He's Still There: A review of Nah Give Up by Anthony Que

Who doesn't love surprises? 'Me!' may be an appropriate answer given the circumstances or if the word 'surprises' is preceded by 'bad', then I guess 'everyone' would be even better. However, when it comes to shocks and spontaneity of the positive and 'good' variety, count me in. If you are fortunate and you live a good life, by its end you will have experienced many wonderfully surprising moments. Be it a proposal, receiving or (even better) giving a gift, witnessing some amazing occurrence or an endless list of other WONDERFUL things we may encounter in life, surprises can be things which you truly never forget. When it comes to music, perhaps we don't tend to look at things in that way (because a big tune is a big tune and when you hear it, at least not initially, you're usually not wondering how it came to be), but the same can definitely be true. To no type of frequency does it happen, but when it does, it sticks with you. I don't have to go very far for examples of this, in fact, I can use these very pages for research. Right off the top of my head two GREAT shockers come to mind. In back-to-back years, 2009 and 2010, we would designate our selection for album of each year to be from relative unknowns, Lion D and Naptali with "The Burning Melody" (still a fantastic title for an album) and "Long Journey", respectively. In the case of Lion D, I don't think I'd heard of him AT ALL prior to that album and, for Naptali, I may've come across a tune or two prior to "Long Journey", but it was nothing to suggest THAT was forthcoming. Both were debuts, I chose both over some spectacular competition (Naptali, specifically, was my favourite in 2010 over a pair, "Feel Your Presence" by Niyorah and Chezidek's "Judgement Time", both of which I've since deemed Modern Classics) and they remain two of the best albums I have heard from anyone. Similarly, we can go back now nearly a quarter of a century to a point when, one album deep into his career, a up and comer by the name of Miguel Collins would cement his arrival (and legacy at the exact same time) with his second and third, "Black Woman & Child" and "Praise Ye Jah", one of which is THE best album I have ever heard and the other is not very far at away at all. In those cases, curiously, we're dealing with situations where the surprise was that this unknown/up and coming artist demonstrated themselves to be capable of more than what we expected, but we did not know what we had, precisely. Today, on the other hand, we get to deal with an individual who at least I thought had played every card in his hand; but nine years ago during on seventy-six day tear, he showed me how wrong I was.

I'd known who Anthony Que was prior to 2012 and his name was exactly that. He was a name. By that point he may have already had four or five albums to his credit and he was, I THOUGHT, a 'known commodity' (and those albums weren't bad, far from it, but they were of a certain quality-level which suggested that... that was what you were going to get from him). I thought I knew who Anthony B was musically and there wasn't a song (not a single one) that I would closely associate with him. He was just a guy. The main attraction to him would have been that he sounded quite a bit like the legendary Beres Hammond (who he looked up to and actually recorded with if I recall correctly), while focusing largely on conscious Roots styled music. Where I was trying to figure out WHO Lion D and Naptali were and HOW talented Sizzla might've been, already around fifteen years deep into his career, I thought those questions had been answered for Anthony Que.

Anthony Que 2012

Again, I was horribly mistaken. In the early summer of 2012 a French label by the name of 149 Records (apparently still around, at least up until last year), in association with Babyclone Band (apparently looooong gone), would begin to show me the error of my ways by releasing simply one of my favourite albums ever, "Meditation Time". I probably should get around to writing it up as a Modern Classic feature, itself, because "Meditation Time' was HALTING. It was (and remains) the type of a release you hear from someone that makes you reconsider everything they'd done up until that point - essentially asking yourself, 'did I miss something?' and 'has it always been THIS good'? Nearly a decade on and I still can sing songs like 'Ease Up The Pressure' ["...on the poor. We can't take it nor more"], ["Meditation Time. This is...."] 'Meditation Time' [!], 'Hold On' alongside Queen Omega and 'Come Come' ["Beautiful Empress. Come give me all your love"] instantly without much thought. It is a personal classic for me and he wasn't finished that year. Just one day shy of seven weeks later, Anthony Que took his talents south and linked up with Reggaeland from out of Barcelona (hala Madrid) and produced another WINNER, "No Fear No Man". That album brought big tunes such as the unforgettable title track ["I DON'T FEAR NO MANNNNNNN! CAUSE I'VE BEEN GIVING JAH THE PRAISES ALL MY LIFE!"] (BOOOOOOOOM!), 'Holy Ground', 'Calm the Beast', 'Blowing in The Wind'.... I could go on and on. If you haven't figured it out by now: In my opinion, Anthony Que had a fantastic year in 2012. It not only scintillated that year, but it also marked him as someone who, going forward, I made a point of checking in on from time to time. From then, Que would resurface in early 2018 with an EP called "Resurface" for Ricko Berry and, later that year, came "Runaway Slave", which was a full album for Lloyd Mullings. That old school vibed set was very good and probably worthy of a vault review at some point and did absolutely nothing to dampen my newfound opinions concerning the ability of Anthony Que (there was also "Junction Series: Anthony Que Meets Bunny Lye Lye" in 2017 which was decent and did have at least one large moment in 'Rise Like  a Lion'). Three short years later and the singer is at it again, this time with a very familiar base. "Nah Give Up" comes via the esteemed Stingray Records from out of London. A lot of Anthony Que's work has been with European labels and producers and, with what they've managed to do, you'll find nary a label in Europe or anyone else with the commitment to quality as the McLeod family ran Stingray. A glance at THEIR WEBSITE prominently displays their motto as "Producers of good Reggae music without profanity" and they have well earned their reputation and stature in the music (here would be where I would run off a list of the artists that they've worked with throughout the years, but instead of doing that, I'll just tell you that they've worked with everyone. Literally, EVERYONE) (oh, and maybe I should try to watch my dam.... my mouth in this review as well). I had no idea that this set was forthcoming actually, but even on paper the idea of Anthony Que & Stingray is very exciting. The question, of course, is whether or not it really works out in the end.

That's not really a question. You already know the answer; of course it does. Going back now and listening to both "Meditation Time" and "No Fear No Man", I hear a trait which I don't know if I've ever mentioned in a review (I also hear it on an earlier album by the name of "Recharge & Reload", which reached way back in 2005). I hear CONFIDENCE. I hear someone who is at peace and in favour of what they're singing about and has a certain level of assurance in their ability to convey it. It isn't Dancehall or Soca bragging -- it is a humble confidence -- it's just a very nice 'spirit' which is present and gives the music a compelling tone (prime examples are 'No Fear No Man', the song, and 'Hold On' from "Meditation Time"). Fittingly, Anthony Que also appears to be very solid and sure of himself as he strides into his brand new album from Stingray Records, "Nah Give Up", with the fully sterling 'Visions of Light'.

"I get the wisdom of life from being humble

I know the Higher Powers will keep me strong

Cause I'm a messenger from Jah, come to spread the message through music

Until my very last breath, I'll be doing Jah works"

That very first line, "I get the wisdom of life from being humble", thoroughly encapsulated what I meant in regards to Que's confidence. It isn't an arrogance; it's a COMFORT. That is the prevailing message behind this outstanding opener as well - taking comfort and finding a safe place with His Majesty. The song also has this delightful classic sound to it and quickly shows itself to be amongst the very best "Nah Give Up" has to offer. Even stronger, however, may be (it is) its second selection, 'Trample Vampire'. Here, we find the singer building upon the vibes set by 'Visions of Light' and taking things in a slightly more aggressive step (and you won't hear anything... like violent, but there is a greater 'push ahead' on 'Trample Vampire' to my ears). On top of that (or behind it, actually), this tune is EXCELLENT to listen to. That riddim is so fu.... so SWEET to listen to and I'm sitting here wondering if Stingray may've done even more work on it. Furthermore, take a listen to the latter portions of this one as it is easily amongst the most thrilling sections on the whole of this release. Next we have the first of a few love songs and the album's sole combination, 'Baby I'm a Want You', which features Anthony Que alongside BEAUTIFUL voiced Chardel Rhoden from of England. Rhoden has become a Stingray staple over the past few years: In 2018 she released "Natural Woman", a seven track EP on the label and, just last year, artist & label combined to follow the EP with a full release called "Born Again" (which featured a golden Reggae-fied redo of Aretha Franklin's classic 'Natural Woman'). Rhoden is primarily a Lover's Rock so, 'Baby I'm a Want You' is right near her specialty. She shines on this one with that voice! If angels do actually exist and they sing, if they're lucky, they probably sound a lot like Chardel Rhoden. After 'Baby I'm a Want You', we run into one of the COOLEST (and probably my second favourite) songs on "Nah Give Up", 'More to Come'. I've heard similar songs to this one and I think I usually go to the term 'ode to music', which is basically what it is but, again, this one is a VERY confident and bold one.

"Cause when you think that we're over and done

We still got more to come

The musical maestros, we are still around

More boom songs still left to come

So when they think, Stingray over and done

We stil got more left to come

The musical maestros, yes, we're still around

More boom songs still left to come"

Unlike any other form of entertainment than I can think of, music is something that doesn't really lose anything. If you watch your favourite movie, for example, over and over again, you'll probably get tired of it somewhere during just the second watch. Sports, inherently, lose their drama on the very first replay (because you already know who won and lost), but you can listen to the SAME DAM.... THE SAME SONG OVER AND OVER AGAIN for a few hours and still love it so while I don't know the impetus behind 'More to Come', I'm very happy it was written. What it does do is to give a bit more credit to producers and others behind the scenes who make this wonderful music possible. I'm thinking it may've been something of a vibe and a tune which arrived in a more organic type of way. Whatever happened here, 'More to Come' is excellent. Along with 'Baby I'm a Want You', "Nah Give Up" offers a few other at least decent love songs as well. The best of them all (technically) (more on that in a minute) is likely 'Truly Bowled Over'. Up until the time I heard it, I was really wondering what this song was really about. It is a basically about a feeling you're lucky to have once or twice in your life. It's being COMPLETELY and UTTERLY impressed by and enamoured with. It's a halting type of love and it doesn't come through on this one in some desperate or creepy infatuation type of display. Instead, as you would expect, Que is mature about it, all the while acknowledging that, YEP, he's stuck on someone in particular. On 'So Lonely', the artist isn't quite to the point of 'Truly Bowled Over', but he's working on getting himself there ["I've got so much dreams for you, you may think I'm Martin Luther"] while wondering if (even more importantly, perhaps), where exactly her head is as well. It's about that point in a relationship when things have clearly gone into a higher gear but you're STILL trying to figure out where your head is and where theirs is as well. And for the times when things go bad and stay bad, there's a piece like 'Girlfriend'.

"I need a new girlfriend to brighten up my life

I need new girlfriend to make me feel alright

I need new girlfriend to spicen up my life

I need new girlfriend to brighten up my night

After being together for nine long years

We've been through blood, sweat and tears

Now I think it's time for you to leave

Cause I'm a big man and I can't take your grief

Though after so long, we've been wasting time

So won't you pack up and leave, but don't touch my child"

Sometimes shi... stuff goes sour and, because of that, there will always be places for songs like this one. In full, I just want to say that between, 'Truly Bowled Over', 'So Lonely' and 'Girlfriend' (and definitely 'Baby I'm a Want You' is included in this), what you have is just SOLID Lover's Rock and four REALLY nice songs to listen to and that's what you hope for. They aren't the main attraction on "Nah Give Up", but they do well help things go along and stay at a certain level of quality to my opinion. There is another one which isn't truly a love song, but it fits within that scope and it is amongst the centerpieces here, 'Run to Me'. This one is unique because you don't come across many like it in Reggae music. 'Run to Me' is an anti-domestic violence song and the subject that Anthony Que isn't speaking to a love-interest really (and it doesn't even matter if she is), but more like an old family friend. It's such an fascinating point-of-view to take on the topic because it doesn't present this kind of 'leave him for me' type of dynamic that you'll hear on standard 'love songs'. Que doesn't really get anything out of her leaving that piece of garbage she's with; but it becomes a matter of him just being concerned for someone, in general, and wanting to see the best for her. An IMMACULATELY conceived song and one which reaches near the heights of this album or any of Que's is 'Run to Me'. 

The delightful 'Jah Love Is Real' finds Anthony Que singing of a love of a different kind. What a  nice song! <That is exactly what went through my mind from the very first time I heard this one, a quality which has not waned at all a dozen or so spins later.

"I rise in the morning greeted by the morning dew

Jah poured down his blessing and the sun came shining through

And whoa, what a glorious feeling! -

In seeking HIS spiritual healing 

And I see all the things HE created for me and You

Jah love is real

Jah love is so real

That's just the way true love should be

I give thanks for health and strength, oh Lord, to go through

That's why I count my blessings

WHERE WOULD I BE WITHOUT YOU?

I'll never forget where I'm coming from

You've always been there to keep me strong

Yes, through you Jah, I'll sing a joyful song"

TEARS! You look at a title like 'Jah Love Is Real' and you think it something cursory or cliched if you want [!], it will be your mistake and you will be punished for the oversight. This song is a golden turn and it directly leads us into another, 'Fight Fight'. Where the track just before it speaks of the splendour of receiving The Almighty, 'Fight Fight' goes into what happens when you do not.  It can lead to violence on a massive scale ["All they do is just drop their bombs on other nations"] and just terrible discontent ["It seems the people know Jah, they don't care bout creation"] in general. Que paints this picture, but it isn't one which is a depressing one. There is a underlying BEAUTY on this one and I don't just mean the riddim (.... which is lovely. The unifying 'Children of Africa' also ranks very highly on "Nah Give Up". What I eventually took from this one was the notion of just how much power and influence Africans and people of African descent could have if we all (or just even a lot of us) came together ["Don't forget where you're coming from. I need my people to be strong. REMEMBER YOU ARE NO BLACK MAN, YOU ARE A NUBIAN"] ["Tell dem be proud of dem darkness. THROUGH MELANIN, BE PROUD THAT YOU'VE GOT THIS. All inna di snow, all di boiling sun shine, you will find the Nubians every time"]. It's a tune virtually completely on the positive side of things and, as he says, Que sees an immense opportunity of growth should we reach some type of significant unity. It is my opinion that 'Nah Give Up' is the single greatest moment on the album named for it and, virtually as soon as I'd heard even a bit of it, I became (and remained) of that opinion.

"It rough, it tough, it dread down yah

But wi nah give up

Wi caan give up

And life get harder everyday round yah

Everyday dem pressure wi more and more

But wi nah give up

Wi caan give up

And life gets rougher everyday down yah

But wi nah give up

Wi caan give up"

The album's title track is a social commentary with a considerable STING to it (it leaves a mark and if you don't care for it properly, you may get an infection!) Along with the general vibes of it, 'Nah Give Up' impresses lyrically and it shines in its direction. While not being some 'game-changing' or revolutionizing type of drop, it is FANTASTIC and I wasn't shocked at all that someone decided to make it the album's title. Should it get it a push of some sorts, I think Que and Stingray may have a hit on their hands; because it is THAT strong. The somewhat similarly vibed 'Armageddon War' sends us home. On 'Nah Give Up', Que outlined precisely what the problem was and the effect that it was having on the world, 'Armageddon Time', on the other hand, finds him preparing for the battle to make things change. Between the both of them, 'Armageddon War' and the title track, you have what represents some of the finest output of Anthony Que's entire career and while Stingray's catalogue runs quite deep these days, I wouldn't be surprised if you could say the same for the label as well.

Overall, if I lean back on Anthony Que's wondrous 2012 campaign for the sake of comparison here, "Nah Give Up" fits COMPLETELY in there as far as its quality level. This album, unsurprisingly given its composers in Stingray, does have more of an old school sound to it than either "Nah Fear No Man" or "Meditation Time" (which is good, actually) and maybe features more in the way of Lover's Rock (the UK looooooooves Lover's Rock, always have, always will) (when Beres Hammond retires he could move there full-time and live like a king) (he could probably live like a king anywhere) but the qualities are to the point where I think it's safe to say that THIS is what I'll just be expecting from Anthony Que from now on. I'm convinced! He's an artist who makes really good albums. He just is and whatever he does in the future, I'll be interested in hearing. "Nah Give Up" shows that the revelation of 2012, while still a glorious surprise, may have actually been more of an indication of a talent which was already very well rooted.

Rated: 4.4/5

Stingray Records

Digital

2021

The Vault Reviews: Conquering Lion by Bushman

Glimpses. I suppose you could say the same thing about listening to music, watching movies or even sports - that we, as fans, are all basically waiting for one thing. What we want is to hear that spectacular song or album, see that amazing scene or see that special play in the game which will stay with us forever. Of course that doesn't mean that what happens up until and/or after those moments is without value (on the whole, it may be even more important) (there is an extreme worth in consistency) but, whether or not you realize it, you're waiting for something to absolutely KNOCK you. This is even more accurate when dealing with someone or something who/which has demonstrated themselves capable of providing you with such excitement. Music has a way of 'dealing' with these situations on any level as well; as the term 'one-hit wonder' is most often associated with it. If you can get me there but you can never quite take me back (....or anywhere near there that matter), there's already a very populated designation waiting for you. If you really think about it, chances are decent that some of your favourite artists are the ones who have given you more of those giant moments than almost anyone else. And I also think we tend to gravitate towards younger up and comers because not only do we generally enjoy what we hear coming from them, but we think that they will go on to prove themselves to be at least somewhat consistently amazing down the line. But (and this is especially true in a genre such as Reggae where singles come through on a seemingly never-ending basis and an album is not always somewhere on the horizon) there're also these incredibly long timespans where there hasn't been something that puts you in awe from a particular individual and, though it may be tough (and it often is), you stick with them and you 'know' (HOPE, not "know") that they will be great again. I'm a Sizzla fan and, to my opinion, his highs are higher than anyone else's. At his absolute best, that man is without peer. It helps that I've been listening to his music for so long with such great attention to detail because I've heard so much output from him that has been somewhere on the range of 'experimental' at best because I'm still convinced that "Black Woman & Child" is coming through that door again - even if it never does (IT WILL!).

 And it doesn't only apply to your own 'highests'. There're certain artists who've shown themselves to be ultra consistent and they may never register as something higher than that for you, respectively. Others still, however, have attained a very healthy body of work in terms of being quite reliable for the most part, but they have DEFINITELY exhibited themselves, under the right conditions, to be SO MUCH more than just 'reliable'. Today we're taking a look at someone who is exactly that for me and has been for years, the seemingly indomitable Bushman. I think that, by now, the longtime veteran singer from out of St. Thomas has gotten his respect. While not amongst the very biggest names in Roots Reggae, he has enjoyed now well over two decades of a certain status and has received it based on his work. He's been all over the world, probably several times, and is DEFINITELY revered by fans of the genre. And even if you aren't a Bushman fan, you know his name and you know what his music is about to some degree. For me it goes just a bit deeper than that. While I couldn't list him as being one of my historical favourites, Bushman has WHOLLY dazzled me at times throughout the years. He's been SENSATIONAL and not in terms of just being this kind of ultra-dependable pick-up truck of an artist (more on that in a second). He's also been a very, VERY fast race car a few times. 

On the album side, he's been first to the finish-line on a couple of occasions. His JARRING 2001, King Jammy's produced offering, "Higher Ground", is one of the finest albums I've ever heard from anyone ["I YAD AWAY HOOOOOOOOOME!"]. It has been deemed a Modern Classic on these pages and it didn't have to wait very long at all, being entry number five. It was BEAUTIFUL the day it released and it still is twenty years on. The stage for that album was set two years prior when the Bushman released his sophomore album, "Total Commitment", also for the legendary maestro. A few years later was "Signs" which, although I cannot call it a classic, on the whole (because it does have two or three songs on it which I do not enjoy), I may very well hold it in as high esteem as I do any non-classic. That album contained some of the very best songs that I have heard from Bushman, including the MAMMOTH 'Sanctuary' ["I PRAISE HIM EVERYDAYYYYYYYYY!"] and 'Creatures of The Night' ["vampires, hypocrites and parasites. Haile Selassie give I strength to fight"] ["Old virus unuh! Old locust unuh! Haile Selassie teach mi seh mi nah fi trust unuh"]. And outside of that frame, I can name you songs that he's done throughout the years that have been peak level pieces for me such as 'Arms of A Woman' which is simply one of the greatest love songs that I have ever heard (.... off the top of my head, it may lay a claim to being THE greatest), an older and kind of obscure piece by the name of 'Zion Await' (TEARS!) and just a couple of years ago there was 'Hear Wah Mi Ah Seh', a bar of gold produced by Don Corleon. I can think of moments like that, but I can also get into albums that he's done which, for one reason another, just didn't resonate very much with me. I always think of what is probably his highest profile project to date, "Bushman Sings The Bush Doctor", which was 2011 tribute to the legendary Peter Tosh who Bushman looked so much up to and is a lifelong fan of (as are we all). Though interesting in so many ways, I always wished that he had RELEASED a bit more there and pushed more of himself into the recordings instead of doing them more as straight covers. Going even further back, I will probably never forget reading an interview of the artist where he spoke of doing a deal to do an album for an esteemed UK imprint by the name of Stingray and just not being very much into it. That set of circumstances would produce both 2000's "A Better Place" and its re-release three years later, then renamed "My Meditation". He wasn't very much into doing the recordings and, in spots, it showed. It wasn't Bushman's finest hour. So, although I definitely hold him in such a high regard and he has THRILLED me over the years (and almost surely will do so again), Bushman's work (at least on the album side) can be an adventure. 

2008

"Adventure" is a very nice way of describing his most recent release as well, "Conquering Lion". When I had decided that it would be fun to write a review for this album for the vault, I went back and did some research on its beginnings as I always do and I stumbled upon a very interesting blog from some guy named Achis (or 'Archie') (I cannot tell you how many emails we've gotten over the years with people calling me Archie). This guy (who talks entirely too fucking much) actually mentioned the Bushman working on an album called "Conquering Lion", way back in August of 2013. He had already dropped a single for it and, presumably, in was coming soon. We just had to wait a little while. In March of 2018, more than four and a half years on, "Conquering Lion" would materialize. The album was Bushman's first studio effort following 2008's "Get It In Your Mind" (in 2009, there was also a digital-only live release, "Live In Paris", which means that this became his first album, at all, in nine years!) and it shared something special with its older sibling. "Get It In Your Mind" was the first of Bushman's catalogue to come via his own Burning Bushes Music imprint (Zojak Worldwide handles the distribution on this also digital-only drop). It would take a decade, ultimately, but the follow-up would eventually stand up. Although it certainly wasn't his best work, "Get It In Your Mind" wasn't a bad album at all (it still isn't) but it didn't make a significant impact on me and I had to listen through it to remember the vibes from it ('Rasta Nuh Dead' probably being my current favourite song there) and, along with sharing origins with its predecessor, "Conquering Lion" may just share some of that status as well. Let's see. 

I tried to structure this review in the way that I did not only because I thought it an interesting write, but the thing that strikes me most in regards to this particular album was that, when you listen through it, what you get are FLASHES of some really powerful material (more so than "Get It In Your Mind", it's better). There're some truly strong songs and vibes in this one, but it never seems to hit a height and remain there as Bushman does when at the pinnacle of his power. Still, Bushman at a B-, B level is remains compelling and rather easily capable of putting together a solid set. The title track and opener, for example, is about as "solid" as you can get. WONDERFULLY preambled by a speech from legendary actor, Charlie Chaplin ["We think too much and hear too little. More than machinery, we need humanity. More than cleverness, we need kindness and gentleness. Without these qualities life would be violent and all would be lost"], 'Conquering Lion' is just an excellent praising track. It may or may not have stuck with you over the past three and half years or so, but you don't listen to a song like this without IMMEDIATELY hearing a certain power behind it - a clear highlight. The old school social commentary and single, 'How You Living', was up next and it found the Bushman just checking in with people across the world, essentially asking, "You good?". Of course, for many the answer is "hell no, I'm not" and he uses the moment to specifically address the importance of doing as best as you possibly can in raising your children. I didn't suppose this one would largely go in that direction (you see that title and expect something a bit broader) (biggup Barrington Levy), but it does work on some level by its end. And although it is somewhat out of place on the album, sequentially speaking, 'Burning Love', a very straight forward love song was next on Notis' lovely Crossroads Riddim. Given his history on the topic (the previously mentioned 'Arms of A Woman'), I virtually HAVE to pay attention when Bushman sings about love (I am contractually obligated and you see what I mean about giving someone special moments. I know what he can do with the subject, so from then on, I'm waiting for him to do it again). While this one doesn't threaten to reach those lofty heights (damn near nothing does, that song was amazing), it is another adequate piece. Later on we get the catchier 'Always On My Mind', which is the slight better of the pair to my opinion ["Woman you nuh crawny. You nuh haffi bleach yuh skin. You nuh haffi go a animal shop like a pharmacy rat"], but you can't go too wrong with either. The track here, the Movin Feva' Riddim, is certainly an interesting choice by Bushman, you wouldn't typically expect him to go on such a riddim, but it works very well for him in the end (and check the "Total Commitment" album if you want to hear him doing some damage in the Dancehall). Both 'Always On My Mind' and 'Burning Love' are just nice songs and I do enjoy how the vibes between them are changed so you don't get the same song twice, essentially (and maybe it's worth mentioning that they are the two shortest songs here by twenty-one and thirty-six seconds, respectively). 

I cannot say for full certainty, but I believe that 'We Mean It' which originally reached back in 2012, is the first combination between Bushman and the legendary Capleton. Hypothetically speaking, such a link is downright delicious and they did not disappoint on this blazing tune.

"Who mek di youths caan get enough?

Who mek di system so corrupt?

Who mek so much shot ah buss?

Who mek di people so disgust?

Babylon ah play, si seh dem ah war and fuss

Who create di changes of di time?

Who create the visions of your mind?

They create di borders and di lines

Only Jah can save this time"

"Mi nah love how babylon weh dem ah gwan

Yow, dem try corrupt Jah earth, dem fulla scorn

Yow, dem ah wonder how wi surviving through this storm

BUT TELL DEM WI WOULDA STILL EVEN SURVIVE FROM DIS TSUNAM"

The song actually found Bushman returning to familiar grounds as it comes through over the Tamarind Juice Riddim, courtesy of none other than Stingray (clearly he was in a much better mood that day). Capleton is... Capleton, you know what to expect from him and they team up for, the the surprise of no one at all, deliver one of the biggets moments on "Conquering Lion" (and biggup Stingray, they're still around and healthy and I might even tell you what they've been up to in a review in the not too distant future). And I should also mention, in regards to 'We Mean It', that, curiously, I have a hard time finding Capleton credited on almost any of the digital outlets (checked Apple, Amazon, Spotify, Pandora). It would have seemed to me to be a rather large point of interest. Just an observation. I suppose it does speak to the quality of "Conquering Lion" that neither 'We Mean It' nor the title track are its top rankers in my opinion. That distinction, at least for me, comes in the form of 'King Rastafari'. I have heard maybe thousands of songs like this (two more on this album alone with its opener and closer) but for some reason this one sticks out quite a bit.

"Make up your mind

Rastafari you fi hail inna this time

Make up your mind

Rastafari you fi hail inna this time

Nuff a dem ah hail Rastafari, dem no mean it from dem heart

Neva walk di walk, but eva talk di talk 

How dem ah speak Jah?

And neva seek Jah?

Haile Selassie ah di teacha!

I & I come fi bun out imposta

Hail Rasta"

I don't know for sure, so I will keep it to myself, but I would think that 'King Rastafari' was a response to something specific which occurred which did not sit too well with Bushman and, be that the case (and even if it wasn't, it's still a great tune) it is a MIGHTY one as the artist pushes Rasta as "a way of life and not a religion". Something you Do not just BELIEVE. Were 'King Rastafari' not my choice then it would surely be 'Somewhere'. This is not the only piece by that name that he has made. Most interestingly, there was another (more than twenty years old by now) which appeared on disc two of Sizzla's "Liberate Yourself" from 2000 for Kariang. That song was excellent and so was this newer version (which was also the album's early single I'd alluded to in discussing it nine years ago) which comes through fueled by a lovely African chanting style that is downright intoxicating at times (a big credit goes to the backing singers for this one), particularly during its latter stages. It isn't going to change your life or do anything like such, but damn what a nice song 'Somewhere' was - twice. And also on the high side of "Conquering Lion" was the very simple, yet outstanding, 'Music'.

"Why won't you play me some music?

Why won't you play me some music?

Why won't you play me some music?

A real Reggae music

I'm talkin bout sponji Reggae music 

Mi seh selectah stop di talking and play

Caan hear what di music ah seh

No wanna lose di vibes

No wanna go home

Like you playing for yuhself alone

My princess wanna move, wanna dance then groove cuz-

So just stop chat

No pull up that

JUST PLAY THE MUSIC!"

It's just a very nice vibes in celebration of what has brought us all together here today, that sweet, SWEET sounds. You'll also find very firm ground within the remaining selections on "Conquering Lion" with 'Hell Ah Go Pop' and 'Evil Con Evil' being standouts. The former is... it's kind of a SAD vibes. Such pieces definitely have their place (because we get sad sometimes), but I listen to 'Hell Ah Go Pop' and I'm waiting for just a little sunshine which never arrives (although that riddim, crawling though it may be, is damn strong). Things do get quite bright on 'Evil Con Evil', partially due to the Riibirth Riddim courtesy of LA Records which backs it. Bushman, himself, does shine as well here ["MI NAH WAAN NO FRIEND GIMME FAMILY. FRIEND LIVE TOO CLOSE TO ENEMY. AND DEM WILL GANG UP AND CLAN UP. YUH HAFFI STRONG UP AND MAN UP FI SI WHAT DI HYPOCRITES PLAN UP"] as he warns us all to be careful of the company that we keep because failure to choose to be around good people can produce disastrous results. I should also stress how well written 'Evil Con Evil' is, there're portions of it which verge on full genius. And speaking of near brilliance, check the cut just ahead of 'Evil Con Evil', the very clever 'Jungle Proverbs'. You see a title like that and your mind (at least mine does) immediately begins to wonder what it's about and basically what it is - is the Bushman stringing together several proverbs and old sayings ["It's a jungle out there"] ["You never miss the water 'til the well runs dry"]. I don't think that he so much even makes an attempt to provide some type of umbrella-ing theme to the tune and, instead, the point is to show how these well-traveled adages still carry weight and are still applicable today. Also the vibe of 'Jungle Proverbs' is interesting. It'ss basically a Bluesy kind of song. It isn't Reggae at all actually. Making it a track which well stands alone on this set (although it isn't entirely unexpected from Bushman, over the years he's shown a love of several genres, including Country as well). Just prior to 'Hell Ah Go Pop' is the heavy 'Cynicism'. Taken as a pair back-to-back, 'Cynicism' and 'Hell Ah Go Pop' make for one somber eight and a half minute stretch but, again, sometimes doing things like this helps to convey a message which is even more dire than the music can express (and they're followed by the very bright 'Somewhere', so things don't stay such way). The composition finds Bushman just taking a look around the world and seeing so much negativity and terrible things occurring constantly. He is saddened and confused and he well gives every bit of that to the listener, whether you want it or not. And there's something else very compelling about this one, but I will save that for just a second. Lastly, "Conquering Lion" sends us out the same way it welcomed us in, with a big praising tune, 'Jah Alone' (coincidentally, opener and closer are the two longest songs present, both being over five minutes long, although 'Conquering Lion' does have the speech ahead of it, which makes it nearly six) (not that you give a shit about that, but I'm a nerd). 'Jah Alone' is very straight-forward and you can probably imagine almost exactly how it sounds even before listening to it (although it is just slightly chant heavier than usual); and it is stunning. It is so NICE to listen to... but as I write that part even, you can probably imagine that as well! Bushman finishes the album singing from his soul to The Almighty.

Speaking of that singing. What you'll hear throughout "Conquering Lion" are fantastic vocals. Bushman, when he truly pushes his voice, can be downright overwhelming and, because of that, when he at least feels like singing, his music will have an inherent quality to it (and it makes what happen on "A Better Place"/"My Meditation" even more distressing). On some of these tunes he soars. I alluded to it on 'Cynicism', and the same is true for 'Jah Alone', 'King Rastafari' and others. The majority of this set features wonderful singing.

Overall, "Conquering Lion" wasn't the Bushman's finest moment and, as a whole it wasn't  terribly close either. That being said, however, it was still pretty damn good and, as I said, if you REALLY dig in here, what you're going to find are a number of flashes which are more than enough for someone like me (and maybe You) who has experienced bona fide GREATNESS on an album from the singer to cling on to and think that the next major project is on its way. I do wish that he would be more active on that side as well. If you consider that "Signs" released in 2004 and since then, he's had a live album, a cover album and just now a pair of 'standard' studio albums in the past seventeen years, I'm definitely wanting more from Bushman in the future. Until then, if you did happen to miss "Conquering Lion", it is well worth digging up three years on. On it, what you'll find is evidence that maybe there're "signs" that Bushman at his absolute strongest is on his way back.

Rated: 3.75/5

Burning Bushes Music & Zojak Worldwide

Digital

2008