Check up. The massive nerd in me does and likely will always feel some sort of connection to a select group of the artists that we cover around here. These things are not terribly easy to write (and as I get older, they become more and more difficult. In my 'prime' --whenever that was-- I could churn out one of these in a day or two NO PROBLEM) so, in some of these cases, I have literally spent HUNDREDS OF HOURS listening (and listening and listening) and writing and researching, so I've become attached to a few individuals who I've... never ever met in person and likely never will. Forgive me. I'm a fan. I'm invested to the degree that the twists and turns that their careers may take can be HALTING moments for me (if the 'right' artist has a new tune or a new album release, I will stop almost anything I'm doing to take a listen) as well as one of the most pleasing experiences in being a fan of music. I could throw you names that you're likely well familiar with but, instead, I'll go straight to the core this time as today we're talking about a loooooooongtime favourite of ours, Cali P. I'll also spare you (most of) the story of the matter but I will say that the Gwada born (biggup Teddy Riner) chanter's debut, "Lyrical Faya" (great album) released wayyyy back in 2008 and we're nearing a couple of decades that I have been at least emotionally invested in his career. What I heard back then was a very skilled and potential-latent and while that isn't something, AT ALL, that is very rare in terms of what I listen to (we are fortunate), the rarity in his case comes in the fact that Cali P has gone on to fulfill on every bit of that budding ability demonstrated on "Lyrical Faya", while missing virtually not a beat along the way. THAT is rare, as I can think of dozens of artists who I hold in at least equal esteem, for whom I cannot say the same (Sizzla is still my favourite and Sizzla, particularly as of late but even in his overactive prime, has released work non-representative of his otherworldly gifts). Cali P's career has also taken certain steps forward. When you look at some of the names and labels with which he's been able to work, he has definitely shown himself to have attained a certain level of respect amongst his peers. Along with that, we've encountered Cali P a few times throughout the years and he's always been very nice to us; at one point he literally sent a message asking us to do a write-up for an EP release he had at the time, 2014's "Healing Of The Nation" and he's also left a message or two on these pages throughout the years, praising our works. Cali P's music has made a fan out of me and Cali P, HIMSELF, has made a fan out of me as well.
2011
Musically speaking, Cali P's music has covered quite a few different bases but he usually comes back to 'center'. If I were to make a blanketed statement by saying that Cali P makes Roots Reggae music, it wouldn't be wrong but it wouldn't be all-encompassing either. While it has been the genre he most frequently touches, I could point to an entire album of work, the Riga produced "Unstoppable", which is.... something else (despite being crowned by the MAMMOTH 'Jah Rule The World' ["MY PEOPLE REJOICE AND SHOUT IT OUT LOUD! JAH RULE THE WORLD!"] [WHAT!] [BOOM!]. It was a bit of Dancehall, a bit of Electronic and maybe even a dash of Hip-Hop. Call it what you will, but "Unstoppable" was also VERY GOOD (song on that album called 'Sweet Greens' - probably one of the most overlooked ganja tunes that I've ever heard. It was outstanding). That set, on the biggest scale, showed a much earlier level of versatility which, unsurprisingly, was also high quality. More recently, the artist's latest creation, "Vizion" from 2021 (no way in hell that album is that old), also featured a more varied sound with, again, big results. So, at this point I neither know nor really even care what type of vibes Cali P comes up with because he's earned my trust that, whatever he does, will be quality.
So when we get a press release saying something along the lines of Cali P's newest album is "his most personal to date", I'm curious and you have my attention (...even if it didn't say that, you'd still have it. "NEW CALI P ALBUM" is more than enough) (DUH!) and that was what the material that came in support of "Infinity" read. Cali P had been well active in the months leading towards the release of "Infinity" and what ended up happening was a more micro version of what happened with the aforementioned "Vizion". The predecessor was an album compiled of a couple of previously set EPs so, had we paid attention, listeners had already experienced a very large chunk (if not all of it) of what was to come through the full album. Similarly, the chanter tipped his hand on much of what was to become 'Infinity" (right down to the cover), through the singles that he had released largely throughout earlier 2024. So, when we saw the official tracklist (and, again, the cover) we kind of had an idea of what to expect. <THAT was another bite of a more diverse type of vibe and one which, thankfully, also includes more than enough of a 'terrestrial' appeal for old heads like You and I. The album comes via Senmbelek Music which, I BELIEVE, is Cali P's own label and the always active Evidence and features the handiwork of a number of different maestros including Teka (who helmed "Vizion), the great Suku of Ward 21 (the presence of whom almost always guarantees legit, 100% Dancehall music), Derrick Sound and even Cali P, himself. I was hoping (and I figured) that the link with Teka would produce more music at some point and I would go as far as to suggest that the two might still work together throughout the rest of their careers and I have no problem with that. The early shots of what would turn out to be "Infinity" were what I am going to call 'vibrantly mellow'. It was a little R&Bish, a little Zoukish, little Dancehall with maybe a dash of Hip-Hop sprinkled in as well as a couple of nuggets of Roots music as well. I prefer Roots Reggae music, of course, but I'm open to such things and I did end up enjoying "Infinity" for a couple of different reasons though I do admit that I would ultimately find a level of delightful confusion within it all by its end. Let's discusssssssssssss!
I would immediately like to make the point that if you're attempting to expose someone to the work of Cali P, then a very good starting point would definitely be "Infinity". Along with carrying music of a number of different genres which probably would appeal to someone not of a rigidly Reggae persuasion, but what is here is also fairly easily digestible in terms of the direction of the songs and much of "Infinity" is very easy to listen to. For example, try out the album's opener and song that it is named after. 'Infinity' is, BASICALLY, an R&B tune, musically, but the attraction to this one is much deeper than finding an appropriate genre to categorize it within. 'Infinity' is likely one of the best done intros that I've ever heard. It starts off musical (and does so pretty strong) before ascending into the artist going into what appears to be an unplanned monologue. Parts of it (especially at the beginning) seem to be more planned than others but this track pinnacles during its parts where Cali P comes off as more organic and spontaneous:
"We never come to please people
Always ask yourself the question, do you please The Most High"
Those things stay with you, not only for the ten tunes which're to follow, but beyond. Cali P taps Akiyo for the first of several combination for "Infinity". I know Akiyo as being a group -- although "collective" might be a better term for how I understand them to be situated -- from out of Gwada so, certainly, he's well familiar with their work. Akiyo lends their talents to the GORGEOUS 'Numbers'. There is a very modern musical point here which I will leave for you (for probably the first time ever. Though I will say it isn't very superficial as it may seem should you just listen to it superficially and ONLY associate the title with money) to work out in favour of dealing with the VIBE of 'Numbers'. This one is futuristic but traditional at the same time - if such a thing is possible. Somewhere in the midst of a sound which may come from Mars or Saturn is an oft-revisited but random chant which is divine. There's something very Modern Dubbish on the Randy Valentine produced tune which plants its flag as an early winner for "Infinity". The well traveled and quite popular 'Energy' brings us back to terra firma, with a helping hand from German Reggae superstar, Gentleman. Gentleman SHINES on this song and he well lives up to its name while Cali P does as well, though he brings a more mellow vibes to matters during the chorus, making for a powerfully unique blending of sounds. What I took from 'Energy', primarily, was a couple of things, with the first being the idea of creating (and maintaining) a positive energy - whatever that may mean to you. Gentleman introduces several ways in which this is done with one of the more fascinating being HARD WORK. You can LITERALLY produce a positive energy in grinding and doing what you have to do to improve yourself and others. The other thing which stayed with me from 'Energy' was more basic with the music, itself, being that energy and the song somewhat becomes a celebration of the music and all that it is capable of. There aren't many finer moments on this album than 'Energy' (only one, for certain) and I wasn't surprised given the firepower of talent assembled here. If you're familiar with his work and take a brief skim through this album, you'd likely come to the conclusion that the track which features the work of Suku is hypnotic 'Secret Hater' and you would be correct in that. The riddim on that song, whatever it is, is BRUTAL and Cali P makes the most of it by shredding those who hide behind two faces.
'Caan ramp wid di bad friend dem from The Netherlands
A dem will send you go a neverland
Gwadada and di mad Nigerians-
GRIND YOU, LIKE A CINNAMON
Badness gone international, Jamaican dem cold like man from Paksitan
Dem will hunt you, wid Remington
DEM HAVE A B ULLET WEH FLY OUT YUH SKELETON
Shot buss, man don't send no telegram
Scammmer police - haffi watch what you tell a man"
Grrrrr! For what it is, it's fun, but 'Ready - Bend' is also NINETY-EIGHT seconds long... it comes and goes so quickly that it never gets a chance to settle down but, like I said, it is a good time. I mentioned that the press release from "Infinity" claimed it to be the most personal piece of work of Cali P's career to date and I would assume that the presence of 'Sunside' is a large part of the reason why that is the case. This one almost comes off as an unusual -- and often vicious -- tribute to some of Cali P's favourite places (not terribly unlike what I just transcribed from 'Secret Hater', actually) and places that he's visited. It speaks to many of the hardships faced in the areas but there's also a clear reverence paid to the places and, specifically, their people and their hardworking and adaptable nature ["It's either we get up and get it or left it and die"]. The song is kind of melancholy throughout and.... yeah, it's fair to call it bleak but there is A BIT of light on 'Sunside' outside of its title.
You could make a solid case that, despite its strong start, the second part of "Infinity" is even stronger than the first as it features a couple of HUGE moments (three, REALLY), including the album's crown as well as some serious fun. Check 'Mi Ruff Road' and its interesting backing, drifting somewhere between Hip-Hop and what they call Dancehall these days. Typically, I'd condemn such things but there is something to the riddim on this one which I doesn't put me off and there's also a vocalist CLEARLY enjoying himself. Cali P literally sounds like he was eager to go on this track and the torrent of lyrics he gives is evidence to that case. Far stronger is 'My Temple' which brings in a Swiss rapper who was new to my ears and eyes by the name of Theylovepiet. Unless the two link again (and they just might someday), I'm probably unlikely to ever encounter the work of Theylovepiet ever again but he's left a solid impression on me, even for someone who isn't much of a Hip-Hop fan. The real attraction on 'My Temple' is its sonics. Where 'Mi Ruff Road' combines Hip-Hop and... on 'My Temple', I hear it blended with Afrobeat, I hear a more traditional form of Dancehall and I LIKES IT! It is all sorts of infectious and absolute CANDY to the ears. Speaking of being sweet, in a downright brilliant stroke of song placement on "Infinity", chasing 'Mi Ruff Road' and 'My Temple' is a tune which I didn't know that I needed until it popped up, 'Family'. Blessed with Derrick Sound's STUNNING Fight Again Riddim from 2024 (riddim had several big tunes from the likes of Chezidek, Tiwony, Eesah, Bugle and Lutan Fyah ["And when mi check di news, a just 'blahblahblah'"]), Cali P gives a massive credit to closed ones who have helped him along the way and continue to do so. In the midst of "Infinity"and all of its uniqueness and different sounds, unbeknownst to me I was longing for (biggup Jah Cure) something more terrestrial and that hunger was well sated here on this immaculately organized piece of music. Things go right back as they were on the song in 'Wine Up', which taps another Swiss artist, Mercee who, interestingly, delivers in Spanish (reading through her background, Mercee's roots are everywhere. Switzerland, Cuba and Italy). This is done on an almost Groovy Soca-ish track and, again, it's just a really fun vibes that's bringing together a variety of different sounds and styles.
And wrapping things up is the single finest moment "Infinity" has to offer in my opinion, the outlandish 'Jah Blessing'... TEARS! There is a certain level of gorgeous humility to this one and with a title like that, it is definitely something that you would hope for but it comes BLARING through in this instance.
"JAH BLESSINGS NEVER SHORT CAUSE WE HAVE ENOUGH"
It is a chunk of ideology that I have always appreciated as it says to BE HAPPY FOR WHAT YOU HAVE because you know that, regardless of what it may [or may not] be, there's someone, somewhere out there who wishes they were in your position. Apart from that, 'Jah Blessing' is STERLING. It sits as not only the entry on this album, but one of the finest of Cali P's entire career in my opinion.
"Infinity" is entirely too short. It is. That's my largest critique. Eleven Cali P tracks, thirty and a half minutes. You couldn't have paid me to complain (yes you could have) were it a bit longer.
Overall, for what is here, "Infinity" does impress. If you come looking for that straight forward Roots project, you will be disappointed (though, for you, I would direct you to a new tune from Cali P, 'Chant A Prayer') to a degree but I would also caution you to just let it, because you might run into something [called 'Family'] that will surprise you. As I said, I've been doing these for quite awhile with Cali P and, I imagine, we still have quite a ways to go. Judging by what is on "Inifinity", who knows what is to come and how it might sound, but I will HAPPILY be there to find out..... hell, even if it was awful, he's not getting rid of me that easily! Varied and solid.
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