'Elixir?': A review of "Stand The Test" by Midnite

Because you don't know what you've got until it's gone. As I've said in the past, though they certainly do seem quite ridiculous these days (in retrospect) and a comeback is virtually a sure negative, I do kind of long for the days when certain artists would release upwards of three or four albums in any given year. And, as it has been for so many different types of albums, 2014 has been a sweet representation of exactly what I've missed most. The prime case here being, of course, Sizzla Kalonji who though he may or may not give us a fourth before the end of the year, delivered THREE albums within the first half of 2014. No. None of those albums were exceptional and, as we move further away from them, I find myself enjoying them less and less as a whole. But the circumstances there're just amazing even on paper: Three new albums from Sizzla Kalonji in about five and a half months or so (probably even less than that, I don't feel like looking up the official release date of "Born A King"). I'll take that any time and worry about how good they actually are later (as long as none of the three come from Penitentiary, Rude Boy or whatever they're calling themselves these days). On top of that, in about three weeks or so, VI standout Pressure Busspipe is also set to deliver a new album, "Africa Redemption". That record will follow his all-conquering "The Sound" from earlier this year (and you have some serious problems that you need to seek help for if you've yet to pick that one up) as Pressure makes a big run at Artist Of The Year to go along with Lyricist Of The Year which seems to be a lock for him at this point. And who knows who else might fall in that line as, hopefully, the last third of the year may feature a new album from Lutan Fyah at the very least. HOWEVER, curiously absent from this very welcomed breath of a nostalgic air has been the one entity in the genre who, seemingly, was completely unaffected by the gradual changing of the times - Vaughn Benjamin and Midnite. It would be foolish not to use this time to acknowledge and make a mention of the fact that the single Midnite album from 2014 was one of their finest in recent times and has been one of their most popular… ever, as well. "Beauty For Ashes" was a downright magical release and, as is normally the case when Midnite links with I Grade Records (label of the year???), it was very well promoted and, already, should be regarded as one of their most well-known releases to date. For anyone else, that would have been more than enough for any twelve month span but when it comes to Midnite, anytime I hear a new album I always find myself wondering - What's next? 

"Beauty For Ashes" [2014]

Maybe a Rastar album? The label with whom Midnite has been most frequently associated recently wouldn't go a year without releasing a new project would they? Well maybe not. Rastar did, very quietly kind of release a dubbed out version of "Better World Rasta". But it has yet to make its way to any type of a full circulation and until/unless it does, we won't count it. If not Rastar, then perhaps Fifth Son Records who delivered both "In Awe" ["I hold His Majesty in awe. In awe. In awe"] in 2012 and its more than solid 2013 follow-up, "Be Strong". Neither of those? Well then, even though they just gave us a 'full' Midnite album last year in "Lion Out Of Zion", perhaps the next record would come via Rastafaria or Afrikan Roots Lab. Nope! None of them, instead Midnite goes about the process of likely introducing fans to another new label placing themselves in the healthy rotation of release Midnite music.

Meet Iaahden Sounds. To my (surely incorrect and misguided) knowledge, the Virgin Islands based imprint was one which existed almost exclusively to push music from an artist of the same name -- Iaahden -- and he's had at least a couple of relatively recent albums. But now they're branching out and doing it in a most familiar way. Earlier this year, Iaahden would push a trio of singles from Midnite and, seemingly, begin to set the course to an eventual album as… generally you don't just release a whole heap of music from Vaughn Benjamin and just kind of let it sit. That course, though it began with a flare did not present much in the way of twists and turns and, wonderfully, has already led us to "Stand The Test" which, by my count (which is always wrong, but I'm the only one who does it) album number fifty-one from Vaughn Benjamin and company. You have to give a nice amount of credit and respect to a label such as Iaahden for the moves that they've made. This album figures to have a few more eyes and ears focused on it than it may've had typically as, presumably, "Beauty For Ashes" brought in quite a few new fans to Midnite who may stick around for at least one more album and, in releasing three songs, it was a very nice way to get the attentions of, at least, the more savvy fans who make up one of the most passionate of fan bases this genre has ever seen in my opinion. There have been Midnite albums from labels likely more capable and surely more experienced which have gone IMMEDIATELY forgotten, overlooked and un-promoted altogether and Iaahden have done a very formidable job in ensuring that their release wouldn't be added to that pile. While the fate of its popularity does ultimately remain to be seen, its quality is something we can deal with right now. Can "Stand The Test" stand up to the reputation of its FIFTY predecessors which comprise one of the most decorated catalogues in modern Reggae history? Let's find out. 

Although I had actually taken in the aforementioned three singles released prior to the album, I had absolutely nothing in the way of expectations when it came to this album and, essentially, I was most excited to just actually hear another new Midnite album. What did occur in this case, however, was that the album quickly makes you aware that something different is going on with its sound. You hear all types of different sounds including Hip-Hop, Jazz and other types of sounds which make up, for the most part, the instrumentals of this album. Fortunately, Iaahden Sounds also managed to mix in some Reggae music, which is what you came for (you know you did). Beginning this on Midnite's "Stand The Test" is definitely a tune with a unique sound in the increasingly formidable 'Ina Zion'. This song is one which has well been a process for me over the course of listening to it. I can't say that I hated it from the first time I heard it, but I did not enjoy it and, after a few more intense listenings, it started to bake for me. Now, it is still in the oven although I do hear a far more streamlined version of the somewhat chaotic track that it originally registered as with me. This kind of 'slimming' view of the tune has well allowed me to hear Vaughn Benjamin, at times, dazzle.

"Carnal and carnivorous is the flesh speak of

SOME ARE THE BIRDS OF PREY, SOME - THE DISPOSITION OF A DOVE

SOME ARE INDIFFERENT TO THE PRINCIPLE OF LOVE

Some feel that a in pull, tugging and shove

Which one of these, are you one of them of?

Some say they don't qualify as none of the above

SOME HAD A PIECE OF LEMON IN A SODA NAMED 'CLUB'

SOME DRAW A WEAPON IN A BUILDING NAMED 'CLUB'

AS WELL AS THE POLICEMAN HAVE A WEAPON NAMED 'CLUB'

RASTA HAVE A MEDI INNA GROOVE NAMED DUB!"

BOOM! Things go in a downright HEAVY direction on the next tune in, the pulsing 'Put In'. The music in this case, though probably what you'd refer to as more Hip-Hop aimed (and, as I've said in the past, I've never been the biggest Hip-Hop fan), is candy to my ears and, for his part -- again -- Benjamin weaves a brilliant composition. What I took from this one (as a highly and constantly evolving and evolvable [an actual word] line of thinking) is the concept that life is what you make it and it will give you what you give to it. 

"Waan better muscle tone, some haffi go to the gym.

Waan clean a sinner spirit, haffi go The King"

The way this song is situated is, at times, reminiscent of burners such as 'Sha Tee' from the "Maschaana", which operate in these unrelenting bursts. And rounding out the first quarter of "Stand The Test" is another very unusually vibed selection, 'Survivor'. This one is not a favourite of mine on the album. It can be a very awkward tune to listen to, but I am still working on it and, as there virtually always is in Vaughn Benjamin's output, there is an obvious substance to this tune.  

The next batch (biggup Batch) of tunes on "Stand The Test" actually begins with the first of the afore-alluded to singles, 'Ina Culcha'. This is another song which has settled down just a bit to my ears and I'm now prepared and capable to take it in, in such a way that it has fully heightened for me. At its core, 'Ina Culcha' is a social commentary but Benjamin doesn't make it easy on you (he never does and you don't want him to) (if you did, you wouldn't have bought a Midnite album) as he takes you in so many different directions before arriving at his lyrical destination. This song is one of the best on the album and kind of a microcosm of how, in general, I've experienced a growing joy in listening to Midnite's music. 'Ina Culcha', because of its sound, kind of made genuinely hearing the album's next offering, 'King Ring' somewhat easier. Neither artist nor riddim on this tune seem to care about things such as overwhelming the listener as the chanter has a point to make and has a perfect track to do it on! This one is a praising piece on the surface but just as was the case of its predecessor, it is not an easy song to accept and is going to take a whole heap of work (and I have no problem with that). Because of its title, alone, I was really looking forward to 'Count Your Blessings' and the song still managed to impress. The root here is one about embracing and being happy for what you have and how the STATE of being thankful can improve your life and how its absence and its eschewing can be harmful to you. Sonically speaking, as far as songs throughout "Stand The Test" which may be similar to 'Count Your Blessings' - this one shines. It is easily amongst the very best.  

The title track and main-attraction on "Stand The Test"  brings in the album's second half. Unlike some of the others, this song I really liked from the very first time that I heard it and it made me very curious to hear what else Iaahden and Midnite might be working on. The "test" in this instance appears to be the test of TIME and Vaughn Benjamin applies that test to a  variety of subjects in an even more numerous variety of different ways. Amongst them, incidentally, is music and Benjamin mentions the likes of Marley and Tosh and even Tenor Saw and Barrington Levy. The song really took things a step higher on this album for me, still, I was very happy to say that it is not the single best song that I hear on this album. The fullness of 'Speak Complete' chases the eponymous track and it too is a big winner here.

"100,000 or more dem airlift outta di country

They were searching for a better fee weh inna di currency

But classism and religion take ascendancy

DEM RESPECT NO GENERAL DECREE OF INIVERSAL IMANITY"

'Speak Complete' is RIPE with discussable and broad moments and it is a meal of a song for an over-thinker like myself. Where I am now with it is under the thinking that the song is kind of a moving message of honour and tribute to His Majesty. Benjamin has done songs like this in the past where he presents The Almighty as this STANDARD of living, or of anything, and the notion is to ALWAYS strive to reach the wholly unattainable in living up to that standard. A fantastic song to my ears and one which I'm looking forward to enjoying for years and years. The bulky 'Identify' doesn't quite present the potential kind of all-encompassing listening experience, although it is a pretty good song to my opinion. This a selection about finding where, and with whom, you belong in the world. Benjamin (and you) fully knows where his place is and he constructs this song around that.  

"Stand The Test" reaches its end on the strength of three more very compelling pieces, the last of which is the class of this album in my opinion. First is the grinding 'News Real Life'. The riddim on this song is kind of ponderous and it kind of dominates what you notice here (you're going to have pay some special level of attention to get this song). There are nice things to be noticed being said on the song, and given its title, I was very interested in what Benjamin had come up with. But I didn't particularly like this one. 'Upfull Day', on the other hand, I have grown to enjoy somewhat. The final of the previously released singles, the Jazzy effort is bright, vivid… and still kind of odd. I was LOST several times here and I probably still am, but I think the composition is about how music applies a certain level of colour or dye to certain things in life and how mentioning things in song can help the masses to take notice them and take more of an interest as well. And finally is my absolute favourite song to be found on "Stand The Test", 'Lamb Skin'. In almost every category in which I measure how much I appreciate just about anything, the title track is the best song on this album, but something about the closer just grabbed my senses and emotions and forced me to take a deeper listen. What I found after that was quintessential Vaughn Benjamin and Midnite - finding sense where none seems to exist. Chaining together words and ideas with no links and just speaking from his mind on a tune which comes as much as someone just speaking their mind as it does an actual piece of music.

"All inclined inna heart and mind and soul -

And inna spirit

Haffi live it, if its lyrics, spit it

Straight up from the top wi get it"

This song shows what no one else can do in Reggae music as, unobservant of sound and everything else, Vaughn Benjamin has a point to make and he does it to wrap up the album.  

Overall, while "Stand The Test" isn't amongst the range of the best Midnite albums that I've heard, it still is a relatively decent set and one which, for what it is, offers a whole heap of variation and colour. Because of how diverse the sound is, it may be a fairly nice selection for newer fans. As for older ones… you're going to get it regardless of what I say, but there should be more than enough material here, particularly on the lyrical side which you're likely to enjoy. That is what the album has going for it MOST: I don't know if it will ever be given credit as such but "Stand The Test" well finds Vaughn Benjamin in a fine form with his words (and that's saying a lot) and he really puts forth some fine performances throughout. So, while Midnite and Iaahden Sounds first collaboration may not be gold (although there're a few nuggets to be found here), it is a satisfying set and one which provides a healthy serving of brain food… now what's next?! 

Rated: 3/5

Iaahden Sounds

2014

CD + Digital

Review #523

"I Rise" With Etana!

"I Rise" by Etana [VP Records]

1. 'Selassie Is The Chapel'

2. 'How Long'

3. 'On My Way'

4. 'Stepping Out Of Babylon'

5. 'Jamaica Woman'

7. 'Richest Girl'

8. 'Love Song'

9. 'By Your Side'

10. 'Passing Thru'

11. 'Trigger'

12. 'Stenna's Song'

13. 'Emancipation'

14. 'Jam Credits'

Apparently October 2014 is turning out to be the month for women in Reggae music as joining Alaine, who is set to deliver her favourite card with "Ten Of Hearts" is superstar Etana with her fourth studio album, "I Rise". While, obviously, this one is still very early in its development (being two and a half months away) (at least), now is still a very good time to start getting excited as her three previous albums included a nearly perfect piece in "Free Expressions" (which was still good enough to be the best album I heard that year) and a pair of likely classics in "The Strong One" and most recently "Better Tomorrow". I'm not at all expecting anything different here and Etana's pedigree and class virtually guarantees that this one will be on the same level as well. 

Rise with Etana when her latest album, "I Rise", reaches stores on October 28 from VP Records.

{Note: This cover is phenomenal}

Coming Soon #84: Un-Ordinary Love!

"Ten Of Hearts" by Alaine [1Thirty1 Records]

First up this week is some truly fantastic news as, though still a little bit off, set to bring forth her very first album from… her last album is the always delightful (and sitting Achis Reggae Female AOTY) Alaine, with "Ten Of Hearts". Unless I am horribly forgetting something, this set is to become her very first following the split with long-time former producer, Don Corleon (which happened, by my estimation, eighty-eight years ago). Since then, unsurprisingly, Alaine has continued to perform her master blend of modern Lover's Rock and Reggae and has made some tremendous music. An album seemed to be the likely course (which is why she charted at #6 on our most recent 'Most Wanted' list) (which was a good list as three of the ten have already delivered albums with Alaine forthcoming and another from Pressure) and here it is! "Ten Of Hearts" comes courtesy of the singer's own 1Thirty1 Records imprint and even, though we've yet to see a full track-list, even if they just combine some of her most recent singles, what you have here is guaranteed to be one of the most BEAUTIFUL Reggae albums in recent times. 

Releases on October 7

CD + Digital

'Me, My Guns & I' by Mad Cobra [Brixton Music Group]

Stylistically, up next would be the complete iconoclast to Alaine: The maniacal Mad Cobra who, in one way or another, stars in four of the entries on this post (unless Bredz adds something else). First up is another of the demented singles he has been the star of recently, the ridiculous 'Me, My Guns & I'. The song, as everything does these days, comes via the Cobra's own Brixton Music Group and is yet another slightly terrifying display of the snakes most VICIOUS of talents (I won't spoil it, but the DJ says one thing in particular which just… just seems very, very WRONG!) - now we just want that album! 

Releases on August 26

Digital

The Brixton Rock Riddim [Brixton Music Group]

Should you find yourself immensely impressed with the track backing the aforementioned 'Me, My Guns & I' tune from Mad Cobra - check it out. Brixton Music Group is also delivering the full set of the Brixton Rock Riddim which features the Cobra's slaughtering tune which reigns supreme here, as well as contributions from Rico Tayla, an x-rated G-Loc, Nuklear (whose 'Straight' is pretty good and sounds like something which would come from Bad Greg Hines) (biggup Greg Hines) as well as Dancehall veteran, Frisco Kid. BMG also gives a clean version of the riddim which is always a nice touch.

Releases on August 19

Digital

The Brixton Swerve Riddim [Brixton Music Group]

I am 100% sure that there is absolutely no way that you can guess who made the Brixton Swerve Riddim! You have no chance! Now that you've exhausted your guesses, I will tell you that, shockingly the track also comes from the Brixton Music Group. Just as shocking is the fact that it carries 'Closet', which is the biggest tune here from a very young and up and coming DJ by the name of Mad Cobra, or whatever his name is. Nuklear also makes an appearance with 'Red Hot Gyal' as does Raine Seville on 'Always Broke'. Certainly not a better project, but probably a better composition than the one before it. You can compare them, BMG also gives an instrumental here. 

Releases on August 19

Digital

The Love & Emotion Riddim [Brixton Music Group]

You'll also find a version of the sweet Love & Emotion Riddim on its track list. What you won't find, however, to the surprise of no one, is a track from Mad Cobra. In the absence of the snake is another representative of Brixton Music Group, Ratigan, who is 'Looking Through My Window'. You also get a pair of big selections from Konshens and Chuck Fenda  and even better (although Fenda's 'God Answer Prayer' is exceptional) pieces from the despicably underrated Mega Banton and the burgeoning Iba Mahr who takes top honours here (coincidentally) with 'Most High'. Qraig also does well with the riddim's obligatory song for Mama, 'Mother's Love' [Hey Mama. Hi Mama].

Releases on August 26

Digital

"Great Is HIM" EP by Iba Mahr [Tad's Records]

And the BMG isn't the only label taking a special interest in the special gifts of Iba Mahr. As they tend to do, the inescapable Tad's Records is also in his line and this time they're delivering a solid EP from the chanter, "Great Is HIM". The nine tracks here don't really break any new ground and if you've been listening to Mahr through the years, you're unlikely to hear anything that you have yet to hear, but still I definitely appreciate the idea and, of course, some of these songs, especially the opener, 'Let Jah Lead The Way' (biggup Norris Man), are outstanding.

Releases on August 19

Digital

'Real Soldier [I Want Jah]' by Bugle [21st Hapilos Productions/Adde Instrumentals Productions]

Still very fresh from his wicked debut release from earlier this year, "Anointed" (which I should really think about doing a 'Rewind' for at some point), Bugle continues his damn impressive recent tear with what has to be regarded as one of his best tunes from this year and one which would have fit firmly near the tops of the album, 'Real Soldier [I Want Jah]'. This tune is GOLDEN! Coming from Adde Instrumentals, 'Real Soldier' is a shot of inspiration as Bugle walks firmly away from more material and short-range things in favour of the love of The Almighty.

Releases on September 2

Digital

'Money Target' by Romain Virgo [21st Hapilos [Productions/Adde Instrumentals Productions]

Adde Instrumentals continues to keep big company, and in a similar way, with Romain Virgo who travels a similar path to the aforementioned Bugle with his tune for the label, 'Money Target'. Again, what we find here is Virgo eschewing the more material things in life in the name of… common sense and things which do not, inherently, bring hassles and headaches. It's always refreshing to hear Virgo go about things because he can make a song like this which doesn't, for the most part, take a spiritual turn. It is wholly tangible and applicable and relatable and always a very nice change of pace.

Releases on September 2

Digital

The Samba Riddim [Ancient Records]

And because this one is actually pretty good (Bredz I'm not doing the other one. It is awful and you know it!], next up is the Samba Riddim from Ancient Records. I do not love this one as a riddim album. To my opinion, it only has a pair of truly good songs on it. They just so happen to be the bookends on the album which is a very good idea. Shokryme, who has managed to consistently impress in my opinion, destroys whatever remains of the Samba with his dominant 'Parasite', which is a lyrical masterpiece. Before that, however, Aidonia absolutely lays the riddim to ruins with its biggest selection 'Coco Powa'. Though I'm not the fan that I used to be, this song has to be one of the best Aidonia songs I've heard in a long time. The riddim, itself, is also very nice with a high-powered pulse which, predictably, makes for a fitting background to the works of Aidonia and company.

Releases on September 2

Digital

'Bomb Drop' by Patrice Roberts [Fox Fuse]

And lastly (this was VERY easy to write!) biggup Soca princess and Achis Reggae favourite, Patrice Roberts, Studio B and the world's most active label, Fox Fuse, who collectively the LOVELY and infectious 'Bomb Drop'. Roberts' brand of music has found a home and stuck in my brain and, these days, I enjoy almost everything she does including this somewhat overlooked gem from last season. The tune is yet another reason why this woman needs to hurry and make her way to a loooooooooong overdue third album. 

Releases on August 18

Digital

'The Changeup': A review of "Sweet Reggae" by Delly Ranx

Textured. Diversity, specifically in Reggae music, can be a very difficult thing to deal with from the standpoint of being a fan. On one end of the spectrum is the ever-existing 'allure' of attracting the all important mainstream attention which can make for some downright disastrous results. We've seen full albums over the years from some of the absolute biggest names in the genre turn into regrettable wrecks made only to draw the eyes and ears of those typically not pointed in this direction. If you're being nice, more hardened fans of the genre refer to… mess like that as "diverse" as an artist adds in styles to his or her sound which is more familiar to the presumed newer audiences. On the other hand, however, variety can definitely be a good thing. The major example in my mind here is surely the still not very distant "Black Gold" album from Toussaint which, for once, was an entire project which worked in the opposite route of Reggae going mainstream. In that case, in terms of styles at least, it kind of came to us (and there're few but fantastic other examples of that such as, of course, Funky Comfort, Sara Lugo). On more typical terrain there's also ways of not leaving the genre and still offering a diverse sound. If you follow the career of Busy Signal, for example, you know that well and it's almost astounding now to look back at the once straight-forward (but always ULTRA talented) hardcore DJ who is now as wholly unpredictable on any given track as anyone in the entire history of Dancehall music, in my opinion. Further still, while Roots Reggae music isn't always exactly the most of colourful genres, it certainly can be when placed in the proper hands. But even apart from the hyper activity of the Sizzlas (where the prospects of having a single and constant sound just kind of disappears) and others of the world, I also hear a healthy variance when listening to people such as Ziggi Recado in what he is capable of doing, Tiwony, of course the likes of Turbulence and Norris Man and others still who not only have their own respective styles, but are also able to make both minor and major changes to their sound without leaving it completely (and I, purposefully, decided to not include the most obvious example in this case, which is called Perfect Giddimani). All of those, when in a good form, are not of the awkward type which almost always appears when courses are set towards a bigger stage but can be very nice colourful blips in the music which have thrilled fans throughout the years.  

"The Next Chapter" [2012]

As far as purely dealing with albums presenting a more assorted sound can be met with just as unpredictable results. As I alluded to we can always look back at records like "Dutty Rock", "Uncommonly Smooth" and probably a dozen or so others which virtually replaced passion with a musical tribute to new listeners (you have to earn tributes!). And we can find similar things with albums which, at least seemingly, didn't have similar goals from the likes of Lutan Fyah, Lady Saw and others still. However, with that being said all of those sets are not something below average - sometimes they do turn out at least decent. FOR EXAMPLE, you may want to check out an album called "Sweet Reggae", the new album from Reggae and Dancehall veteran Delly Ranx which, surprisingly, serves up a very interesting and colourful sound and is at least several steps ahead of being rubbish.  

When speaking of changing things up, Delly Ranx is a very interesting individual. Although it may not be something for which his most immediately known, Ranx has had a career which has seen him able to do so many things in and around Reggae music. From being a vocalist, to being arguably (slightly arguably, not really) one of the top producers in the game (we're always looking forward to the work from his Pure Music imprint and from even before that as well in working alongside the likes of Stephen McGregor and others) and his sound has followed suit. Most recently was the nearly spectacular "The Next Chapter" from just a couple of years back which, at least to my opinion, was his finest album to date and now he's, relatively quickly, following that set with "Sweet Reggae". Where "The Next Chapter" was a self-produced venture, "Sweet Reggae" comes via VIS Records and is the first such project from Delly Ranx from 2009's "Good Profile" which came through Itation Records (biggup Itation Records). VIS Records certainly shouldn't be completely new to fans as they've been around from quite awhile now and along with names such as the late and great Gregory Isaacs, Luciano and, of course, Kali Blaxx, Delly Ranx has been one of the most consistent staples voicing for the label and, even before the album, it seems like a good idea for artist and label to link in such a full capacity. I should also mention that the early word around this one has been very high and, regardless of how strong the album turned out to be, I always like when an album is well-promoted and thus far "Sweet Reggae" has definitely received a nice bit of hype. HOWEVER, it's even sweeter when the masses react to and receive an album which is ultimately pretty good and I did have relatively high hopes for this one. Not only did the principles here link well and whatever this next album was going to be, it was going to be following Delly's best, as I mentioned, but what I initially heard from this set also sounded very good and it made me damn curious to hear what was to come… but what was to come???

A pretty solid and diverse vibe. Despite the album's title which would definitely lead you to expect a certain type of sound, as I said, "Sweet Reggae" quickly shows itself to be a project which is multi-faceted and multi-dimensional. Things do start off very familiar, however, in the form of the eponymous effort. Coming from Delly, this tune is pretty much exactly what you'd expect it to be as far as the sound. In regards to its quality, it is sublime and clearly one of the best songs to be found on the album named after it. Tapping VIS Records' and More Life Productions' recent Herb Family Riddim, 'Sweet Reggae' is sublime and, for what it is, downright intoxicating. The album's second offering, 'Juggle Me A Juggle' is another one which might be familiar to your ears as it was featured on the also recent (and SWEET) Protector Riddim. This tune is basically about making it through life doing what you need to do. It has the same kind of 'dustily infectious' quality as the opener which well made it a highlight here for me (I can generally say the same thing any track from Delly Ranx that I really enjoy. Despite his level of experience, his is a rough and unrefined quality at its best which, for him at least, is a good thing). 

"Hustle mi ah hustle fi go help somebody

Never born lucky like Sean Paul and Shaggy"

Rounding out the opening salvo (I always did like that word) of tunes on "Sweet Reggae" are what are, essentially, two R&B songs, 'My Everything' and 'Cyber Love', respectively. Both of these tunes are love songs and while I will not say that either are a favourite of mine, they are nice pieces to listen to. They're catchy and certainly not BAD songs in any way. On the other end of that, however, would be a similarly vibed tune which comes later on in the album (not really) called 'Mr. Right' which is SWEET and damn strong to my opinion with its less polished and more rough around the edges charm (more on that later) - a JOY to listen to. 

As is the case with the entirety of its ranks, the absolute class of "Sweet Reggae" is full of different and very interesting sounds, although not of the painfully radical (biggup Sizzla) type in my opinion. Along with the two opening selections, there are four other songs on this album which really set the pace for me. One of them is definitely the delightful 'Worldwide Love' which is another song recognizable to my eyes and ears as it utilized the solid Penthouse Riddim from Jugglerz Records. This tune is candy for your ears and your brain behind it and along with just making you feel good -- and there is always room for that -- it does carry this kind of love blanket and love net which Delly hopes to cast as far as he possibly can. 

"One love like Robert Nesta

A peace and love, Delly Ranx h quest for

Just to mek dem know seh you no deh yah fi gesture

SPREAD DI LOVE ACROSS DI WORLD LIKE WHEN A SORE AH FESTER

If a love di waan, mi a di best investor

Afrika a di land of my ancestor

Inna England, Europe, Japan and China

SHOW FULL LOVE, DON'T BE A PART-TIMER

Come mek wi give a little love!

Spread a little love!

Share a little worldwide love!

So wave yuh hand dem inna di air

And mek di little love share -

Cause wi don't have to live like thugs

Come mek wi give a little love!

Spread a little love!

Share a little worldwide love!

Alright, Black and White - let us all unite

And done with the pushing and shove

Love and hate can't be friends, so mek wi start show di peace

Sail di Trinity, no tek di mark of di beast

A love mi ah share -

Everybody can see it

NORTH, SOUTH AND WEST, MEK WI LINK UP A EAST

And mek di love together like leaf pon trees

Let di love flow, no bodda see it and freeze

Take di love pon di plane, share it overseas

Listen to di youth from di West Indies!"

This song is just a BRIGHT one and a substantial addition to the album which is just sagacious planning by VIS and Delly Ranx in my opinion. Also reaching those lofty levels to my ear would be the story of  'One More Dead'. This is a very interesting tune about there actually being some semblance of 'honour amongst thieves' in the sense of doing certain things but not going too far and how people tend to not be so friendly when you… take their stuff! I took the song, eventually, as a composition surrounding the idea of not even beginning with a negative way of life because you never know when you cross a line and whose line it is. I also rate highly what may be the oldest tune on the whole of "Sweet Reggae", the HUGE 'Doing Jah Works'. This song actually dates back five or six years now as it appeared on the Zion Way Riddim from VIS (which was apparently renamed and re-released as the Right Time Riddim a few years on) and is probably even stronger these days than it was originally. This is just a powerful message to me. Even if you take the spiritual aspect from it, it is about not even paying attention to negativity and negative actions on your way to where you want to be in life. It applies on scales large and small and makes from a mighty lyrical display from Delly Ranx. Still, I have to say that my single most favourite moment on "Sweet Reggae" is a track on which Delly takes more of an aggressive stance at negativity rather than just disregarding it, 'Nuh Test We'.

"Dem nah go escape when Babylon ah crumble

Dem coulda badda than di Don inna di jungle

A more fyah dem ah get inna bungle

All when di General ah strike mi neva move fumble

CAAN RUN TO DI ROCK BECAUSE DI ROCK AHGO RUN

Your money caan save you di shot and di gun

You fi know seh di general caan get outdone

Diss mi and you'll see di outcome

TELL DEM NO TEST WE!

If dem waan fi see another day

NO TEST WE!

Cah wi have di ting dem fi spray

NO TEST WE!

Cah wi no ramp nor play and if you disturb di peace, then you haffi run away

NO TEST WE!

Rude boy no tek no talk

NO TEST WE!

Wi no trust shadow inna dark

NO TEST WE!

Cah man a gangsta, man a no dog

No fraid fi mek di dog dem bark"

This track comes through on the Magnet Tempo Riddim from last year or 2012 and I don't remember it sounding like this! It is a GEM of an effort to my ears and is another song which uses greatly Delly's rugged approach. A song like this only works if you have a more organic type of free-flowing vibes to it and that is EXACTLY what happens here as, at least for a moment, when the DJ encounters badness he doesn't run away from it, he runs over it with the single finest lyrical display on this album.

Not too far behind those heights at all would be the best remaining song on the album, 'Best Friend Gone'. Obviously I am not qualified to speak on the origins of this song, but it would appear to be a very personal one for the artist and to whomever it is directed, it is a stirring tribute. There're also two very solid more modern Dancehall tracks in 'Real Gyalis' and 'Silly Billy'. The self produced former (not too dissimilar from 'One More Dead', but in a much different way), kind of outlines that there exist certain lines which you just cannot cross, no matter with what and with whom you deal ["Any man weh look him friend gyal fi lose him dental"]. 'Silly Billy' is a song which I do not love at all but the Good Book Riddim which underpins it, and comes via H20, is probably one of the best Dancehall riddims that I've heard in 2014. And lastly, the album comes to its conclusion with a pair of songs you might not imagine would be present on an album called "Sweet Reggae", 'Every Gyal Vibrate' which features Vershon and 'Nasty Gyal'. 'Every Gyal Vibrate' is not a song that I like at all… and I'll leave that there. Yet, while 'Nasty Gyal' doesn't even approach the best material on this album, it is a fun song from a lyrical standpoint where Delly shows a whole heap of flexibility and variety to end things. 

Delly Ranx

Overall, while I cannot place "Sweet Reggae" in the class of its most immediate predecessor, I can say that it is a very solid release from the veteran, Delly Ranx. I'm most tempted to recommend it to newer fans of the artist and the genre because it definitely is easy to listen to and easy to take in fully. This isn't the type of an album which I would expect to grow and grow (as a whole, certain songs, definitely), it is something that you listen to and, relatively immediately, can make up your mind in regards to. Personally, it highlighted something that I alluded to - Delly Ranx' very compelling style. He's been around for a LONG time and what you hear now from his history is a DELIGHTFUL old school Dancehall base and it dazzles and thrills on portions of "Sweet Reggae". For me, that was worth the price (that Bredz paid) (biggup Bredz) and I'm confident that, for a certain type of listener, it will be as well. A very fun and colourful release from Delly Ranx and VIS Records.

Rated: 3.75/5

VIS Records

2014

Digital

Review #522