somewhere between Ancient King and Vaughn Benjamin in terms of his style and he is very interesting to watch in his almost frenzied approach - here was no exception (great riddim on 'Survival'). Disc two also returns the favour to the first and gives us the 'Adonis Dub' - the dub of a song on the first group, 'Adon-I'. This is excellent and, as the previously alluded to "Standing Ground Dub" album didn't include a mix for every tune on the album (and it didn't include either of the two actually on this album) I do think that a sequel would be a fine touch some day, even if it were to be strictly digital, because this is fine work. There is an 'acappella' version of the title track which completes the album. There is music present on the track, however (it's more of a streamlined version than an actual acappella), and it is GOLDEN! 

The somewhat jovial evolving history lesson that is 'Rebuild' also comes through here as a winner and the same is well to be said for another of my personal favourites from this album, the unforgettable 'King Ting'. 

"The earth is the Lord, it's the King ting

The melody of sound, it is the a sing ting

Dem ah destroy all di feelings over bling ting

Dem ah mash up all di friendship inna inkling 

Have a basket hang up too high over a bling ting

When it's di King ting, so when ting sing -

Man seh honour Rastafari when ting sing

Man seh Haile-ness unto Selassie when ting sing

Enter the courts with praise 

The gates with thanksgiving

When ting sing - tune rinsing"

Overall (what an easy review to write!), "Standing Ground", obviously, was an project which had an inherent trait which made it most interesting. There're dub albums and a live set and others which have similar distinctions, but it was also EXCEPTIONAL. Typically with double albums what I'll say is that if you were to narrow it down to x-amount of songs, you'd have a better release and while you could make a similar case here, I don't think that I really would. I think that in its completed form, "Standing Ground" was as good as it possibly could have been. And, like I did in the case of "Ark A Law", it doesn't get the normal conditional recommendation for me. I didn't go into it to a great detail, but the music, throughout, is very accessible for a Midnite album and although it is huge, I'd suggest it for fans of all levels of experience with the music. For the more seasoned of listeners, however, "Standing Ground" is an investment of an album which should, literally, give you years of enjoyment. I'm still working on it and will be for the foreseeable future and I am not complaining at all as it is easily one of the finest albums in one of the most storied of catalogs in Reggae music history. Fantastic!

Rated: 4.90/5

Fifth Son Records

2008

2CD + Digital 

Review #422

What I'm Listening To: March

"Weep Not" [I Grade Records - 2002] 

Listening to all of that Midnite ("Standing Ground" review coming… whenever I finish it) and Ancient King (new album, "Ethiopie", in stores now) has led me in the direction of digging up this wonderful old compilation via I Grade Records, from way back in 2002, "Weep Not". This was an album which has seemed to gain in strength over the years and may be as well known and well regarded in 2012-2013 as it ever was a decade earlier. Both Midnite and Ancient King (as 'Willow') appear with multiple tracks and they're joined by the well talented likes of Dezarie, Xkaliba, Abja (new album, "Songs Fa Jah", in stores now), Donnie Dread and others, including Mash, whose 'Joy' has always kind of been a favourite of mine from "Weep Not". 

CD + Digital 

"Backyard Boogie" by J Boog [Wash House Music - 2011]

Biggup longtime and one of our absolutely most intelligent and favourite readers, Steven (and biggup all of our readers, we do not (or at least I do not) (Bredz does) deserve people as informative as you), for putting an album in my head which hadn't been up in a minute, but has remained so for pretty much the entire day (and I'm sure I'll keep it up for at least a week or two), J Boog's outstanding "Backyard Boogie" from just a couple of years ago (does it seem to anyone else like this album reached in like 2008-09???). An album like this, while you probably don't realize it at first listen (or even if you do, you probably aren't very comfortable in throwing such a high praise on it) is TIMELESS and while I don't know if I'd ever come around to the point of labeling it as a "classic", "Backyard Boogie" is a record which, with songs such as 'Give Thanks', 'Mystery', 'Let It Blaze', 'Take It Slow' [BOOM!], of course 'Let's Do It Again' and 'Hawaiian Pakalolo' (dug deep into my brain and WILL NOT let me go!) (BOOM!), figures to never reach a point in its existence [or mine] when it does not make me smile to hear. Thanks Steven.

CD + Digital

The Soul Mate Riddim [Mr. G Music - 2013] 

Goofy Mr. G has also popped up on my radars with his latest [I THINK] creation, the nice Soul Mate Riddim. There was a another track of the very same name maybe just last year or the year before (it was kind of Poppish, but Konshens did have a big tune on it) and that's confusing, but Mr. G's version is definitely worth checking and is a little bit more with a very slight, but very presence nice old school vibes present. Most notably and bestly (not a word) the riddim backs the wonderful 'Wonderful Feeling' shared by Queen Ifrica and I-Octane, but Pressure Busspipe ["Take time and come around now baby, cause you're the best thing that come around me lately. I promise I'll neva do a ting fi yuh hate me - after all I've been through to find the perfect lady"], Tony Rebel, Ginjah, world's reigning luckiest man, Christopher Martin, and others all turn in fine efforts. 

Digital 

"African Union" by Screwdriver [Upstairs Music - 2013]

Loooooooooongtime veteran, Screwdriver, is back with a brand new album and his first from… his last one, "African Union". The album is in tribute to and in celebration of the half-century anniversary of the 1963 founding of what would ultimately become THE African Unity. Screwdriver has been around so long and has been making such good music that, unless he suddenly becomes one of the most respected acts around RIGHT NOW, he's likely to EVER get the due credit for the work he's done, which is almost always top notch and, although I'm still working on it, his latest release seems to find him in a very good form. This is an album which sounds very good thus far and I have a very good feeling about it and should I get the time to do it (currently have to write reviews for (at least) a couple of old Midnite albums (and they're apparently doing two more this month and another one in May), Jah9's album and something else, but this is on the list now), I'd love to do a review for it. You should well have a listen also and, of course, biggup our old friend Susan for all of the wonderful things she does, as always.

CD + Digital 

'Differentology' by Bunji Garlin [Sheriff Music] 

And finally I just have to give even more credit where it is due and admit I was COMPLETELY wrong about something (I do this a lot, I'm very good at it). The first hundred or so times that I heard the completely INESCAPABLE tune, 'Differentology' from Soca lyrics king, Bunji Garlin, I didn't like it. I didn't hate it. But it was too Poppy and kind of annoying so I wasn't lost in the rapture of it as was pretty much everyone else who heard it this season. HOWEVER… Yeah… all of that has changed. I LOVE THIS SONG AND I REFUSE TO STOP LISTENING TO IT! WHAT!

"We ready for de rooooooooooooooooooooooooooooooooad!"

Digital 

The Vault Reviews: "Ark A Law" by Midnite

Phantom. Popular artist - not a popular album. Not only amongst the truly most active of individuals does such a thing happen - but it does happen to the point where you have a very supported act put out a new project and there is… virtually nothing. It isn't unpopular or overlooked when compared to something or everything else they may've done - it is just unpopular on its own. Usually there is a pretty simple explanation for that when it comes to Reggae music: Bad promotion. I still maintain that there is an art form of some type when it comes to actually properly promoting Reggae albums. We are not talking about artists or stage shows or songs or riddims or anything like that. I think that albums, specifically, fit outside of those things and are in their own category and it doesn't seem like too many labels know how to do it well as of yet. Just last year there was a tied up pair of sterling examples of this in the form of Lutan Fyah's "Truly" and "Hold The Vibes" by Ras Attitude from a label by the name of One Drop Records. I don't know if they'd ever done anything prior to that, but to announce yourself to the public with a brand new album from Lutan Fyah and then another from Ras Attitude at the same time [!] is absolutely amazing, but I have NEVER seen anything in promotion of either of these albums and, most unfortunately, I think our reviews for both may be the amongst the very few material discussing them. You can also find similar releases in the, respective, catalogs of Sizzla, Luciano, Anthony B, Turbulence and others who've maintained healthy (and, at times, obese) album release schedules through the years), but when it comes to someone like… let's just say Midnite, for example, things get even stranger. As I've said in the past, the St. Croix Reggae superpower may just have the most passionate and loyal fans in the whole of the landscape of modern Reggae music. Looking through their catalog, you can find certain albums such as "Aneed" and "For All" which certainly weren't the most recognizable of releases, but they don't really register in the same way as the album with which we deal today. Also, to the case I've been attempting to make as far albums from Rastar Records not being amongst Midnite's most popular releases (although I think that is a concept which is going to be shifting if that level of quantity continues), all of that is a matter of comparing them to something else. If you look at what happened to an album such as "Ark A Law" - that was just something different! 

Where do we begin? Besides being not very old at all and coming at a point when Vaughn Benjamin & Midnite would have been enjoying what has to be considered one of the longest 'primes' in recent years (and is still ongoing), the 2010 release was also the second of the records from Higher Bound Productions - which means that it had an 'opening act' and in this case a good one - the first album was the "Bless Go Roun" album, which indicated that such a project was worth checking out. Furthermore, RIGHT NOW, the most recent Midnite studio album is "Free Indeed", the third Midnite/HBP album, which arguably gets more and more well known by the day (and that album is exceptional and you should pick it up if you have not) and should be doing quite well. So, while I have maintained that a large problem for Reggae albums has been promotion, or a lack thereof and I wouldn't put them in the category of I Grade Records, as far as making almost well known, I don't think that Higher Bound has a problem in that area for the type of music they do. But "Ark A Law" remains one of the least known albums in Midnite's catalog relatively recently and I don't even think that many of their even more passionate of followers paid it a great deal of attention either, which is completely strange if you know Midnite fans (and you do).  

"Bless Go Roun" [2007] & "Free Indeed" [2013]

Not to be confused with the Lion Tribe who have done a couple of Midnite albums for Fifth Son Records (one of which, "Standing Ground" (which was and still is very well known), may get my attention next), "Ark A Law" was a joint venture between Higher Bound and Lion I Music and was produced by another artist in Ishence, who does the work for HBP and a Jason Williamson. Personally, this album never made the biggest of impacts on me and I'm going to assume that was the reason it never seemed to do much - because people didn't like it. But that was my opinion prior to REALLY tuning it in and, as has been the case with Midnite albums for me lately (I am enjoying this so much - it's like getting new albums), my ears and my mind have been opened and although I still do not consider myself the biggest of Midnite fans, I'm going to continue to take this as far as I can and what I'm wondering is if I've been 'illuminated' to the level of now being able to appreciate what was very much a DARK album for me. My thought of "Ark A Law", in particular, was that it was a very skeletal album (a point which I still maintain is the case, although not as avidly as I once did) (more on that in a minute). What I mean is that there is very little of the way of appealingly merging vocals and riddim and there isn't much melody. Now, when you pass through an album, even if you listen to every song (and I did), and that is what you're looking for, you won't think much of "Ark A Law", I don't care how far you've been opened mentally and, save for a couple of songs or so, that was how I regarded this album for the past three years. Now? Things have changed. It was MUCH better than I ever even thought it had the capacity for being. So I was very wrong and everyone who completely let it pass - you made a mistake. Let me tell you why. 

As I said, musically speaking the "Ark A Law" album was a bit 'rigid'(I'll get the critiques out of the way right now). Vaughn Benjamin isn't someone who necessarily always cares about what track is playing behind him - his main focus, all of the time, is on his lyrics and lyrically speaking - this album is a star! And the shining begins on the very first track which is, in my opinion, also the single finest "Ark A Law" has to offer altogether. 

"Who was accused of a bad deed? Ganja

Ungrateful for the numerous cure weh Jah Jah send down

HEMP SAIL FLY ACROSS ALL YOUR PORT ENDEAVOUR

Sturdy ganja rope hold up ya boat yah 

Hold yah boat rope together

Old ungrateful dog ah utter

Nuff time when they bragging bout they pirate grandfather

How him smuggle hemp fiber out of India

This is how dem entrap, entrap and lure

How Selassie I a now di law dagga 

How dem done and set it ahgo must Ansa fa

See di sufferation and my heart feel that

VIP ah sit up inna opera box

How when the I & I ah chant a lot

How when di lightening applause adapt - 

Ah clap louder than anything you can crack back

Everything outta get and be got

Known for resistance and a special attack

Flying in - dem scientific wolf pack

Domestic entry dem use weh seh 'enter not'

Use people fi life pon you fi mek you react

DON'T BITE DI BAIT IF YOU KNOW SEH A DAT

Spiritually wickedness hold out a carrot

Weak link: Di rabbit weh ahgo bounce pon top

 All now dem done do di people dat

Di iniverse already exhibit a order

How dem done and set it ahgo must ansa fa

How dem done and set it ahgo must ansa fa

How dem done and set it ahgo must ansa fa"

Probably the single most vibrant and colourful selection on this album, 'Ansa Fa' is downright mesmerizing musically, but it is only a noteworthy characteristic from the track which is nearly flawless lyrically. And speaking of nearly flawless words, check the second tune in, 'Hunting Demeanor'. This composition, very much, is what I mean by saying a song is "skeletal" - save for an excellent extension on the piece which continues well after the song's lyrics are complete (although Benjamin does continue to be heard chanting indistinctly in the background) (another nice touch). Very easily this piece would have been just as enjoyable completely sans any music at all (and it isn't alone in that respect on this album) because, once again, it is what is being said that is the star as Benjamin delivers a very complicated, but GORGEOUS message. 'It Will Be', the third song on "Ark A Law", is somewhat similar, although that riddim is lovely. Again, it is  a song which, ostensibly, may be indistinguishable from quite a few others, but when you really tune into what is being said, you see that it stands up really high here and, again, it isn't alone. 

It is very subtle (VERY subtle), but the sound that does exist on this album makes a variety of different shifts and you hear songs continuously which go in a wide variety of different directions (whether or not you realize that is another case, however) throughout "Ark A Law". Take, for instance s song like 'Heavenly Heir' which is followed by 'Flakey' and then 'Rejoyce'. The first tune in that trio is (one of the best songs on the whole of the album) is almost a Hip-Hop song, with this kind of curious Arabian vibe behind it and Benjamin plays along with it for one of the only times on this project. 'Flakey', on the other hand, is even more Hip-Hoppish, but they lead into 'Rejoyce' which is… somewhere beyond my vocabulary I suppose. The delivery here and the sound really went to make it one of the most signature tracks from this album when I did not hold it in a very high esteem. It almost seems intentionally odd as hell. HOWEVER, somewhere --probably after hearing it around twenty times or so-- I heard something here and what I heard was a most casual although obviously 'programmed' level of lyrical education. Meanwhile, the album's second half has a decidedly 'brighter' sound to it than the first does, primarily. A song like the title track, for example, has a billion different things going on, not the least of which is the far more fiery delivery which, although I do enjoy the riddim on this one, would have probably made this one a very nice a cappella as well. 'Trodding Out' was one of the one or two favourites I had from "Ark A Law" before I really dug into it and while I now hear more than a few songs which're better, I still enjoy it quite a bit and I hear a more FULL sound behind it (maybe the single finest riddim on the record) as well. It is probably as straight-forward of an selection as you'll find here (which his likely why I liked it so much). It also has a sterling message about going through things and being appreciative of the levels you achieve.

"Jah Jah set it as a Trinity, di root

Trinity weh bearing fruit

Dem no respect weh Jah Jah order

Fighting over - under"

There is also the closer which is a fairly entertaining song - 'Springs'. I didn't at all recall this tune as sounding like this. While it doesn't rank amongst my favourites present here (my favourites from this album, as I'll tell you in just a second, are REALLY good), it is a very strong tune and much more so than I ever gave it credit for being. 

Along with the opener, to my opinion the four outstanding tunes make up the highest class of tunes on the whole of "Ark A Law". A song such as 'Law Of' has been a longstanding favourite of mind and now that I get to hear it with a reviewer's ear, it has opened up for me even more. I LOVE this song and although the riddim threatens to drown out the vocals here, should you pay a close attention, you will get a great lesson here from Benjamin. Also registering on those levels is knowledge packed 'Infinite Power' ["strong-arm-cologists still require knowledge-ists"] [BOOM!] and the nearly MASSIVE 'World Wide Get'. Both of these are song which had to grow on me just a bit, especially the latter. If we get into the subject of the Diaspora of Rastafari - that is a very unique one - included within the entire Afrikan Diaspora, which is how this tune is set. 

"Unusual I see you living out

Rasta spread out to worlds -

In diverse countries where you wouldn't think so

Haile Selassie I make it so

Provincial prejudices - predisposition underexposed 

Who couldn't be aware? 

How they just suppose? Seen"

Again, the song is a very complicated one, but what I ultimately took from it was how Rastafari has changed the world in its spreading. You listen to this song and you very much gain the impression that Vaughn Benjamin likely wrote it while on tour and just seeing how such a colourful and vastly diverse group of people reacted to and KNEW his music and embraced Rastafari. Finally is probably the second best effort on "Ark A Law" to my opinion, the special 'Outta Youth'. Like 'Springs' I just did not remember this song as being this good and when I heard it back for the sake of reviewing it, I actually didn't remember it much at all. The riddim is nice and it fits the kind of serious nature of the song in some way, but you what happens here is a downright DAZZLING linguistic display of knowledge.

"From survival ,l I done see it, make a genius outta youth

HOTWIRE ANYTHING AND ANYTHING TROUBLESHOOT

Poverty, I done see it, make a genius outta youth

Inventing style yah nah nuttin else fi use

Penalty fi deh yah over nuttin compute

Lack of comprehension, acting like competent truth 

Downpression, I done see it, make a brilliant outta youth 

Ends justify di means fi dash away you

Inna total Jahova light a spirit sky blue

Ites, Gold and Green yah flag it up in it too

Jah seh HIM neva take over the earth again wid water deluge" 

A song like this, which to my ears is Benjamin expressing just how talented he sees the younger generation as being (if you wanted to even further over-think it (and you know I do), you could even steer it in a musical direction and say that he's speaking of, perhaps, young artists coming up), is just "genius". I love the prevailing direction of the song and it also maybe one of the more dynamic tracks here as well. 

I do want to say something about Vaughn Benjamin, in general, as a writer. As ridiculous as it is to say (and it is), I think that he's somewhat underrated as a lyricist. I think that so many times people refer to him as "brilliant" and "a genius" and the likes but it's almost become somewhat of a clichéd thing to say about him and I do not think anyone has ever really taken an exhaustive look at his lyrical capacity which may be in a class of its own. And I say all of that to further highlight an album such as this one where, although you may not find it so brilliantly entertaining from a sonic standpoint (and I do not), focusing almost COMPLETELY on the lyrics make it a real winner, at least in my opinion. 

Overall, "Ark A Law" requires A LOT of patience and it is a release which seems to kind of explain the lack of reaction it received in its day. It is not an 'easy-listen' or anything like that. It requires a great deal of thought and persistence on the part of the listener. HOWEVER, because if you are going to listen to Midnite to any consistency, you're going to encounter situations like this often - I almost want to recommend this album to newer fans. Just get it out of the way! For a more seasoned type of fan, I don't know what happened here, it almost seemed like people were afraid of this album for some reason ("wi no fear none a dem!) ("wi no fear none!") (biggup Romain Virgo) and I don't see them coming back to it in a large way either, which is just too bad because while I hesitate to call it the finest lyrical performance of Vaughn Benjamin, I would put "Ark A Law" within his upper half, easily. So, free up about a week or so and TRULY dig into it and shine some light on what has become one of the most overlooked albums in recent times, to absolutely no fault of its own. Very nice. 

Rated: 4.15/5

Higher Bound Productions 

2010

CD

Review #421