Status Quo: A review of African Dream by Lyricson

Familiarity. In Dancehall music, there is what I like to call the 'Three G's of Dancehall'. You have Guns, Girls (or Guys) and Ganja. You will find Dancehall tunes about other things besides those three things -- you'll find some very specific ones and very general ones as well -- but if you deal with those three, you're likely to have covered the core themes of the VAST MAJORITY of Dancehall music. That was true in its prime and is still true in its... entirely ridiculous current form. Soca is even simpler. If you tell people to jump and wave (and misbehave), you're good! Soca will actually venture towards one of Dancehall's 'Three G's' (and I won't insult your intelligence by saying which one) but, again if you seek songs which encourage whining and just generally unacceptably low standards of common sense, you will go through much of the entire genre. For me, as a giant nerd, the brilliance and finest moments (with very few exceptions) comes when someone can either go around the expected and offer a different viewpoint (check 'Anxiety' by Patrice Roberts where she talks about how the RIDICULOUS joy that Soca provides greatly helps her mental health) or even feed into what is the norm and still manages to thrive within it and separate their work from the endless pack. Of course, that isn't to say that there is something wrong with the "norm"; to the contrary, in many cases it is such because it is tried and trusted, but it is so nice when people add a bit to the vibes. When you get to the matter of Roots music things get very straight and very narrow. Revolving around the centralizing theme of His Imperial Majesty are various others such as oppression, justice, freedom, LOVE and more which go to comprise the foundation of the genre. It has always been that way and, though things and trends change very often in music, I would be shocked if, one day (even several hundreds of years from now), that is not the case for Roots Reggae music. For me, when you put things is such a relatively small 'bundle' of possibilities like this, it makes it even more impressive when someone, ESPECIALLY LYRICALLY, are able to differentiate themselves from their peers (how many clever ways can someone come up with to say "Hail Jah", after all). That's why I always attempt to make more of an effort to celebrate those who give us all a fresh perspective to look at of such grounded ideology. 

And then there's the matter of SOUND. When you think of Roots, you think of that one-drop riddim, you thinking of chanting, you think of another small group of identifiable characteristics, emblematic of the genre. Thankfully, however, these can be stretched in a variety of deliciously different ways and we have a number of artists (and producers) who're capable of making an eclectic blend of what is typically a very straight-forward sound. Someone who immediately comes to mind here is Jah Cure, obviously. It doesn't particularly matter what the Cure says when it comes out sounding the way it does; and I would also point to someone (perhaps surprisingly) like a Luciano. Luciano's music, lyrically (or in any other way), will not challenge the boundaries of Roots music and despite his very long career, he's rarely done anything in the way of being controversial. However, Luciano has moments where his vibes display this... AURA (I don't like it but I'm using it here) that pushes it to such a different place with selections such as 'No Night In Zion' & 'Jah Canopy' demonstrating that. 

2017

Today we're going to look at someone who probably has one of THE most dynamic sounds in all of modern Roots Reggae music that I've ever seen. Guinea born and France based Lyricson has been someone who we've been looking at for a surprisingly long time now. From probably just ahead of what would become his debut set, "Born 2  Go High", I had been familiar with the work of Lyricson, which dates back to more than TWENTY years now. What I heard and got me hooked was a very dynamic brand of Roots. Lyricson was equally adept at chanting and deejaying and he also had this GORGEOUS singing voice which, when he chose to push it, was one of the more surprising skills that you would have heard on anyone at the time (they all sang (or most of them, anyway), but Lyricson's voice was VERY GOOD). Now, when you take such a talent and combine it with some of the greatest producers and players of instrument that the genre had to offer, you were dealing with something really serious and I'm sure I speak for a more 'seasoned' brand of listener (WE OLD!) when I say that new Lyricson music in the 2000s and into the early 2010s came as a very welcomed stop along my listening habits. The pinnacle might've been the "Messages" album which carried one of the single greatest songs I have ever heard in my entire life, its SHATTERING opener 'From The Beginning'. Lyricson was a decent lyricist as well; although I wouldn't rank him, in retrospect, as one of the greatest of that era (or this one) (more on that in a minute), he could definitely hold his own. He would go on to do some more controversial type of material (I think, one year, I actually 'awarded' him 'The Worst Album of The Year', without wanting to name him), but the last time I heard from him on an album, 2017's "Revolution Time Again" (great name), he had returned to form. That album was very strong and featured guest roles from the aforementioned Luciano, Vaughn Benjamin and others as well as the GIANT tune, 'Jah Never Failed I Yet', one of the artist's best ever, in my opinion. Seven years on and Lyricson is back, courtesy of "African Dream" via Royal Music. I did not have much in the way of a 'lead-in' to this one, as it popped up maybe just two or three weeks ahead of its release date but I was damn interested in hearing new music from Lyricson and, RIGHT THERE, I decided that, no matter what it turned out to be, I was going to write a review for the new album.... just because.

^SIMPLY ONE OF THE GREATEST SONGS I HAVE EVER HEARD IN MY ENTIRE LIFE^

So what happened??? Well, thankfully, that answer is complicated (because I like to explain things, if you haven't noticed). "African Dream", the new album from Lyricson, is missing something. It has that characteristic, signature Lyricson sound and dynamicity but... it isn't the strongest lyrically and maybe that's what my ears stuck on. I really wanted to love this album but I couldn't and what we ended up with was a set which will likely satisfy the majority of listeners but one which misses out on a fantastic opportunity to take things a few steps further. That being said, the opener here, 'Black Man Liberation', is far and away one of the best efforts on the album it heads. This song has nary an equal on the album and it, nearly perfectly, exemplifies what is Lyricson's style when he's at or near his best. It is FULL and RICH and though perhaps not as vibrant as most of his winners, I am not complaining at all. 'Black Man Liberation' is absolute GOLD! In a nice touch, the album actually concludes with a SWEET dubbed out version of the opener. To me, that shows that Lyricson and company had a great deal of confidence in that particular tune in every way and.... they were right to have such pride in their work there. Charged with buidling on that vibe is 'Strickly Love' and it was right here where I think, unfortunately, I began to focus so much on the lyrics and, from that aspect, 'Strickly Love' is lacking and the sound, while nice, isn't enough to overcome it. What happens is a song that, while I wouldn't be surprised to see it make an impact, PERSONALLY, it's a little on the thin side for me and it doesn't bring much of a punch. By comparison is 'Africa Rise Up' (that may not be an actual, full sentence, but I'm going with it). Here is another selection which is not great lyrically but the sound, again, is much more typical Lyricson and it's strong enough to kinda/sorta make you not care that it isn't very substantial (there's an odd portion of the song which almost sounds like old video game music.... I even kind of liked that. It was a very nice change of pace). Sonically, 'Africa Rise Up' is gorgeous (it has one of the finest choruses on the whole of "African Dream"), it is DAMN pleasing to listen to on the surface. It most certainly isn't the finest written tune you'll run into but the message is high, it's very positive (and that is something I'm going to want to say about virtually every song on this album, for the most part). "African Dream" features five combinations in total and, arguably, the biggest name to join Lyricson is also the first as the great Jah Mason makes his presence known on 'Peace And Meditation'. If I had to play out what a potential Mason/Lyricson might turn out to be, I'm confident that what I would come up with would be quite similar to 'Peace And Meditation'... but I was kind of hoping for a JOLT. I wanted something a bit more. Again, it's just fine and it is what you are thinking it is but, on paper, such a combination is all kinds of fascinating and 'Peace And Meditation', in my opinion, could have been something more. 

Also accompanying Lyricson on "African Dream" are Jah Bouks and Duane Stephenson, as well as Sister Rudo and Sekouba Kandia Kouyaté. The first two are likely to be well familiar to more seasoned fans of the genre and, at least on the surface, the two will definitely be amongst the most immediate attention-getters. Jah Bouks gets in on the action during 'Lions Roar'. Something about the pacing of this one seems somewhat odd (thinking, specifically, about how the verses blend into the choruses), 'Lions Roar' is just fine. It has a rich and distinct old-school type of an appeal and the vocal pairing between the two built atop a vibes speaking on instilling pride in the masses (particularly the youths) make for a well memorable track. For his part, Duane Stephenson easily has one of the nicest voices in all of Reggae music and has for years. The problem I have with his song, 'What a World', however, is this: 

"What a world this would be if we all can, as one-

Put our differences aside

Stop the fussing and fighting

As far as I can see, we are one and the same

So why don't we all unite?

Why fight against your brother?

Time is so short, my friend

We should come together

And live the best we can

Don't you know we were all created equal

We are all the sons of Adam & Eve

No matter your race, colour or creed- we all are one people

Same blood running in your vein and mine"

'What a World' is poor, lyrically, and you get to a point where its sonic appeal is not enough to lift it over that hump in this case. I heard this song and I got so disappointed because it really doesn't do anything. It's a lost opportunity in my opinion, built on..... just random, tried ideas that you've heard on thousands of other songs. Sister Rudo's was a name that I remember running into once or twice over the years but it had been quite some time since the most recent time I crossed her path. I was happy to see the mature singer aboard "African Dream" and although we find her on a tune that I find somewhat lukewarm -- the lover's piece 'No One Can' -- I would tell you that, be you the slightest bit interested, you should definitely seek out more of her material. Finally (besides the other five or six songs I still have to talk about) 'Farafina' is a song (LITERALLY. This is EXACTLY what it is) of African Pride and fellow Guinean singer Sekouba Kandia Kouyaté, with an absolutely GORGEOUS chant, makes a giant impact. My brief research says that Kouyaté is one of Guinea's most decorated of musicians and with a contribution like this... I AIN'T SURPRISED.

The single biggest moment, however, that I would find here would feature Lyricson all alone (I actually find myself saying that relatively often when an album has a number of guest artists) on the downright DOMINANT 'Mystically'. 'Mystically' isn't 'From The Beginning' in terms of its quality, but it is well on that same road! I hear Peter Tosh. I hear Bushman. I hear a variety of different vibes poured into this dazzlingly colourful mix and it is quintessential Lyricson. You won't find many (if any at all) who can make such a dynamic Roots track and, when at the height of his powers, he can turn out STUNNERS like 'Mystically'. Similarly, 'Jah Glory' is also excellent and I'll use it to make a point. This song isn't amazingly deep or masterfully written, but it is FRESH, lyrically in several ways.

"Oh Lord, I thank for everything 

YOU BLESS I & I FROM THE BEGINNING

Thank you for the joy and the strength within

Your mercy and Your grace everlasting"

That ^ right there, is nothing you haven't heard thousands of times before, but it given in unique way (during a unique portion of the song where lyrics run on in a way that suggests that Lyricson was just pouring out his emotions on the tune) which definitely caught my ear and I wish that there were several more such spans on this album.'Betta Way' also has a pretty nice vibes about it, though far more on the serene side, but it doesn't cover much ground. I don't have an issue with this one and I don't think many others will given that largely sweet sound. 'African Queen' is exactly what you think it is to the finest detail, while 'One Step Away' is about as straight-forward as it could possibly be in terms of sound and direction. It doesn't do much for me at all but, on its surface, it's harmless and does have a pleasant sound to it and that is the only attraction in this case. 

Overall... while I don't want to be too hard on "African Dream", I also don't want to largely change the things that I look when I'm listening to an album (especially one that I'm reviewing). I like originality. I like fresh ideas and fresh presentations and, when applied to Roots music, that may come in a much more subtle way (again, the themes have not changed in the history of the music and they will not change) but it DOES come. Lyricson's approach here is a VERY dynamic one (and it generally is) and what we end up with a very appealing sound but one which isn't necessarily the deepest. That being said, if you do have someone in your life who is maybe newer to the sound, "African Dream" would be a FINE entry point for such an individual; but for a grizzly old evergreen like myself.... I think I was just hoping for a little more.

Rated 2.85/5

Royal Music

2024

The Vault Reviews: The Ultimate Challenge by Sydney Salmon & The Imperial Majestic Band

The ideal. If you take all of these wonderful themes and messages that we are given in listening to this amazing music -- Roots Reggae -- you'd hope that maybe someone, somewhere is tuning in and actually applying them to their everyday life. Hopefully, at least in some aspects, that "someone, somewhere" is You and I but you'd also hope that such a nice thought has a wider-reaching personal impact with the masses. Furthermore (and, perhaps, even more importantly) it would also be nice if the artists, themselves, actually lived up to the music they made and, though such a thing may be virtually impossible in a total way (because we are all flawed and prone to making massive mistakes) (which is, presumably, where the saying 'follow the message not the messenger' comes from), surely people are capable of implementing certain things within their lives which they make their living teaching to others. We've seen evidence of this throughout the years as well with individuals doing things as simple as speaking out on injustices locally and internationally (outside of musically) to as detailed as others running charitable organizations and foundations, such as Sizzla Kalonji and Bounty Killer most notably, Making music brings in money and fame and (deserved) adulation so it's always refreshing when you see someone who is willing to put those things to work and spend the TIME it takes to do other things which may not bring in much of any of those as it distinguishes them as someone who TRULY does care about their work from... maybe someone who just uses it as a means to make money who just happens to have a musical talent. I'd also, loosely, include in that the work so MANY of them do in terms of bringing forth a younger generation of positive artists. In the most recent review I wrote prior to this one, we dealt with Eesah who was clearly very much influenced, both directly and indirectly, by Chronixx (someone else who has done a great job away from the microphone) and there're literally countless examples of this happening in Reggae music and that is something definitely to be proud of (I did just mention Bounty Killer, after all). Still, with that being said, there are others still who find ways to even further immerse themselves in the music they make and the messages behind it.

Reggae music has taken people all over the world in the pursuit of making it, performing it and for a variety of different other reasons. It seems to be almost routinely around these parts that I mention someone who has made their way to the Reggae-starved continent of Europe because there they will find ample audiences (and producers) with whom to ply their trade (most recently there was Mosiah. New album, "I-Frequency", out now). This is a trend which started years ago and has not seemed to diminish much, if at all, over time (and you'll find far more examples of artists who may not have full relocated to Europe, but primarily do their work there). Rarer, however, is the situation we take a look at today as we have someone whose travels have taken them from the birthplace of Reggae music to.... the birthplace of EVERYTHING. When I first saw the name Sydney Salmon -- would have been just a few years ago now -- and took a listen to his music, I just had to learn more about the man behind what I was hearing. There was a certain quality to his work (more on that in just a second) that was SO DAMN impressive and so refined that I was pretty surprised that I hadn't knowingly ran into his work before. It seemed like something I would have remembered. When I did get into his story, it turned out that Salmon was born and raised in Kingston where he began his career in music and, as a young adult, relocated to New York where he furthered it, as well as an interest in Rastafari, before relocating again... this time to Addis Ababa, the capital city of Ethiopia. One of the pillaring tenets behind much of Roots Reggae music is repatriation and returning to live in Africa and Salmon actually did it and, apparently, with him he took a TON of talent. 

I don't recall exactly what led me in Salmon's direction, initially, but whatever it was I'm delighted that it caught my attention because when I did actually tune into his work, I heard such a BRIGHT and VIBRANT Roots sound and one that though clearly inspired by older sounds was still fresh and pliable for the current generation. It was just such a full vibes that I took a mental snapshot and knew that one day it would be a fun write-up to tell you wonderful people about what I heard and today is that day. I almost want to say that it feels older, but officially it was just a couple of years ago that Sydney Salmon, along with his Imperial Majestic Band (which, I think, came from New York with him, or at least partially), released a downright dazzling piece of Roots Reggae by the name of "The Ultimate Challenge". The album came via the same Imperial Majestic Productions that handles pretty much all of Salmon's music that I can find note of, with one recent exception. Sydney Salmon has actually mixed with a friend of ours, James Lord [aka Dr. Seuss] of Irie Sounds International just this past December in creating a LOVELY tune by the name of 'My Banner' ["My banner give honour for all the world to see what Rastafari has truly done for me"]. Lord's story is similar to Salmon's as he is someone who spent years of his life making Reggae music before packing up and moving operations to Ethiopia (and what a BEAUTIFUL union those two could make if ever they were inclined to make a full project in my opinion). As far as Sydney Salmon's style, as I said, he's someone who has clearly been captivated by an older and more foundational type of sound which is well reflected in his music. Vocally, you could make several comparisons, because of who I spend my time listening to, I'm going to make one that no one else likely will (they won't), but his delivery reminds me a bit of someone like Tuff Lion. He has a FINE singing and chanting voice (it comes off as being either very strong or nearly pitch-perfect for the type of music that he makes when he does push it to my ear) and he veers back and forth between the two exquisitely. He's also very refined and he HAS to be given the total SOUND of his work. As I alluded to, it is simply.... CANDY to the ears of Roots Reggae fans, to the point where it became hard for me not to pay attention to it in a major way. I don't know if I'm able to do it justice in this way but I am definitely up for this challenge and I'd like to tell you all about it if you're not too busy.

I'd have no idea to whom, directly, I would give such a credit, but whoever put together the cover art for this project has done a great job. Like the music it heads, it is very inviting. Looking at it makes you want to know more about it and hear what's going on. What is going with "The Ultimate Challenge" from Sydney Salmon & The Imperial Majestic Band is absolutely delightful and it gets up and going courtesy of its glowing titling effort (always looking for new and interesting ways to say "title track") ("titling (which may or may not be an actual word) effort" is fantastic and you know it).

"We must first look unto The Almighty God, Who has raised man above the animals

And has endowed us with intelligence and reasoning

We must put our faith in HIM

He'll not permit us nor allow us to destroy humanity

Who were created in HIS own image

Give thanks to The Lord, God, Almighty"

This EPIC opener really touches the listener in every way possible as it shines lyrically and musically when, roughly halfway through, 'The Ultimate Challenge' dashes the vocals for the most part and goes instrumental for a downright dazzling spell (and just a REALLY good idea, in my opinion). When I first heard this song, as I alluded to (or at least tried to), it both impressed me and made me damn curious as to what was to follow that golden first taste. Awesomely (that might not be a word either), the case could be made that what directly chases the title track is an even stronger piece as the sublime 'Africa Arising' is up next. As its title suggests, this track is one for the upliftment of Africa, in general and fully, and Salmon touches on various aspects of the continent to instill some pride in all of its children. It also sounds fantastic. It isn't BIG or terribly intense, but the vibes on 'Africa Arising' quickly find a perfect groove and they OOZE out for your listening enjoyment (those horns!) on, easily, one of the sweetest tracks on "The Ultimate Challenge". I also have to mention how much FUN it seems they had in making 'Africa Arising' as well, which is always a nice touch to hear. 'Lions in Captivity' is charged with keeping the quality levels high and it does not miss a beat at all. This one is a celebration of freedom and liberty and its importance to EVERYONE and how much we lose when we unnecessarily restrict people. What a tune!

From what I gather, the Luciano-esque 'Never Colonized' is both one of the oldest and most popular offerings on the album (apparently it dates all the way back to 2011). It is, essentially, to Ethiopia, specifically, what 'Africa Arising' is to the continent as Salmon and co. set out to make a song that would lift up the nation for all of its beauty historically and currently. I also LOVE the vibe of 'Never Colonized' which is downright exquisite and, again, the fact that Salmon does show love to present day Ethiopia. You rarely hear messages like that: If you really think about it, most Reggae songs about Ethiopia (and there're hundreds) focus almost exclusively on the historical aspect; but as someone actually living there, you would expect a different perspective like the one provided here. Also, because I'm a giant nerd, I simply must mention the fact that though the song is listed as being a very healthy 5:59 in length, it's actually more like 5:12-13 as the final forty-five seconds or so is just void (don't know what happened there). Next up is an absolute scorcher in 'Carry On', that soars alongside some of the best material that "The Ultimate Challenge" has to offer altogether.

"Said the poor man to his son:

'I know my time has come'- 

To be moving on, I know that my work is done

And now it's your time, to let your light shine

Pick up the mantle and carry on"

'Carry On' is about progression of a few different ways, but steadily moving forward and it is framed in such an interesting and compelling way that, lyrically it stands out so vividly. The sound is more subtle and laidback and so wonderfully underpins a golden message and delivery. I saw the title 'Show Business' and was somewhat surprised by it because it didn't seem like it fit the direction of "The Ultimate Challenge" and, in listening to it.... Yeah, it is kind of jarring to some extent. The song that follows, surprisingly, doesn't stray far as 'Jams Addis' is, as far as I can tell, Salmon's ode to a Reggae club in Addis Ababa (which Google says has since been closed down). Neither of these tunes are bad (they're both at least above average) and 'Jams Addis', for what it's worth, is pretty strong (with its grander significance than just being a song about a club), but I wasn't expecting either and that is an addition to "The Ultimate Challenge" because we always appreciate versatility when it is done in such a way. This challenge peaks [PROBABLY] next as someone leaves the gate open and in walks the MAMMOTH 'Yakob Rule'. Let me tell you something; If you wanna talk about a tune that has EVERYTHING covered, in terms of the message and the music, you're going to be talking about several from this album, but none from a higher region (biggup JahSolidRock) (be telling you about what they've been up to pretty soon) than 'Yakob Rule'. This one comes off as if Salmon is speaking (in an analogous type of way) about how The Almighty put the inspiration of making music in him and what he's attempted to do with it... then it BLOSSOMS out into this stunning track which keeps you moving and thinking throughout. 

As "The Ultimate Challenge" winds down, it serves up another pair of big winners in the closing 'Warriors' and 'Coming Soon'. The flying former is the brightest gem of the two as it STIRS! 

"Since I was a boy, I've been a warrior

I was born and raised to bring down barriers

To trample di beast

Warriors from the east

A son of Jahova"

The vibes on 'Warriors' are downright destructive and either Salmon adopts a few different styles or he does pass the mic around a bit to members of the IMB. Were you of the mind that 'Warriors' was the single biggest moment on "The Ultimate Challenge", I wouldn't put up much of a fight at all. It stands am EXCELLENT call to action and one which has the strength to be successful (you literally feel like doing SOMETHING while listening to it). For its part, though a ways more chilled and relaxed, 'Coming Soon' manages to make a big impact as well. On a biblical vibes, Salmon warns all to get ready for the return of The Almighty and it takes him a very appetizing nearly six minutes to get the point across (technically, it's the album's longest selection given the strange ending of 'Never Colonized'). Speaking of biblical compositions, there's also the beautiful 'Psalms 64'. Fairly straight forward, Salmon constructed a piece of music around the passage and did so in such a way that has made it impossible to ignore. YOU LISTEN TO THAT THING! With this HUGE and blaring sound, 'Psalms 64' full on dares you to not give it a proper attention in its time. I'm going to say pretty much the exact same in reference to 'Blood Brothers' as well. It may require a little in the way of a 'gestation period' and it comes on top of a foundation directly from scripture. The sound on that one is... almost Country/Gospel, neither of which are favourites of mine at all, but I do not dislike 'Blood Brothers'. If you do (that's fine, you're entitled to your own opinion. Nothing wrong with that at all), give it a second listen before tapping out completely. Finally, check 'Guardian of Love'. Yes. I know. The title is kind of sappy and you could even say the actual song is a little on the mushy side at times... that's fair; but I'd also tell you to give this one just a bit of extra time to develop and pan out. Maybe it never grows on you at all but it did on me somewhat and a tune that I did not very much at all initially is one which I now look at as being quite solid and a full credit goes to the female singer who joins in and gives the song -- and the entire album -- another very much appreciated texture.

Overall, "The Ultimate Challenge" is something FAR more than "quite solid" to my opinion and I'm recommending it to fans of Roots Reggae both new and old. Given the total sound of the album, I think it appeals to more hardened fans as something they know and love and newer fans with its RICH sound. Also, the uniqueness of such a project as we mentioned, with a Jamaican artist building a vibe in Ethiopia, FOR Ethiopia and with a unique perspective is also something I think that has a backing that is readily enjoyable by many types of fans. EVERYONE (everybody, in the entire world) has a story behind them, but in a genre like Reggae where so many of our artists' background is so wonderfully varied and well-traveled, what Sydney Salmon and The Imperial Majestic Band have going for them is even different in a terrain that breeds originality and that comes roaring through on a wonderful debut album, "The Ultimate Challenge".

Rated: 4.4/5

Imperial Majestic Music

2022

The Vault Reviews: Revolution Time Again by Lyricson

Outliers. Because the subject and the focus of the genre is quite often the same, I don't know that we pay as much attention to all of the wonderfully diverse sounds that Roots Reggae music has to offer. As with any other genre, and any label in general, there exists a certain level of requirement that we have constructed to meet the 'standard' of what it means to be Roots music and once you are there, oftentimes, you are there to stay. Its perception is very rigid and not as malleable as something like Dancehall (which... is just really, really strange) (Dancehall would actually be the complete opposite, I think) and, in fact, it can kind of 'travel'; in the sense of when you have someone who deals with a topic typically found in Roots music, REGARDLESS OF THE SOUND OF THAT PARTICULAR TUNE, people like me will often say that it has some type of Roots vibes to it. And as far as the sound, itself, of course the prevailing idea revolves around the heavy one-drop and, again, it can 'travel' to almost any set of circumstances. Because of that I really enjoy highlighting and downright celebrating some of the more peculiar talents that the genre has to offer in demonstrating that, though everyone might be singing about Jah, many of them have very distinct methods of going about it. There're levels of uniqueness and in Roots Reggae music, we have all of those level covered. I hesitate to mention him because... yep, but there's this guy named Jah Cure... his music isn't terribly different from that of many of his peers at all, save for the fact that if angels exist and they sing, if they're lucky they probably sound a lot like Jah Cure. His music, even when it is far away from his best, has an inherent quality to it that CANNOT exist for anyone else. You can't make music like Jah Cure. You just can't. Because, as of this writing, the last review that I wrote was for an album called "Emerge", by Norris Man (it may or may not have been posted before this one) (we've gotten into this very cool habit of not posting a review until at least two more have been completed) (I currently have three waiting while I'm writing this one), his style is also fresh in my head. You'd never teach anyone to make music the way that Norris Man does. It just would not work for that person. Early in his career he was often (accurately and justly, by the way) criticized for singing off-key and in a somewhat crude manner.... but it WORKS for him. He's sang like that on tunes like 'Persistence' and others which stand now as full classics so, apparently, he's used that weird ass style to do something right. There's also a bit of uniqueness and diversity in being multi-faceted and versatile in what an artist can actually do themselves and we see a whole heap of that in Roots music today as well. 

Of the most versatile that we have going today is someone who I've long recognized as one of my favourite artists, the divine Queen Omega. Gifted with not only one of the finest singing voices that you will find in Reggae music (like ever), the Queen can deejay, she can chant, she is also very proficient lyrically and, because of that, her music is often very exciting and unpredictable and just a JOY to hear. Today we take a look at someone who at least somewhat reminds me of Queen Omega as we take a trip from her native Trinidad to Guinea via France and link up with another terribly gifted (predominately) Roots artist by the name of Lyricson. Whatever it is you need -- any type of style whatsoever -- Lyricson has you. It's no problem for him at all and he has it on a very high level as well (sometimes). Following our hiatus I find myself during this more and more in observing just how long I've been listening to some of these amazing people and my history with Lyricson goes back now nearly eighteen years (at least, I do recall hearing his name prior to that) as, back in 2004 he would bring forth his very well regarded debut set, "Born 2 Go High" in association with Special Delivery Music (who, incidentally, was also behind Queen Omega's pillaring "Special Delivery" that very same year). That set would do a great deal in introducing the masses to a talent who had an exquisite high-pitched singing voice and was more than capable as a chanter and anywhere in between as well. It was colourful! The release would also signal Lyricson's arrival as one of the most noteworthy of a (particularly younger at the time) burgeoning group of African Roots Reggae. It was strong enough to make you want more.

And "more" you would receive. Chasing "Born 2 Go High" would be the very curious "Keep The Faith" in 2007. I think the sophomore release was even stronger than its predecessor but, if I can recall correctly, Lyricson himself disagreed and, basically, disowned it for some reason. Regardless (as hard as it is to find these days), "Keep The Faith" was excellent and has aged terrifically, listening to it now fourteen years on (literally STOCKED with big tunes, the title track, 'Give Jah Praise', 'Solid Ground' on the Purple Ting Riddim (which backed Tiwony's MAMMOTH 'Priye Jah') 'Choosen Ones', 'Don't Give Up' [!], 'Jah Me Call On' - just big tunes everywhere on that album) (listening to it now, seriously, 'Don't Give Up' was an AMAZING tune). He would follow that up with "Messages" in 2010, which is an album I best remember for carrying 'From The Beginning', which is not only my favourite song Lyricson has ever done but... maybe top fifty for me from ANYONE, ever. The song was downright flooring and it still is. After "Messages", Lyricson seemingly went into some type of transitional period in his career and spend the next two years doing a pair of albums which could not be more different. 2011's "Fearless" was awful for me (I think I called the worst album of that year) (check 'Gun Bark'. Go ahead, I dare you) (Biggup Destra). It was largely overly aggressive Dancehall, and it was the good kind either (coming from a fan of Mad Cobra, Bounty Killer, Aidonia - I enjoy the genre) and even some of the songs that weren't of that style, like 'Smile For Me', had very little to offer as well. THEN, in a switch for the ages, the very next year Lyricson gave us all some "Love Therapy": A full blown love album! That set wasn't terrible, it was decent (had a tune called 'You Got It All', I thought was pretty good), but I can't help to think about everything around it every time it comes to my mind. The artist would then return to previous form with his next release, "Year Of The Don", which I have not heard outside of bits and pieces (biggup Lutan Fyah) but from what I could tell, it was more of a straightforward type of Dancehall album which, though FAR from his best (though I can name a few songs I liked, such as the very inventive 'Every Body Know'), was CLEARLY a step ahead of its predecessor, "Fearless". So following three downright ODD albums in a row, the wait was on to see what version of Lyricson would come back next and in 2017 the ultra gifted artist would answer the question: The good one. The name "Revolution Time Again", alone, seemed to suggest a return to the initial form Lyricson wonderfully introduced himself to us all through, back in 2004. This latest set would come, in part, via Lyon, France based Digital Cut Records with whom I don't think I was very familiar with at the time (a little research shows they had done a project with the wicked LMK the very same year), but have sense popped up mightily on my radars as, just earlier this year, they delivered the Sensei & Kensei Riddims project along with Dance Soldiah. The always active Undisputed Records would also be on board (they have worked with almost everyone but their work is probably most associated with Skarra Mucci) and we'd POTENTIALLY have back the same Lyricson whose music You and I fell in love with almost a decade and a half prior on the fittingly named "Revolution Time Again". Time to get back to Roots work, time to get back to chanting down corruption and time to do in a way in which almost no one else can. Let's go! 

I feel inclined to mention that, the year following "Revolution Time Again", Lyricson would also release the similarly vibed eight tracked EP, "Get Ready", which was pretty good and more than worth your time. Included in the eight selections was 'Anywhere', a very nice combination alongside Chezidek (where Lyricson showed off the deejaying chops a bit) and both 'Heart Of Lion (golden) and 'Hold On' which were strong as well. Since then he has continued to do more of the harsher material and Roots Reggae... if you enjoy that type of thing. And if it is, you just may want to dig into Lyricson's latest full album release from 2017, "Revolution Time Again", which begins in a very surprising style. Following an intro, that is an electric (literally) social commentary where Lyricson outlines the exact reason why not only his revolution is necessary, but necessary right now, we get to the title track which just so happens to feature none other than the great Vaughn Benjamin. I was so pleasantly shocked to see Benjamin's presence on this one. You don't normally think of Benjamin as being this great artist to have with others (at least I don't) because his own style is one which requires so much attention, but if you think about it, he's done some gorgeous combinations throughout the years with various different names of various different styles (he always worked so well with Lutan Fyah, in my opinion). 'Revolution Time Again' is another one for the vaults as Lyricson and Benjamin link to produce a stick of dynamite outlining the changes that the world needs to see and, in the process, providing the album with, DEFINITELY, one of its biggest moments (DUH!!!). 

"Oh Jah

A blessed and resilient peace for Africa

Oh Africa

Ask Jah i-rection inna valid intention

Start with resources and revenues - run it like house

About what come in and about what spend out

When human interaction come to figures as clout

Respect and cooperation is needed on the route

People please listen as the blood-pass spill out

INNA POCKETS ALL AROUND, INNA RURAL, INNA TOWN

APPROACH HIS MAJESTY'S THRONE IN THE HUMBLEST OF MOUTH

Revolution time again

People calling for a change

Say dem tired of the stress and pain

System need fi rearrange

Revolution time again

The streets ah get hot again 

As dem fed up of their evil game

System need fi rearrange"

'Burdened' with the responsibility to keep things just as high as the title track (something had to do it) is what, I believe, was the first single from the album, the excellent 'Burning'. Along with it being very nice from a point of its sonic value, Lyricson also delivers a BIG lyrical effort on 'Burning' (you have to be able to write when you choose LYRICSON as a name) (great name, by the way) ["When mi si seh nuff a dem too confused. Dem nah bide by Selassie I rules. Think seh dem blessed, but mi know seh dem cursed"], sending it amongst the best that you will find here altogether. 'No Trust In Them' finds Lyricson tapping Aaron Silk in a featuring role and the two come together to express their collective discontent, particularly with the leaders of the world and the job they're doing. Songs like this one (and the aforementioned 'Anywhere', with Chezidek) are inherently interesting because Silk (and Chezi) are pure singers so, in order to have a contrast in the styles, Lyricson takes a more aggressive style and, as I said, when he's doing it for the right reason, he's REALLY good at it. You can take a number of really talented artists who would, typically, be doing that for tunes like 'No Trust In Them' such as Jah Mason, Anthony B and the likes and Lyricson can definitely hold his own amongst them with performances such as this. He softens things up again for the next song in, the GORGEOUS 'Jah Never Fail I Yet'. With a source probably quite similar to that which gave birth to 'From The Beginning', 'Jah Never Fail I Yet' is downright glorious like that timeless piece before it (I also hear some lyrical similarities between the two. 'Jah Never Fail I Yet' says "Jah you teach me the wrong from right. Helped me to see through the darkest night. PROVIDE ME WITH STRENGTH AND THE MEANS TO SURVIVE. The powers of Selassie, I could never deny". On 'From The Beginning' there's, "Jah bless I from the beginning. Until the end of my days, thanks and praise I ah give to The King. Jah bless I from the beginning. HE PROVIDE I WITH MEANS TO SURVIVE AND THE POWER TO SING"). And as its predecessor was for "Messages", 'Jah Never Fail I' stands as THE crowning jewel on "Revolution Time Again" as well. 

Along with the title track, if you just look at the roster for this album, your attention is almost certain to be driven to #11, 'Tell Me Why', which just so happens to be another combination, this one, RIDICULOUSLY (and I mean that in a good way) finding Lyricson joining forces with the legendary Luciano and another wicked Guinean, Takana Zion. When you put Luciano's name on anything, it really gives it another dimension and one which is saturated in CLASS. 'Tell Me Why' is absolutely no exception and it is a HUGE tune. I do have to say that I was somewhat confused by its direction as the lead-in for it is an interlude where Lyricson speaks on how important it is to demonstrate respect and deference to our elders, but the actual song is about mistreating people on the opposite end - younger people, and just how important it is that we respect them for.... our species and everything. Regardless of the mesh of ideas between interlude and tune, as I said, 'Tell Me Why' is fantastic and, for his part, Zion does chime in with a bit of rare English, as this one does not place a single foot wrong. "Revolution Time" features two more combinations, 'Babylon Face' with the always interesting Ilements and the closing 'Open Your Eyes' alongside another artist from out of Guinea, Soul Bang's, who I hadn't heard at all of prior to his appearance here. The former is a largely outstanding set about standing up to corruption and oppression anywhere you may encounter it ["Step up inna babylon face. Rasta come fi bun di wicked man's case"], while the SMOOTH latter deals with themes like self-awareness, unity and confidence but it is fairly broad (combinations generally are, it usually seems as if the artists come together and decide on a topic and then begin writing on their own) and, though I won't say that I LOVE IT, it definitely does more than hold its own on the album (and the riddim on that one is lovely, actually).

'Music' was another of the singles from "Revolution Time Again" and, from the very first time you hear it, you don't have to guess why. While you'll surely find a few better tunes that it, 'Music' is a FANTASTIC listen. It just sounds really good, speaking to the meaning behind the tune which is really about just using music in a therapeutic way. It can be there to make you feel better (!), to put you in a good mood or to maybe just point you in the right direction. As probably the easiest listen on this album, trust me, something about music will grab you. The defiant Prince Buster-esque 'Bounce Back' is another selection which made an immediate impact on me, with its large and infectious sound. 

"So when I rise mi give thanks fi another day

Rastafari guide I, so mi never stray

While dutty pagans wanna si mi fail

Always strong, well surround, and mi still ah sail

Roadblocks and traps set along my way

Still I got to move on, got to keep the faith

Si mi downfall - nuff a dem ah pray

But the heathen and the wickedman shall not prevail 

Push mi down, mi ah bounce right back

Push mi down, mi ah bounce right back

They waan si mi fall

Jah Jah make me stand tall

All when dem try, mi ah bounce right back

Right back 

Push wi down, wi ah bounce right back

Push wi down, wi ah bounce right back

Who jah bless, no man curse

Tell wicked heart fi splurt

All when dem try, wi ah bounce right back

Right back

Anytime mi step out, seh mi step out like a warriah

Ready fi go bun down di wicked and dem barriah

Pon di battlefield, mi nah retreat, dem ah surrender

Just like Selassie I, The Real Lion Conqueror

Mama Ithiopia a d Black man paradise

Can't trap inna Rome, Africa is where my heart it lies

Give I seven miles of the Black Star Liner

Repatriation a weh di Rastaman chant fah" 

Lyricson speaks to the indomitability and durability of people of African descent on a tune which, because of this great big vibe it comes with (which intensifies, DELIGHTFULLY, throughout) may've been overlooked just a bit as far as lyrically. It's one of the strongest written efforts on the whole of "Revolution Time Again" in my opinion. And for a variety of reasons, both 'Watcha Gonna Do' and 'If We Try' had to do some growing on me. For its part, 'Watcha Gonna Do' almost comes off as (if such a thing is possible) too bouncy and, ultimately, what I enjoyed most about it was the message, despite how much emphasis was clearly placed on the riddim. And 'If We Try', in terms of sound, is the album's changeup with the streamlined vibes to it. Not even remotely a bad song, it has a vibe which definitely takes awhile and, after giving it time, I still don't rate it highly on here, but I will tell you that after your first listen, regardless of what you think of it, 'If We Try' is probably better than you're thinking. 

Overall, as has occurred to me now dozens and dozens of times: After having scrutinized it for the sake of this review, "Revolution Time Again" is a better release than I originally gave it credit for being. I didn't dig into it too much but, musically, it's excellent. A major credit goes to Digital Cut and Undisputed Records for delivering a project that, from beginning to end (without exception at all, really), just sounds exquisite and is a well done piece of work. Of course, helping things shine brighter is the fact that they placed it in the hands of someone like Lyricson who, following a very strange stage of his career (one that he's still in apparently) returned to give fans just a taste of what he was still capable of when things slowed down a touch and he returned to a righteous sound. When he does that, the artist is capable of doing things and producing results, distinctively, that very few (if any) of his peers are capable of. "Revolution Time Again" was big and so big that, hopefully, we won't have to wait too long for the next.... time..... again.

Rated: 4.35/5

Digital Cut Records & Undisputed Records

2018

CD + Digital

{Note: Wrote this in December}

New from Reemah + Queen Omega! WHAT!

'Ever Bless' by Reemah [Rymshot Productions]

Okay so, I was under the impression that the next time I would be dealing with burning Achis Reggae favourite, Reemah, would be when we went back and reviewed her most recent album release, "Breaking News", which she did in 2018 when we were on hiatus (review coming in August, anyway), but much to my delight, but not surprise, the outstanding Cruzan firebreather is remaining active. Brand new today from Reemah is her brand new OUTSTANDING single, 'Ever Bless'. The tune comes in collaboration with previous link, the well-talented and esteemed Dean Pond and Rymshot Productions (who also did 'Don't Want Nothing' with Reemah just last year and that may not have been the first time they've vibed together) (and, if you frequent these pages, you'll also be familiar with for having done works with the likes of Pressure Busspipe (new Pressure album out in two weeks, review coming soon) and Revalation (biggup Revalation, "Flame on! Another life down the drain - GONE!") [BOOM!].

For me, the main attraction to Reemah's music has always been her words. I don't think she's ever likely to get a full credit for it, but when you think of the absolute finest current lyricists that we have in Reggae music, she ranks FULLY amongst them and has from ever since she established herself on her remarkable debut set, "Check Your Words" (now a ridiculous NINE YEARS OLD) (time absolutely flies, it SOARS!). Her music does well have a sonic appeal to it as well, but I always find myself wondering exactly what she will say next and how she will presented. To put it simple: The woman is a genius when it comes to crafting, constructing and presenting her ideas. 'Ever Bless' is no different at all, as we find the artist in a carefree mood, knowing that she's dotted her spiritual I's and crossed her  spiritual T's and she is well looked after.

"Even when di journey rough, wi neva worry

In di tough times, when most a dem ah scurry

WI STILL AH STAND UP WHEN HEAP A DEM AH GANG UP

IF YOU KNOW YA BLESSED, MI NEED SI EVERY  HAND UP

Cuz every test dat wi passing through-

Prepare wi for di best phase wi walk into 

And know dat if wi believe it

Then wi can achieve

JUST AS LONG AS WI WALK WITH YOU!

Cah when mi trodding on this long road

MOST HIGH AH CARRY MY LOAD

When I gone far from my home

MOST HIGH STILL INNA CONTROL!"

So! Via wherever and however you listen to music these days, digitally, you are sure to find the excellent 'Ever Bless' from Reemah. Easily one of the finest tunes we have heard this year. And you don't need to come back and thank us - You're welcome! ENJOY!

OH! And before you go, we thought you'd also be interested in checking out another big tune and a  pair of Queens as 'People Rise' links Salma Queen from out of Kenya and a bona fide legend round these parts, Trini Empress, Queen Omega. Which is a remix of a previously released Salma solo track from 20202. Omega is.... probably one of my top seven or eight-ish favourite artists ever, so whatever she does - I'm interested (that would include an album which would be her first from since like 1945) (or maybe it just seems that long) and what I have heard from Salma thus far has been impressive as well. 'People Rise' is also not very difficult to find and is currently available digitally courtesy of 24/7 Music Production. Have a great day! No reason not to. 

Original

Coming soon: Reviews for Etana, Sizzla, Pressure, Jah Marnyah

'Look Closer': A review of "In This Time" by Rebellion The Recaller

Not that I'd know myself, at all, but I would imagine that being really talented [at doing something] must be pretty nice! As an outsider looking in, I can definitely see how something like that might come to really nice usage at times. This would be true for just about anything in question, I'd imagine, but in the arena of music, obviously, things are a bit more complicated and crucial. Musically speaking, something like possessing a genuine talent can make so many things much better and really open your vibes up to a fan base and successes that someone, perhaps lesser gifted, but in your exact position, would not enjoy. And, as we'll see today, it can also be quite surprising. When focusing on Reggae music, because that's just what we do here, while we certainly do have a great deal of well capable artists on the scene, we also have a great deal of them who go so largely un[der]recognized by the greater Reggae listening world to the degree that you would hope that they would be appreciated and celebrated as some of the most talented lights that we have. Today, we look at such an individual, in the most unusual of cases, who has attained a level of stardom and figures to be currently on the rise, but for someone of his actual and applicable class, he hasn't gotten it yet, the great Rebellion The Recaller. The WICKED Gambian born chanter has been playing his trade for quite some time now and he's grown, reportedly, to be a pretty big deal in Europe and he also fits well into a line of artists in the continent who have come from other places to 'feed' and flourish amongst the seemingly Reggae STARVED European audiences. The Recaller (don't you just love it when they have the nickname already laid out and prepared for you???) has done just that  and although he hasn't yet risen to the levels of someone like a Gentleman (more on him later) or Ziggi Recado, he seems to be well on his way. Also, in terms of the current status, he's definitely one of the leaders of Reggae from out of Afrika, alongside the likes of the fantastic Takana Zion, Lyricson and others who, from the outside looking in, have become that next 'class' of big artists from out of the Continent. Interestingly, both Lyricson and Takana Zion have recent projects to their names (twice in the case of the former) . . . So The Recaller goes next right?

"Movin On" [2008]

I was absolutely certain that it had already been!  But, as it turns out, RtR's sole album, "Movin' On", which reached way back in 2008 remained, until this year, his only full album release. That album, was very good, and came via the seemingly now VANISHED IM Music from out of Germany (I THINK) (the same label sent did and sent us "Love Life" by Black Dillinger, and just never responded after that), but retrospectively, while it did serve as a big introduction to the artist, it didn't have much in the way of legs and it has become one of the most underrated and forgotten to an extent big debut sets of actual quality from an artist who stuck around and did a major amount of work. Since that release, RtR has remained active and has been a staple on many of the riddims for a very healthy variety of European producers and labels (as you're about to see now). In the process, as I said, he's become even more talented than you'd recall from the first album. 

So how about a second album? For his sophomore set, Rebellion The Recaller has worked alongside Elite Records, from out of Switzerland and just in case you haven't been following along, he's going to give a grand opportunity to catch up. "In This Time" is an album which features some TWENTY tracks (again, everyone wanted to stock up on track numbers, knowing we would have to catch up when we returned) (watch the strategy - just like last time) and, by my most assuredly incorrect count, NINETEEN different producers! That's semi-old school/late 1990's & early 2000's Dancehall type album compiling right there. The great thing here, however, is while so many of those sets has almost no cohesion to speak of at all, that isn't not a problem here and the album becomes one of the more DYNAMIC [predominately] Roots Reggae albums of 2012 thus far. Also in this case, although it is very much a compilation style of an piece, you do really get a feeling that RtR and Elite Records had the mind to not only go after the artist's more usual fan base, but to go after Reggae fans, in general. RtR is someone who has an extremely colourful style, he takes in sounds from just about everywhere and wraps them up into this very unique delivery, but that isn't dominant here and the prevailing vibes throughout is of him as more of a typical chanter which, thankfully, he also does well - like I said, "being really talented must be pretty nice". It is in that effort where we find RtR really excelling and hitting a level here, which simply didn't seem to exist on "Movin' On", which means that he's definitely developed over the past half decade. As a result of that, "In This Time" proves to be not only very dynamic, but accessible as well. I've dealt with albums recently which I would say were far more geared towards the type of fan who's been around awhile and has experience and a familiarity with the genre (such is the constant state, particularly, of Virgin Islands Reggae music), but I'm not going to say that here. THIS is going to be one of the new albums I would recommend you listening to (or playing for) if you are someone fairly new to the genre and before hearing it, I don't think that's a quality I would placed on RtR and even if I would have, his wouldn't have been one of the names that I would have come up with if someone asked for a list of artists for newer fans to listen to (Gentleman would have been - more on him later) (or did I say that already). But that's changed as "In This Time" proves to be a powerhouse of an entertaining Roots album - dig in!

'Don't Give A Damn'

Another quality which I found here, but was far less striking [because I'd noticed it already], is the fact that the artist has obviously focused more on developing himself as a writer. Not that he was exactly weak in that area, but these days he's even better and in the tunes released between projects, I'd come to that conclusion: He now has a great deal to say and has a more 'polished vehicle' in which to deliver those messages. For example, take in the opening track on "In This Time", the new album from Afrikan Chanter Rebellion The Recaller, 'Don't Give A Damn' (biggup Mr. G). This song jumps in over the sterling Bonafide Riddim of last year from Dub Akom and comes in as a very clever social commentary of sorts where RtR paints a picture of certain unaware members of society who have strayed away from His Majesty and are essentially walking the earth as zombies because they don't give a damn [about anything]. The first tune on this album is also its first GREAT one. 

“Tell dem there’s no impartiality in front of the Almighty

More love and sincerity-

No hypocrites amongst wi

Stop criticizing when got no clue about it

Picture yourself as on the earth you residing”

Next is a tune which may be even better, 'Ghetto'. This song utilizes a cut of the riddim made famous by the legendary Peter Broggs on the immortal 'International Farmer' tune - this version is done by Furybass. It is another social commentary and a very specific one in this instance which well demonstrates exactly where RtR is lyrically these days (especially later on in the song). 'Live In Glory' takes the album in a bit of different direction, both in terms of its actual sound as well as its content and subjectry. Another addition here is that it's the album's first of five official combinations, this one being an introduction to an artist who'll come back later, Douvi Lous. His isn't a name which is completely foreign to me, but I don't know a great deal of him either. He's another artist from out of Gambia who has been making a name for himself over the past couple of years or so, rhyming for European based labels and apparently he RtR are very good friends (I also know of another tune they did together besides the two on "In This Time". They make a fine pairing on this tune for a track which I was really looking forward to hearing and it didn't disappoint. The first quarter (told you!) of the album wraps up with two more big songs, 'Road of Life' and the title track. The former has a very serene vibes to it (although RtR maintains his own rather edgy course for his delivery) and is probably one of my favourite songs here, while the latter is interesting for so many reasons, not the least of which is that it was produced by the aforementioned IM Music (showing that they did have some further work in mind - if I recall correctly, they were going to do an album featuring both RtR and Black Dillinger) (please come back wherever you are!). And, as I said, the album is very dynamic and accessible and you won't find too many more Roots song which are more of either than this track which is excellent. 

The second quarter (told you!) of "In This Time" gets started with another attention-getter, the very familiar 'Intentions'. This Special Delivery helmed song features the aforementioned German Reggae superstar Sara Lu. . . Gentleman! It also featured prominently on his own most recent release, "Diversity" (anytime with a new one Gentleman) and wonderfully so. This is another powerful tune and one which hopefully spawns another link between the two. Speaking of links, here you'll also find 'We Nah', which, again, features Douvi Lous. While I do prefer 'Live In Glory', this song is another bit of evidence that these two work so well together and hopefully Douvi Lous sticks around and does his own project at some time for Elite Records - it would be big. 'Ultimately' is another familiar piece as it rides the Moonlight Riddim from Riga and Hemp Higher (wasn't until now that I realized that it was the same riddim used on Admiral T's DESTRUCTIVE 'Gangsta') (and it may also explain why RtR is always saying "inspired" (biggup Cali P) and it's worth checking out for the crazy Dancehall. Still, it is a BEAUTIFUL pair of tunes on the second quarter which stamp it for me, even more so than 'Intentions' - both 'Make Dem Know' and especially 'Cover Up' are sensational and some of the album's finest moments altogether. It was the latter of these tunes which basically caught me unprepared. I was not expecting it to be that good, but it was and it proves to be a wonderfully HEAVY track which you definitely have to hear! 

'Keep Me Original' w/Shabu

The next lot keeps the vibes high and does so in an unforgettable style and it's again another pair of tracks take top honours here. The first of these is the well spun 'Keep Me Original' which features RtR alongside Shabu. This one is hard to get out of mind because it runs the retooled Question Riddim via Germaican which they released last year. It's full on hypnotic, which is what it was designed to be and you'll find better songs on this album, but you might not find one - not a single one - which is any more fun than this track. And I also REALLY found something that I loved in the tune 'Oness' (biggup Oneness Records). It may not be as immediate as the tune which precedes it on the album (which I just told you about), but it grows on you so quickly if you just take a second out and really tune it in.

“Always memba, fyah neva deh yah fi ting and check 

Only there just to execute: The purpose it was create 

It symbolize is destruction in every aspect

In some ways you might know, others you ignorant

Memba you know we sharing and caring for the sake of the children

For wi living of goodness of mercy

The good wish, you wish to yourself, wish to do someone else-

In order to be granted an entry” 

This is one MASSIVE piece of a unification track unlike any other piece on the whole of the album and probably any piece of work that I've heard from RtR. You'll also find here the very recognizable 'Greatest Things' which is from a couple of years back on the Arrogant Riddim (didn't even have to look that up) from City Lock (did have to look that one up). This is another fun track, but it's fun with a message in this instance and I can actually remember listening to this song when I first heard it and literally being in the process of 'watching' it grow on me. I still like it a couple of years on. The lumbering 'How Much They Care' is another selection which requires a bit of space to grow, but this section of "In This Time" does happen to feature the only present tune which I do not enjoy, 'Revolution Time', which is its next combination track. That tune features a Hip-Hop artist by the name of Brolik and I may not need to say much more than that for longtime readers - Hip-Hop just isn't for me. 

And rounding out the album is a nice quintet of tracks which features a trio of mighty known pieces -one of which is my favourite song on the album - and a very, very interesting piece. The one tune which is none of those things is also quite nice and nearly exceptional - the Silly Walks produced 'Murderer', which finds RtR going all Buju Banton on the people (not really though). The anti-violence set is nice without really doing anything out of the ordinary and while it certainly isn't the flashiest composition on board, you could make a case that it's one of the better in general and one of the better written drops as well. 'So Cold' is a tune which came in a while back across the Gwan East Riddim and it was one of the sets to which I alluded when I said that RtR had shown an appreciable and marked level of lyrical advancement in between albums. This song is really active and in motion, but throughout it the chanter just maintains his focus while effortlessly rolling out some real knowledge in the process.

“Good of dem youth yah to be brave cah dis a di perilous time

Man ready fi commit peer bloodshed and take another man’s life

Cause di a reason dem ah claim and try fi come justify 

Look how di system work and influence dis accurate mind

Through nuff a wi ah affected cah mek dem come victimize wi 

A The Most High wi ah praise, longtime HIM protect and guide wi” 

'Genuine' may very well be the oldest selection on the record - it's from several years back on Pow Pow's big Overstand Riddim and on that creation it was a highlight amongst highlights (of course the riddim's single best song was the HUGE 'Jah Is Love' from Tenna Star) (I digress). It also happened to feature Hakim from the Suns of Light. And I LOOOOVEE 'Good Over Evil' which is just such a vibrant song. It almost sounds like a groovy Soca song is threatening to break out an any moment. Furthermore, it's another song which was produced by IM Music, which goes even further to make me wish that they would have stuck around long enough to push the album they had in mind . . . Or just anything else for that matter - this is lovely. 

BUT! The best thing I hear on "In This Time", for the first time in a long time, is the GLOWING closer, 'Cool'. I know OF this song, but I don't know that I've ever given it this type of consideration (though, referencing myself, I'd meant to). DAMN! This is one HEAVY Roots piece and fucking brilliant at times. I've drawn on words like "dynamic" and "accessible" to describe qualities about these vibes, but here all of that ends: If you don't like this one . . . Go and . . . Shit just go and find something else to do. 

Rebellion The Recaller

Overall, like I've said - come on! This album is a really good one for just about anyone at any stage in enjoying this wonderful and world's best music. And I don't say things like that too often, but "In This Time" has to be one of the LEAST polarizing musical structures that I've come across in a really long while (I'm comparing it to maybe some of Fantan Mojah's earlier stuff in retrospect???). For the more experienced listener - everything is here. It is a challenging listen, the lyrics are great, you have a big modern sound and it definitely provokes serious thought. And for the newer fans, I can't say that someone with a real talent who makes music like RtR has done one of these in a really long time either. It's so SPACIOUS that you shouldn't have much of a problem following along. Perhaps I can say that about him as well: Rebellion The Recaller demands the respect of just about everyone with a BIG BIG new album. Well done. 

Rated: 4.5/5
Elite Records
2012
CD + Digital
Review #358