As Expected: A review of Eminence by Beenie Man

Unshock. Sometimes you go into these things and you just don't know what the fuck to expect. Be it some oddly overactive artist (biggup Sizzla back in da day), someone announcing that some album that they're doing is going to be more on the experimental side, someone just unpredictable, in general (biggup Perfect) or for some other reason; sometimes you don't know even remotely what you're getting into when you listen to an album... and then there are times like these. On the other side of the examples I just gave you would be several others which virtually guarantee what you're going to hear (quality, of course, being a different story - just  talking about SOUND right now). Not too long ago, we told you about a new EP from VI standout, Pressure Busspipe by the name of "All For A Time". The set found Pressure, once again, linking with the venerable Zion I Kings, a pairing which has not only proven to be ultra-fruitful and productive but has also managed to produce a very signature sound; everyone and everyone's mom knew precisely what we were getting into in that instance (...in that particular case, the quality was also assured, actually). And that could be the signal that gives you an overview of what's going on. Sure, someone working alongside someone else doesn't always have to be the same thing but an oft-pairing of artist and label/s making a certain type of sound can definitely be a strong forecast of what is to come. This is true despite the fact that Pressure is someone who has changed things up in his career. He's made Soca and Dancehall and even an entire album full of love songs at one point. In other cases, they can just TELL you what to expect. That occurred on Buju Banton's most recent release, "Too Too Bad", which he billed, essentially, as a sequel to "Too Bad", an album built upon hardcore Dancehall music almost entirely. Again, we can talk about the results of said direction at another time (we already did that) but the route to be taken was crystal clear and, there especially, became a major selling point in the marketing of "Too Too Bad". Also, just as someone like a Perfect Giddimani can be very erratic (and I mean that in a good way), there're others who can be just as routine and calculable. When.... Mark Wonder makes an album (any time now Mr. Wonder), for example, you know what to expect because his history and his present has taught us what he does. 

And sometimes you can just... kinda... sometimes you can LOOK AT SOMETHING and have a pretty good idea where it's going. Let's say... oh, I don't know... let's say BEENIE MAN, just to name someone, was going to release an album in 2026. Most likely you'd have a pretty good idea as to how it would sound, regardless of the producer. Beenie is someone who has long entered the 'crossover' category, so whatever he does, you'd expect it to at least have some more international flavours to it, namely Hip-Hop & R&B (and maybe a little Pop as well). There'd be some big name crossover guests and some sounds that would well appeal to a wider audience. That's what he did at his peak and he's still doing it to this very day in regards to his album releases (I've been listening to a lot of "Undisputed" lately) (probably better than it was given credit for being). You'd also expect there to be an attempt to appeal to some of his more traditional heads (like You & Me) and doing that by incorporating more traditional Dancehall and Reggae music and maybe even bringing in a few names from that spectrum as well; maybe even with a few very familiar riddims. I'd also think that he'd look to make a big statement in the Dancehall. Something proclaiming himself as KING (remember that). 

SHOCKINGLY (not really), that turns out to be a decent description of the latest creation of the Dancehall beacon, "Eminence". Though it seems as if we've gotten used to Beenie taking a long time between full releases, it was just three years ago when he delivered the Grammy nominated "Sim Simma"; while It was a decade ago now that the album ahead of it, "Unstoppable", dropped. I'm going to place "Sim Simma", "Unstoppable" and now "Eminence" in the same little group as they almost seem to come off as Beenie almost enjoying a 'victory lap', of sorts. The albums haven't been crazily popular (as far as I know) or amazing in quality but they've generated a considerable amount of buzz and have done well in terms of attention. Also, it most certainly doesn't appear that Beenie Man is ready for retirement anytime soon as he's continued to put forth a strong effort at such a progressed and downright legendary stage of his career. "Eminence" finds the 'Who Am I' star linking with Billboard King Records and one of our personal old favourites, Kemar 'Flava' McGregor. Once upon a time, in the very early days of this blog, McGregor would have been THE producer of choice. The man sat on a mountain and is still to be respected so, even now, the idea of BKR making an album with Beenie Man, on paper, was pretty inviting. At some point along the way I got a look at the tracklist of "Eminence" and I got even more convinced that what I was thinking that it might be was going to turn out to be the case. I am no fan or expert of Hip-Hop at all but there's a certain quality that comes with these type of 'broader' releases and that's numerous combinations. There're a lot of people featured on "Eminence" not named Beenie Man and there are a few occasions that you run into songs that you presume will receive some run in more international circles... as expected. While I don't think that "Eminence" will necessarily get that type of outward PUSH, again, Beenie is someone who has attained a level of respect amongst international fans and I would expect quite a few of them to be interested in "Eminence". When/If they do get here, however, will they like what they hear??? 

Probably not ALL of it but some of it. Beenie Man does something similar to the aforementioned Pressure Busspipe and Chronixx with their most recent sets as "Eminence" arrives just a couple of days ahead of the completion of his fifty-third rotation of the sun. To start things off, he picks up nice singer, Rènata (who has her own album, her first, "Self Expressions", which just launched a few weeks ago) and they head to Miami and link up with Hip-Hopper, Rick Ross (I actually think Flava McGregor, himself, is also calling Miami home these days as well) for '305/876'. This tune reminds of an old R&B song whose title escapes me now (and I could just be wrong about that) and I have to say that it grew on me just a bit. Beenie drops a few wordy pearls ["Wi neva stop til wi hit di bullseye. Di baddest riddim play by Robbie & Sly"] and Rènata, with her somewhat unusual voice, definitely helps to light things up. I still don't LOVE the opener but it's probably better than I would have thought after my first spinthrough. Rick Rock returns later on, along with Rotimi, on the kind of meh 'Hat Tip'. This one is spiritual and it does have a BIG sound to it but 'Hat Tip' is a very average song and slightly behind the opener. For the album's second tune, Beenie pulls in good friend and long time collaborator, American R&B songstress Mya for, 'Don't Rush'. I don't know how many times these two have worked together and I don't feel like looking it up but SURELY their most memorable track would be the classic remix for 'Girls Dem Sugar'. 'Don't Rush' is absolutely nowhere near that level and.... I don't particularly enjoy it at all, REALLY. BY FAR the coolest thing about this one is that it seems to utilize a version of the same track that originally underpinned a song called 'That's The Way Love Goes' by Janet Jackson (who Beenie's also worked with in the past). That's it. That is THE best thing that I can say about this song but "Eminence" would have been more eminent had it been left on the cutting room floor. They could have kept 'Do It' as well, in my opinion. This song features American rapper, Lola Brooke, a name that is completely new to me anddddd, it also sounds kinda familiar, like some old song with a name that I can't quite put my finger on. This may just be my least favourite tune on "Eminence" altogether. Brooke seems to be a fairly straightforward rapper and talented enough (coming from someone who's never been a fan of the genre, admittedly) which isn't my thing but 'Do It' seems to... be offkey at times. The vocals, especially at the chorus, don't mesh really well with the music in my opinion and it just does not do a single thing for me. 

I may not know very much (anything) about Lola Brooke but the next name to join Beenie Man here is well familiar as is the song on which she joins as the spectacular Etana lends her ridiculous talents to 'Guide Over Us'. The first thing I thought when I saw these two together was probably about what a unique combination they made for. Though Etana has definitely branched out in recent times, Beenie Man + Etana still comes off as a little strange, doesn't it??  Maybe it's just me. Anyway. Their tune together is anything but "strange" and, instead, is fairly terrestrial (the video, on the other hand, is another story. You look at that video and try to make it make sense with the actual song... GOOD LUCK!. There is way too much ass in it to have some kind of correlation. The song, itself, is decent though surely nothing special but the very fact that these two worked together is an attractive point for "Eminence" - a pairing of genuine Reggae & Dancehall royalty. 

The big names continue to join Beenie Man for this album. Without a doubt, one of the finest such moments comes during the delightful 'Make Out' which pulls in R&B veteran vocalist, Ashanti and rapper, T.I. In the case of the latter, I'm pretty sure that the very first time I ever even heard TI's name was on a song he did with Beenie, maybe twenty years ago now by the name of 'I'm Serious'; so the two have a history together and Ashanti is no stranger to the spectrum at least, having mined gold alongside Machel Montano a few years ago on 'The Road'. 'Make Out' is VERY good. It's a beautiful summer-ish sounding type of song that finds just enough of an edge to not be too... sappy. Also managing just fine is 'For You', which is sort of a remake of the classic 'Anything For You' and, just as was the case on the original, this cut features several different names. Joining Beenie, amongst others are Snoop Dogg and Ele (who does EXCELLENT with his small contribution). There're almost TEN people on this track by my count and it isn't even four minutes long so yes, it does come off as a bit rapid but, again, it's a fun time and almost everyone manages to score well with the biggest credits going to the aforementioned Ele as well as Pamputtae. Reggae vet, Stevie Face, lends his gorgeous vocals to 'If I Follow My Heart' which isn't a total loss, I suppose, but it also isn't very good. Where 'Make Out' avoids the trap of being entirely too damn mushy; 'If I Follow My Heart' most certainly does not. It falls right into the hole. 

When the friends take a step back and leave Beenie Man on his own, "Eminence" shines its brightest... for the most part... arguably. Not included in that statement AT ALL is the wholly awful 'She's A Good Girl'. 

"Girl you born pon a pum pum farm!"

And that's all that needs to be said about that one. There's also the AIGHT 'Bands' with its big sound. 'Bands' actually has a place on this album because it is somewhat related to my favourite song here, that it follows. THAT tune is also kind of bragging about the levels that Beenie has attained (and nothing wrong with that. You did the work - enjoy it!) but it's almost vacant at times and I'll go into this more in a minute but there's a nice distinction to be made between similar songs and why one sticks out and another does not. Substantially better than both the songs that I just told you about but still a distance from GREAT would be the closer of "Eminence" 'Heavenly Father'. It's pretty much what you'd expect (sound familiar??), with Beenie offering up a prayer to close out on. Though largely unremarkable (a year from now, you will not remember it being on "Eminence"), it isn't fully devoid of any quality at all; it does have its moments, just not a lot of them. A step up from that (you see where this is going) would probably be 'Friends For Life' which finds Beenie touching up a classic riddim whose name I always forget. 'Friends For Life' actually has a bit of substance to it and one (or two) which I've been high on for years now. Appreciate people while they're in your life and make them know it because, "Nobody never promised tomorrow". I think more could have been done with this song but, to its credit, 'Friends For Life' does crawl out of its shell more and more as it progresses; ultimately with Beenie Man seemingly set out more to make a point than to make a song. 'Kingsteppa' actually made me smile and it was around here that I started to catch on what was happening DIRECTLY with "Eminence" (and not surprised by it at all). This one is an ode to Ini Kamoze's legendary 'Here Comes The Hotsteppa' and that vibe did something to my brain! It got me all nostalgia'd out (and my Wife too) and it's not going to change lives (none of this stuff is) but WHO CARES! 'Kingsteppa' is a damn good time! More good, fun stuff comes through on 'Marijuana in the Kouchie'. 

"And mi nah smoke cigarette cah mi nah waan mess up mi lung

Mi fit like a Honda cause e very morning mi run

To how mi love Mary Jane it cause problems with mi and mi hun

And mi nah memba and ah hum, mi just ah hummmm"

Across another classic riddim, 'Di Doctor' absolutely glows and 'Marijuana in the Kouchie' represents one of the all too infrequent times where it appears that he is genuinely having a great time (again, more on that in just a second). The results stand up for it as, EASILY, it ranks as one of the biggest highlights from "Eminence". Even better is the damn infectious 'Doll'. The vibe on this one is just perfect for what it is and also showing up is the wordplay. Songs like this don't tend to leave much of an impact but there is a difference with 'Doll'. It's a fairly straightforward but ALL SORTS OF FUN gal tune and it scratches an itch that "Eminence" definitely needed taken care of. THE most eminent moment of "Eminence" is the song that I alluded to when I said, "I'd also think that he'd look to make a big statement in the Dancehall. Something proclaiming himself as KING (remember that)". This the HAMMER of this album. It doesn't really have a set course but Beenie does provide what I believe is the punchline of "Eminence":

"Mi nah go nowhere"

As a testament to his longevity (and around for SO long at such a high level. He now has peers in Dancehall (or whatever that shit they make these days is) that were not on the planet when he started making hits and he's older than their parents) and efficiency, he tears into 'Immortal' unlike anything else present ["Over two-thousand hit song. 'Sim Simma' and 'Romie', unuh choose one"] and, again, provides us with a most needed thrill in the process. BOOM!

Two things I want to touch one about the balance of this release. When Beenie Man is, in my opinion, at his absolute best - yes, he's impressive lyrically and he makes a really catchy and flaring brand of Dancehall but it's also ENTERTAINING. He doesn't take himself very seriously at all (he's the ever iconoclast to Bounty Killer's rough and gruff style) and it's a BEAUTIFUL quality that comes through in his music when he's really on his game... just ask Romie... and his big fat sister Naomi. You don't find a lot of that during "Eminence", unfortunately. A song like 'She's A Good Girl', for example (and it's the final time I mention it, I promise), is playful and it's dirty as hell but it isn't really fun to listen to outside of it being awful. The approach actually sounds a little RIGID and formulaic and it isn't alone in that. Also worth mentioning is the preponderance of familiar sounds. All of the old riddims and melodies that come through seems like the intent was even more so focused on capturing that international ear. As a more hardened head I don't have much of a problem with that particular aspect --and it works better in some instances than in others-- but, along with the various names involved, it's another piece of evidence as to exactly what was the thought behind "Eminence". 

Overall, I don't want to seem like I'm being too hard on this one because it's not far, at all, from what I presumed it would be when I saw the tracklist in terms of quality. I wasn't expecting "Eminence" to be some fantastic, best of the year type of album and it most certainly is not; it's right in the middle. Some of it is (one of it) is truly bad, some of it borders on the spectacular and MOST of it is somewhere in between. That's something else that sort of gives me that inclination that it best stands as a "victory lap" type of set and... hell, he's earned it. While you will neither find Beenie Man at his best or anywhere near it on "Eminence", consistently, but what you will find, in spots, is the handiwork of an undeniable, bona fide legend and one who is, OBVIOUSLY, at a point in his career (and has been for years) where he is well aware of his stature, and he should be.... but you knew all of that already. 

Rated: 2.65/5

Billboard King Records

2026

The Vault Reviews: The Bellyas Riddim

The ages. The older I get, the more appreciative and respecting I become of the adage 'you don't know what you've got until it's gone'. Things change so often and so unendingly that it seems so many times that, once you've gotten used to something and maybe have started to enjoy it, that thing is gone, outdated and we've moved on to the next. Theoretically (and actually too since we can't do anything to stop it), this is just fine. Things should evolve and progress (or regress, depending on your point of view) in order to not stay stagnant and this couldn't be more apparent than when you apply it to music. Different generations of people produce different sounds. If you say it like that, it makes perfect sense and it kind of hobbles (even more) the old man on his soapbox talking about, 'well back in my day...', telling the youth how shit their vibe is. They should be different. They behave differently. They speak differently. They dress differently and they should enjoy and make a different type of sound. That being said, however, when you are on the end of things where you are supportive of the outgoing trend... well, it's kind of fucked up and I find myself there these days when it comes to Dancehall. I try only to lift up what it is that I miss instead of stepping on what I hear these days (out of fear of being that old man that I just talked about) (no one wants to be him) but damn do I miss 90's and 2000's Dancehall. There was a clear and obvious sound there which differentiated it from any other in the entire world, to the point where you could play a riddim behind an artist from another, from anywhere in the world and what they would come up with would be described as 'Dancehall infused' or 'Caribbean infused', something like that. You'll STILL hear that description, in fact, if it happens with an older riddim but, outside of that, you're normally only going to get that if you literally have a guesting artist from Reggae. In the current sense. It's gone... but, like I said, I'm not going to step on anyone in this review. The riddim 'culture', in general, is largely a thing of the past and I've heard several individuals lamenting the change over the years (biggup Red Rat). As far as the sound, what we have these days is far more akin to what you'd hear in Hip Hop circles (don't love Hip Hop, never will love it) and that infectious, hypnotic, thudding bounce that once characterized the entire sub-genre has become so frustratingly rare and difficult to find.

Once upon a time it was inescapable. Perhaps, a very easy way to quantify just how prevalent riddims were would be to look at one of the genre's most popular compilations ever, the once mighty Riddim Driven from VP Records. Way back in 2000, the series began with its very first edition, The Chiney Gal & Blazing, and would spend the next decade or so bringing together some of the Dancehall's and Reggae's biggest riddims before concluding in 2010 with The Classic. Coincidentally, at literally the exact same time, VP's biggest competitor at the time, Greensleeves Records, was busy with a series of their own, the Greensleeves Rhythm Album Series (original, I know). The difference between VP and Greensleeves, at least for me, was that Greensleeves would deal with a bit more in the way of... GRIMEY kind of Dancehall music and, right up until the near end of the series (which actually went Reggae), I found myself rarely surprised by which riddims would end up on the GRS and it definitely had something to do with how the pace was initially set and by whom... with what.

Ward 21 & Greensleeves

The very first installment of the Greensleeves Rhythm Album series would also arrive in 2000 and it would go on to do some serious damage of its own and also showcase the prodigious behind-the-scenes talents of its creator. I don't even know what's the very first thing that comes to the minds of most fans when they hear the name Ward 21 these days but I'll tell you what I'm thinking about when they come up: DANCEHALL. Even all of these years later, the Ward's Andre 'Suku' Gray remains one of the very few maestros on whom you could fully depend on to deliver genuine Dancehall music, via his Misik Muzik label. Way back in da day, the Ward was working on making their name and building their reputation in doing a lot of work for the immortal King Jammy and, of that early union, was born a legend (probably more than one if you really think about it, but one in particular), the indomitable Bellyas Riddim. Within the conversation of the single greatest riddim of all time, in my opinion, the Bellyas has a seat at the table. It's in there somewhere and with good reason. The Bellyas is dark. It's heavy. It's THICK. It's a lot to deal with and it especially promotes SKILL. It isn't the easiest riddim to dig into and deal with, which is always a great quality because you can literally hear certain artists struggling to find a melody in their delivery against others who do so effortlessly. It also helps when you manage to pull in what is undeniably one of the GREATEST DANCEHALL SONGS OF ALL TIME from one of its most gifted of champions on your riddim as well. Looking back, though the Bellyas has gone into a catalogue full of damaging creations from the Ward (alongside others from the time such as the Bada Bada, the Volume, the Da Joint ["It no matter if you have yuh friend dem fi defend you. From you dis The King, dat mean a hell man ahgo send you"] (biggup Determine), the ALL CONQUERING Trilogy and a few others), it probably stands out as THE best track they've done to date still (though the Trilogy does run it very close). Ward 21's catalogue represents a bit of a golden era for Dancehall music for me. Their work, at their most active and best, was downright thrilling, looking back and I MISS IT! At the time, of course, you think it's going to go on forever but now you realize how venomously BRIEF it really was. Most fortunately, there's nothing at all that says we can't go back and relive just how DAMN NICE it was. Let's talk about it.

There was a time when I can recall being downright frustrated at just how often or in-often Greensleeves would actually release albums by artists. In comparison to feeding their riddim series, for several years in there, it was a rare occurrence at times. Ward 21 was a favourite of theirs also. The group would supply the label with three of the first five tracks from its rhythm album series (and, subsequently, go on to release their first two albums there as well in 2001 and 2003, respectively) (both of those albums, "Mentally Disturbed" & "U Know How We Roll" have aged excellently, btw). That includes the very first edition of Greensleeves Rhythm Album series, the Bellyas, which gets going with what is, CLEARLY, its greatest moment 'Who Dem' by Capleton. I'd likely go as far as to make the claim that 'Who Dem' ranks as one of the finest modern Dancehall tracks EVER and it's the best song the Bellyas backs, as it was also the best on Capleton's opus, "More Fire" (...and probably any other album that you'll find it on as well); but you knew all of that already. The unfortunate task of following 'Who Dem' FORTUNATELY fell into the most capable hands on the Bellyas, the Ward themselves, who check in with the first of a pair of offerings, 'Model and Pose'. Though the lesser of their two, 'Model and Pose' is still a pretty good time albeit one which strives and almost revels in how basic it is (especially for a W21 tune). Later, the Ward returns with the stronger and significant (in an entirely ridiculous kind of way) 'Blood Stain'. While 'Who Dem' is THE best song on this riddim, 'Blood Stain' holds a serious claim to being #2. This song is madness and it wholly exemplifies what Ward 21 does when at their best: Along with allowing Suku, the "Deep Voice God", to do what he does, the others create chaos around him but it's still fairly centered. I think it says much that, between 'Model and Pose' and 'Blood Stain', only one of them was featured on the Ward's subsequent album, "Mentally Disturbed", and 'Blood Stain' was the one chosen. Although cringy (with all that damn moaning), Mr. Vegas' 'Two Minutes More' actually proves to be relatively solid, in retrospect. It makes its way based largely on being pretty clever, lyrically, and Vegas also sustains well (there's a term here that is popular, "flow", I kinda hate that word but that's what I mean by "sustains"). I wasn't much of a Vegas fan at the time (am moreso now but still not a HUGE fan) but credit goes where it is deserved. Speaking of sustaining, Beenie Man provides a heavy dosage (biggup the doctor) of sustenance all over his cut of the Bellyas Riddim, 'Skettel Tune', which features the handiwork of Angel Doolas as well. I hate to say it but in the name of transparency (whatever the hell that is), I've always felt that 'Skettel Tune' would have been better if it were sans Doolas. Typically, I think his presence is well welcomed but not this time. His offerings are kind of awkward while Beenie damn near shines. Moses completely sparkles the next time we hear from him on the Bellyas with another track that could very well be #2 and is, AT LEAST, its second most recognizable selection, the brilliant 'Heights of Great Men'. You listen back to it now and it kind of represents a brief golden era in Dancehall when giants Beenie Man and the aforementioned Capleton were having a bit of a spat and 'Heights of Great Men' was a large part of Beenie's public offense on the subject ["So tell mi how di hell you go sign to Def Jam"]. Chasing the album's first combination, 'Skettel Tune', is its second, this time featuring a triumvirate of Dancehall regulars from the era: Elephant Man, Lexxus & Kiprich; who team up on 'Ghetto Youths'. None of the three offer what I consider to be their absolute best effort but, at the same time, none of them necessarily struggle either. 'Ghetto Youths' was, ultimately, an OKAY tune and it still is but its most remarkable (at least to my ears and maybe only mine) is that it appears to receive an ever so slightly more enthused version of the Bellyas than pretty much everyone else. Lexxus also gets another run out on the Bellyas (yes, I'm about to end this big ass paragraph) with his second piece, 'Halla Halla'. Again, there isn't much to see on this one. While I won't call it annoying and it does have its moments, 'Halla Halla' wasn't a standout in its day and it doesn't carry much weight in 2026 either. Fuck it, I'll mention 'Naah Go Switch' here as well, Kippo's solo track. This tune goes unexpectedly hard for what you may've been expecting. It's full pre-warbot Kiprich and it's fun but it isn't stellar in any way. Kiprich would later show his class on such songs but 'Naah Go Switch' wasn't quite there (this is probably THE longest paragraph I have ever written). 

The Bellyas also featured the infamous 'Skin-A-Slap' by Red Rat. I don't know if I ever had a great emotion (of any kind) towards this one but, all of these years later, I can recognize only the positives. 'Skin-A-Slap' is absolutely hilarious:

"....my yute, yuh cellie

'Tell dem fi call back'

But my yute, a Kelly

Mi nah tell her nothin, better you come tell it

MI NAH KNOW HOW YOU AH SHH... SO LONG AND MI NAH SMELL IT"

I can remember quite a few people (I think even Beenie Man) having a problem with 'Skin-A-Slap' and although I can see the (hear) (not SEE) (thankfully)(...no one wants that) the source of the controversy, the song featured the underrated (including by me) rodent on a creative and entertaining pillar. I was never the biggest fan of Red Rat's and I was even less of a fan of Alozade back in da day (there were a few of them back then who just never did much for me and he was one of them) (Buccaneer was another one) and it was kind of sweeping, for the most part. I can't name a single one of his songs that I even sort of enjoy and his cut of the Bellyas, 'Prowler' most definitely isn't the exception. I won't dwell on it for long but the chorus on 'Prowler' is... challenging, there's way too much of it and I'll leave that there. A contemporary of the Rat and Alozade's challenges W21's "Blood Stain' for the champion of the second quarter of the Bellyas Riddim album as Spragga Benz delivers the absolutely blistering 'Praise'. Spragga dazzles on the Bellyas in a way in which is a little deceptive (and I mean that in a positive way). He meets the aggressive track in a way that sounds as forceful but it isn't. This is a masterful matador with a bull and, easily, one of the most skillful displays on the whole of the Bellyas (arguably, THE most) (not the BEST song but the most adroit). Someone else who definitely hits the target is the Ancient Monarchy, Frisco Kid, who checks in with 'Wash Pan'. Although kind of funny at times, the women-empowering cut is a strong display of one of the more overlooked and undervalued talents of the times (I have a very healthy appreciation for what Frisco Kid was able to do with his career these days and he's still out there). Madd Anju may not necessarily appeal to everyone (no one does though) but I've always appreciated his skills and the characteristic 'Dat Nuh Mek It' didn't detract from that appreciation at all. Generally, there's a comedic value to his work and that's found all over this one: 

"Gal weh have baby like puppy

DAT NUH MEK IT

Big big man weh fraida duppy

DAT NUH MEK IT

Man weh have stinkin foot

DAT NUH MEK IT

Gal weh too hype and can't cook

DAT NUH MEK IT"

For me, as I've said in the past, Anju is one of the most inventive artists the Dancehall has ever produced and, when he's anywhere near his best, it is a FULL JOY to listen to his work. I also have to mention Mega Banton, who I'm also a fairly big fan of, who went in a controversial direction with his tune, 'Tight Pants'.  Songs like this one have an obvious baggage to them these days but I have a very large level of respect for for Mega's talent but if you don't, I do understand why (...if this is the only tune you've ever heard from him and ONLY if this is the only tune you've ever heard from him) (otherwise, you have no excuse at all). Goofy (Mr. G) (I think either name is fine with him these days) does just fine with his piece on the riddim, 'Naah Heng Out'. Goofy (like Red Rat) was a member of the once mighty Main Street crew, helmed by Danny Browne (the most talented of which was General Degree) and he had some very nice songs. 'Naah Heng Out', which cleverly combines more typical/terrestrial Dancehall topics with more substantial ideology (primarily being anti-abuse of women) would have definitely been on the higher end of Goofy's releases in my opinion. You'll find a slightly stronger tune featuring the two on the aforementioned Badda Badda riddim (and they've also had another one since these two) but 'Live Up' is another very high level selection linking together Bushman & I Lue. Their other track, 'Send Dem Come' is a near personal classic for me but 'Live Up' holds its own and interjecting a well received bit of excellent consciousness into the madness here. In retrospect, I'm actually kind of surprised that things didn't turn out better for I Lue. He is incredibly gifted (and still out there, just had at least one big new single a couple of years ago, 'Love Rastafari') and though the stars never seemed to quite align for him to reach a level of stardom, his catalogue is well worth going through, even today (also had a big tune on one of my favourite compilations ever, "Culture Dem", called 'The Sabbath'). 

The remaining trio of selections on the Bellyas are by veterans and name from the era who I don't feel really hit the mark with their selections. The bottom of them is likely 'Tight It Tight' from Jack-a-Diamond. This one is about exactly what you think it's about and it just isn't very good and it's non-imaginative. J-a-D is someone else who I never really caught on to but I have seen a number of interviews with him and find him to be a very impressive human being, for whatever that's worth... in a music review. Slightly ahead of 'Tight It Tight' would be 'Mix Up Time' by Hawkeye. I was never a fan of Hawkeye's either (he had a tune called 'Twingy Twang' which had a pretty good run. I fucking HATED that song) (and I just listened to it and I STILL FUCKING HATE IT) for some reason and this tune, at least for me, never really got off the ground. And lastly, 'Wi Like It' also didn't do much for me but neither did its creators, Tanto Metro & Devonte. The derivative (of a song from the 1980's by the name of 'Tom's Diner', by American singer, Suzanne Vega) chorus of 'Wi Like It' is painful. It is tough to get through and it comes off as a really cheap way of trying to find a melody on the Bellyas and it did not work at all for me (though the rest of the tune isn't anything special, it's far better than its chorus). 

The very fact that the Bellyas album (like most of the Greensleeves Rhythm Series albums) even existed in the way that it did is a rather large statement on the state of those times. It was too damn long. It just was. Checking in at north of seventy minutes, spread over twenty tracks, you got ALL of the Bellyas that you wanted and so much more. The very fact that they did this at a super-consistent rate FOR YEARS (which, obviously, means that they were happy with the revenue that they were receiving from them) definitely speaks to the strength of an unfortunately long gone time in Dancehall music. And I also have to mention that Bounty Killer NOT being present on this track is one of the most regrettable situations of particular artist missing particular riddim that I can think of (Lady Saw, Ce'cile or Tanya Stephens would have been nice as well)... and there not being a clean version of the riddim included is also kinda criminal (thankfully, however, the internet masters have remedied that).

Overall, no, the Bellyas Riddim ALBUM wasn't the greatest riddim album from Greensleeves (if you're looking for the pinnacle of the series, check the later editions, which would go Roots and tracks such as the Diwali and the Masterpiece, from Lenky, where the riddim changed many times over the course of the overstuffed album) but.... DAMN, WASN'T IT SO MUCH FUN! It still is and, listening back to it now, it has not only a nostalgic appeal to me but also one which (almost certainly because of its rarity these days) almost sounds revolutionary. It sounds like something that could set a trend. That is a credit to the riddim's creator, Ward 21 and the lasting quality of their work. Now, when you place it in the context of, again, an album that is... admittedly downright exhausting at times what you ultimately end up with in the Bellyas Riddim album a quarter of a century later is a celebration of a classic and absolute juggernaut of a track. One of the best Dancehall riddims of all time. 

Rated: 3.5/5

Greensleeves Records

2001

Bounce Back?: A review of the Recoup Riddim

Come again. As I'm sure I've said in the past, one of the worst things about getting older, specifically as a music fan, is having to powerlessly accept and/or just deal with just how much things have changed. When I was younger I steadfastly wanted to ensure that I wouldn't become some spiteful old creep walking around talking about, "back in my day...", essentially pissing on current music and artists which is why I tend to just refrain from talking about such things except when I'm impressed (biggup Eesah) and keep the negativity in my head. Looking at how Reggae is these days, there're several things which I definitely do miss and not the least of which is my beloved DANCEHALL. The saying is that 'you don't know what you've got till it's gone' and that is SO true and applicable in this instance because I don't know that I would have ever been capable of processing just how precious something that I considered to be so BASIC was. Who knew that we'd all wake up one day and 'DANCEHALL' would not be Dancehall anymore??? How the hell did that happen? Where was I?? What is referred to as Dancehall these days is basically Caribbean Hip-Hop and it's something that we all have to manage. I do foresee a return to that candy-like two-drop sound (that's what I call it. Roots is the one-drop. Dancehall is two-drop) at some point, but I may or may not be around to actually experience it and that makes me sad! The days of a producer making a riddim (of actual Dancehall music) and spreading it around have become increasingly rare over the past half decade or so (I remember Red Rat having something to say about it a couple of years ago). Expanding on that sentiment, one of the products of that older sound is the once downright overly-prevalent riddim album. In the not too distant past, Reggae album shelves were dominated by albums (by people named Marley) featuring multiple artists going on the same riddim which were seemingly released multiple times over by albums starring a single vocalist. Some of these were very big deals as well as both genre leading labels, VP Records and Greensleeves, once released such sets as part of their running series, Riddim Driven and Greensleeves Rhythm Album, which were very popular in their day; with the former even birthing a still active (as far as I know) clothing line of the same name. Personally, I reviewed quite a few of these things (once upon a time, some idiot I know even went as far as to catalogue both series). They were FUN in their day and now, looking back, I miss them both... a lot.

And OCCASIONALLY we get to go home. Coincidentally, as Riddim Driven as a functioning entity was coming to an end, one of its most frequent contributors was a producer by the name of Kemar 'Flava' McGregor and, if you enjoyed Roots Reggae music during the late 2000's/2010's or so, Flava's is a name with which you should be well familiar. The once mighty producer of No Doubt Records was responsible for supplying the genre at the with some of its largest releases from the likes of Richie Spice, Nesbeth ["Mi boardhouse bun dung inna gang war wah day. Now mi nah have nowhere fi stayyyyyy!"], Ginjah, Etana  (more on her later) and others. He also released some of the biggest riddims, several of which featured prominently as apart of the aforementioned Riddim Driven series and if there is never another edition of the series (and I would be surprised if there were), Flava McGregor and No Doubt Records will be known as having produced the final Riddim Driven ever in the form of 2010's VICIOUSLY SWEET Classic Riddim ["We only got one, life, to live. We should make no apologies"] [BOOM!]. He'd also produce full albums for many including Anthony B, Sizzla Kalonji, Turbulence (personal favourite of mine, "Join Us"), Natty King and was just... EASILY one of my absolute favourite producers going during his day. When No Doubt Records was on top, they were consistently spectacular.... but nothing lasts forever.

There would come a point where I would legitimately come to DISLIKE what McGregor was up to or at least someone using his music. At the start of the digital/streaming age a few years back, SOMEONE would end up flooding the market with release after re-release after re-release of.... the same shit everyone had already heard. It seemed as if a couple of weeks or so wouldn't go by without SOMETHING being released on that front with a new cover and, as for McGregor himself, he seemed to be spending more time making news for goings on inside courtrooms than what he was doing in the studio and it made me sad! I had given up on Flava McGregor and and No Doubt Records and had no reason to return.... at least not until very recently. As I said, though the days of that giant Dancehall riddim (and subsequent album) just destroying absolutely everything in sight may be a thing of the past (for now) OCCASIONALLY there can be exceptions, or at least ATTEMPTS at exceptions. The case could be made that the single greatest producer that the Dancehall has ever seen has been the great, enigmatic and downright reclusive Dave Kelly. For the better part of four decades the brother of the great Tony "CD" Kelly (also still going strong and one of the greatest Reggae maestros EVER) has been responsible for what has to be considered some of the most colourful and ingenious tracks in Dancehall history, largely for his Madhouse Records imprint (my own favourite would be.... maybe The Return Riddim?) and, were you to go traversing through Kelly's amazing vault, eventually you'd stop around 2000 or so and land on the Bounce Riddim. The Bounce, done for X-Tra Large Productions, didn't necessarily carry the biggest of hits, but it was BRILLIANT! These days it is likely best known for a pair of Baby Cham tunes, the unforgiving 'Man A Man' and 'Babylon Bwoy', but stellar efforts also came from the great Spragga Benz, Beenie Man and, ESPECIALLY, General Degree who scored a nice sized hit with his 'Ooh Yeahee'. Now [!], had you told me at any time during the last decade or so that we would get to a point where Flava McGregor would be remaking an old Dave Kelly riddim, I would have laughed my entire ass off at you and I would owe you an apology because, lo and behold, here is the Recoup Riddim from McGregor, it's a remake of the Bounce and it is, in fact, 2024. WHAT THE HELL IS GOING ON??! It defies all logic and common sense, but I am here for it! Why is this happening? I don't know and I probably don't care. CLEARLY, McGregor was a giant fan of the track and thought to himself that, if he had the chance, he'd love to do a remake and it's worked out. The Recoup Riddim comes through a channel simply called Kemar McGregor (that's the literal name of the label it's on) and it is a relatively unchanged remake of the original, nearly quarter of a century old Bounce Riddim.... but how good is it, REALLY??

...meh. As far as the vocal artists appearing on the Recoup, it is a very healthy mixture of heavy-hitters and kind of next tier names, with up and comers. Generally speaking, to my experience, that is EXACTLY what you want to see on a big and well populated riddim. What happens when that does occur is that you, as a listener, are more likely to  gravitate towards something that they'll enjoy from someone that they are familiar with and (perhaps most importantly) you may come away with a new name to look forward to hearing in the future. Taking the first shot at the Recoup Riddim is, arguably, the heaviest of of the heavy hitters as Buju Banton blesses the track with his 'Slogan'. You take a moment and realize the magnitude of what happens here: This is Buju Banton on a classic Dave Kelly riddim that he never voiced. That is a really big fucking deal and what results is, clearly, the single best moment you'll find on the Recoup Riddim, although I'd stop just short of calling it a bona fide "GREAT" tune (although it is close). 'Slogan' is fun -- hear that chorus -- but it isn't necessarily vintage Buju. 'Fun but not vintage' would also be an appropriate description of the second tune here, 'Vibrating' which features the great Beenie Man alongside Denyque. This track has a very cool R&B vibe to it when Denyque comes on with those sterling vocals, making a most compelling blend with Beenie's consistently fairly aggressive delivery. It's at this point during the album for the Recoup Riddim where strange shit begins to happen and none are more downright bizarre than 'Mirror' by the aforementioned Etana. Let's get the review stuff out of the way first: 'Mirror' is bad. It's probably the first time I've ever said that about a piece from the August Town certified veteran (and may end up being the last time), but IT IS A BAD SONG. It's full of worn, tired and dirty Dancehall cliches and someone of Etana's abilities could probably roll out of bed and top what you'll hear on 'Mirror' with the slightest of effort in my opinion. On the other side of that is the fact that the tune is somewhat 'controversial' as the vocalist does go on the more sexual side of things, but I'm fine with that aspect. Many (like almost all of them at some point or another) of Etana's famous male peers have done similar things (including August Town's most famous resident) and we've gotten used to it through the years, so I'm not going to judge her harshly AT ALL for the direction here... but it is trash. I-Octane throws even more petrol on the dumpster fire with his effort on the Recoup 'Love Punanny'. To put it context: 'Love Punanny' is considerably better than 'Mirror' but it is still a few hours' drive away from being decent (and, it should also be said that Octane & Etana have dropped 'Ganja For You', a tune far more befitting of both of their monstrous gifts, also for Flava) (wouldn't be surprised if that's a single for McGregor's next track), Last year, I-Octane released a collection of songs called "Dancehall Gift" which proved to be a complete curse, it was terrible, but demonstrated the direction he's been working towards more often these days. If that is your type of thing then 'Love Punanny' will work for you because it's better than the vast majority of tunes featured there. So when you need someone to right the ship, who do you call after a couple of less than stellar offerings??? Of course you call the Energy God (are we still referring to him as that?? Ele's probably almost fifty years old and he has a comic-strip villain nickname) and Elephant Man doesn't disappoint (and when I saw his name on board, I had full confidence that he would shine on the Recoup) with 'Nuh Shaky' and he does while outlining the fact that he cut no corners and he earned his way to the top, legitimately

The bigger names return later on, while the middle portion of the Recoup Riddim album is, for the most part, carried by second tier names with up and comers and... it does not feature much [anything] in the way of memorable material at all. The biggest winner of the lot probably goes to 'Seh Dem Bad' which comes courtesy of wide voiced vet, Singer J (Singer J has a VERY unique voice if you REALLY listen to him). 'Seh Dem Bad', to be completely fair, is quite strong and very interesting as it features a route taken on the Recoup that no one had gone prior to it.

"I seh him mother call him

Tryin fi warn him

Sit him down neatly and inform him

Seh, inna badness thing - she don't want him

ONLY THING BADNESS GIVE IS A COFFIN

Di bwoy laughing, nah tek no talking"

The very next set is also well done as D'yani comes solid with '911', which takes the guidance of the previous tune and steps it forward in adding a more general social context to it. D'yani, effectively, comes up with a social commentary in a region (biggup JahSolidRock) where you probably weren't expecting to find one and, again, it won't be the best of its kind that you've EVER heard but with where you must go to locate it, '911' formidably serves its role.... and that's about it! The other three offerings in here, 'Say Yes', 'Glue' and 'Top Class' from Tifa, Honorebel and Zed Regal, respectively, range somewhere between 'nuh-uh' and ABSOLUTE RUBBISH. The worst??? Maybe 'Say Yes' and I say that probably relating it to 'Mirror' in some way or another (which probably isn't fair), but 'Mirror' is better than 'Say Yes' and we've already established that 'Mirror' is horrible. It, too, is built upon well traveled and should-have-been-buried concepts which, in my opinion, are not at all empowering of women as they are intended to be (suggesting, at least in part, that people should take pride in the.... snugness of certain parts of your anatomy....). It is a sentiment Honorebel would agree with as he makes, basically, the same damn song as Tifa but from a male perspective and, not to be outdone, Zed Regal doesn't stray far from either; although he does do far better than both with the wholly unremarkable 'Top Class'.

 Given the fact that he has had some well publicized not so nice interaction with Flava McGregor which took place in a courtroom, I was quite surprised to see Khago associated with Recoup Riddim but apparently bridges have been mended and all is at least well enough to work together. The result of this one is 'Whine Up For Me', which is another tune that I do not love, HOWEVER, 'Whine Up For Me' does have a few moments that set it apart from being a bad song, in my opinion. I've never been the hugest fan of Khago's but he is, at his best, talented and he's also one of those types of artists who've been around a lot longer than you may realize. The final vocal outing on the riddim is the 'old school' 'Scaleillan' from Turbulence. Given what Reggae has been through, you don't very often hear such tunes as this. They're very controversial (and, to be honest, their decline has been a good thing, in my opinion. There was a point, maybe fifteen years ago, where that discourse seemed to be THE single biggest and most prominent issue in the genre) and can be detrimental to the artist, as we have seen in the past. Turbulence, seemingly, doesn't give a damn and makes his point with 'Scaleillan' (although it isn't as... 'direct' as others and features a brand of condemnation which is less centralized and further reaching. You could very well make the argument that, even still, the biggest hit of Ginjah's career was a tune he did for Flava by the name of 'Never Lost My Way' ["WHEN MI SING, MI NO HAFFI RICH! A NO MONEY MAN AH LOOK AFTER THIS!"] (arguing against you would require some serious thought), so neither the presence of the golden voiced singer nor the quality of his effort on the Recoup Riddim, 'Judgement', came as any surprise at all. 'Judgement' soars and does so in a most interesting way with a theme that is part warning & part uplifting. Also have to mention the PASSION coming from Ginjah on this one, a feature of his music is absolutely saturated in when the Hanover native is at hist best. 'Finally' (literally have three more songs to talk about and I'm saying shit like "finally") (bad habit. My apologies) check 'Nuh Leany Leany' from Ghandi which I was so happy was included because it sorta/kinda makes up for some of the more filthy material you'll hear throughout the Recoup Riddim. 'Nuh Leany Leany' has elements to it that are definitely on the slack side ["STRAIGHT! Nuh leany leany. Tight pussy gal dem alone can pree mi Dem ah rub mi down like di bottle of di genie"], but it's also inventive and not.... tired as hell. The skill is present and, I most certainly am no prude and can appreciate such a piece when it is well done. 'Nuh Leany Leany' is fun (minus that small section where he does that annoying run-on thing with the delivery) (You'll know what I mean). Also included is a clean version of the Recoup Riddim, so you can try it for yourself at home. When I used to review riddim albums, nearly ad nauseam, this was a feature I always tried to highlight because the riddim, TECHNICALLY, is the actual star with projects like these and it deserves a chance to shine - all of these years and not much has changed. I still do appreciate them, greatly.

Overa.... WAIT! It took me so fucking long to write this review (I'm old), that Flava went ahead and released a Deluxe Version of the album which carries a couple of extra tunes, both come from The Doctor, Beenie Man, 'Yaadie' and 'Spend It'. The latter is useless. It sounds like a freestyle and you need not pay it any attention at all. I get the feeling that Beenie was just so damn happy to have another go at the Bounce, that he just stayed in the studio, doing whatever came to his mind and just got it all out.... but whatever "it" was, was CLEARLY emptied before the beginning of 'Spend It'. 'Yaadie', on the other hand, is FANTASTIC. It's better than 'Slogan', as Beenie sets fire to all those with hideously misguided attractions (not too dissimilar from his go on the Bounce Riddim, 'Troublemaker') and he spares no targets and leaves no stones unturned!

"Number one: No rest in peace fi Michael Jackson

My songs caan sing no Frankie Paul song

From di family playlist - R Kelly banned

How some big man waan fi play Peter Pan?!"

Overall (I mean it this time), no the Recoup Riddim, as an album, isn't very good. It seems as if several of the artists heard that beautiful old school riddim and decided to serve up some of the most basic... dirty Dancehall that they could muster and it really does manage to weigh things down which is unfortunate. However, when it does actually work, what results is just a HINT of that deplorably presumably gone.... sweet, sweet era of music. Unsurprisingly, it is genre of the veterans such as Beenie, Buju and Ele who arguably shine the brightest (with a big respect to Ginjah as well), and it would have been damn interesting had such a project been loaded with the likes (with the biggest name missing being that other B). However, while I'm not likely to look back at the Recoup Riddim completely kindly, Flava McGregor does deserve credit for pulling together an ambitious project and on which, at least in spurts, gives fun vibes from when everything felt like home.

Rated: 2.5/5

Flava McGregor

2024

Da Grammy's 2024!

Okay so, we look up at the calendar and what it tells us is that it is now that wonderful time of year where we all sit around and... make fools out of ourselves by attempting to predict just who will take home the Grammy in a few months, as the nominations for the 2024 (and 66th) Grammy Awards have been announced. As usual, there were some (most) expected nominees and one or two (one) unexpected, but here we go, let's take a look at them and make a certain to be incorrect prediction as to who takes home the prize. 

"No Destroyer" by Burning Spear [Burning Spear Music]

If the Grammy voters have any sense of sentimentality, here is your favourite. The legendary Winston Rodney, Burning Spear, returned this year with his first album in nearly a decade and a half, "No Destroyer". Coincidentally, his most recent prior album, "Jah Is Real", would net the Spear his second Grammy win (following "Calling Rastafari" in 2000) and, by my surely incorrect count, he has now been nominated a grand total of THIRTEEN times for this award. The second "No Destroyer" was announced, you knew it would be nominated so it comes as no surprise and if you actually listen to it (tune called 'Jamaica' leads the way in my opinion), it is a delightful album. It was extremely well received and if I had to pick a favourite, this would be it.

"Simma" by Beenie Man [MD Music Group]

Another rather obvious selection comes in "Simma", the latest set from now four time nominee and previous champion, Beenie Man. What to say about "Simma".... I did not love this album and have less appreciation for it at this moment than I did when I first heard it (off the top of my head, without looking it up, I cannot name you a single song off of it) (not including the title track, of course) but, again, you're not at all shocked to see it appearing here on the strength of the name of its star (although it is worth mentioning that Beenie's previous release, "Unstoppable" (which wasn't great either but probably slightly stronger than "Simma" for me, in retrospect) did NOT receive a Grammy nod at all) and you're also not astonished if it manages to win. 

"Born For Greatness" by Buju Banton [Gargamel Music/Roc Nation]

" ....I did not love this album and have less appreciation for it at this moment than I did when I first heard it". I'm going to quote that bum who wrote ^ that up there in reference to "Simma" and use it for "Born For Greatness", from another previous winner and seven time nominee, Buju Banton. Again, though not approaching the level of being a great album, given who made it you cannot be surprised at all to see "Born For Greatness" appearing in this list. Even when he's active and they're plentiful, Buju's albums have always had this kind of 'large' vibe about them and this one was no different. His work is always looked at as being a big deal (even when he isn't at his greatest) and you EXPECT his projects to be here and you do not move a muscle if he actually wins. 

"Colors Of Royal" by Julian Marley & Antaeus  [Monom Records]

Here's an interesting one. While I've never been the biggest fan of Juju Royal, Julian Marley.... well, he is a Marley, so he's been nominated for one of these now for the third time (and not just because of THAT. Full credit to his talents, I'm just not super into it). Unsurprisngly, however, the project for which he was observed, "Colors Of Royal" alongside Antaeus, is... it's tough. It's an EP with eight tracks in full and two of those are remixes (and two of the originals are remakes) so I don't know why, outside of the obvious, why this one was nominated but, of course, that means it will likely win. 

The Cali Roots Riddim 2023 [Ineffable Records]

And lastly, though he's never been up for one before, it shouldn't come as a complete upset that Collie Buddz is getting a look from the Grammy committee. However, in a year where the Bermy grown star released a brand new album, one would have thought that it would been it -- "Take It Easy" -- which would have gotten the shine (and that album is very good, actually). That wasn't the case as, instead, it's the track that he produced, The Cali Roots Riddim which is taking the honours and doing so as the likely darkhorse of the lot. To its credit, the Cali Roots has a large claim as being the single best of its kind this year and one of 2023's greatest releases, in general.

And the winner izzzzzzzzzzzzzzzzz...

The Cali Roots Riddim 2023

Fuck it. Why not? Last year Kabaka Pyramid won with what was not only the best project to be nominated but also my choice as the year's finest album altogether. The Cali Roots Riddim is not the best Reggae album this year (that distinction goes to Queen Omega), but it's the best of this lot with respect to Burning Spear. Also, how cool would it be if not only a riddim album won the Grammy but also I'm of the belief that everyone who was involved would receive either their own Grammy or some type of physical representation for the accomplishment which would mean that personal favourites of ours including SARA LUGO and Khalia would immediately begin being referred to as "GRAMMY WINNING VOCALIST...". Again, it's probably the most unlikely choice, but I said that last year and look what happened. 

Am I right? NOPE. Find out exactly how wrong I am when the winners of the 2024 Grammy Awards are announced on Sunday, the 4th of February.

Days Gone: A review of Simma by Beenie Man

Divergence. Time waits for no one and were I ever of the thought that I was in any way special and an exception, each and every day it becomes more and more apparent - my anciency. Sure, it takes a bit longer to get out of bed in the morning (the internal conversation I have with myself is hilarious at times as I attempt to convince myself to do something as simple as STANDING UP) but you expected that to happen; what does come as a larger surprise, however, is that your taste on certain things 'change'. Well, they don't actually change it's more like everything else changes around them and they kind of stay the same so, at least in some cases, what you remember as being 'right' or 'standard' (whatever the hell that means), becomes dated or "old school" (....which is simply a more genteel way of saying... dated). Obviously one of the most consistent ways in which you are forced to encounter this old drift that you go through is in various forms of entertainment such as.... oh I don't know.... let's just say music for today! I've been writing about music for a very long time and I've been around long enough to have experienced more than one generational shift. There were and still are sounds that I pick up on and when I hear them I will give them a certain designation so that my reader will know that what they should expect to hear is an echo from an older generation of making music. It's always been like that and if I'm still writing in another twenty years, It will STILL be like that. HOWEVER, in my unawareness and naivete I don't know that I ever envisioned what was coming for me as particular PRIME sounds that I once just cavalierly wrote about and perhaps took for granted have gone missing to a large degree. Like wha... DANCEHALL! My beloved infectious BOUNCE (Roots Reggae has that charming one-drop. Dancehall has (HAD) that two-drop and you know exactly what I'm talking about) that was and remains CANDY to my damn ears has seemingly been banished to a land very, very far away and if anyone can find it, please let me know. I'd like to go and live there before the end of my days. I could give you certain examples (literally EVERYTHING) but I don't want to and it's more fun today to give you a very perplexing 'anti-example' because what we take a look at today is something from someone who has reached a level in [actual] Dancehall music which has been virtually untouched by all but a supremely gifted select few. Had you told me that the year would be 2023 and the great Sizzla Kalonji -- still my favourite artist of all time -- would be at his norm in steadily releasing albums still but they would be largely devoid of actual Reggae music, I wouldn't have cared because I wouldn't have believed you. Had you told me that the same year would see a release from the Dancehall's longtime reigning monarch which would be extraordinarily light on [actual] Dancehall music, I may've believed you and it probably wouldn't have bothered me that much because I would have expected its followup to be forthcoming soon.

Well folks, that ain't the case. It's been SEVEN years since the legendary Beenie Man dropped a full new studio album (2016's okay "Unstoppable") and I think it had been another seven years prior to that one. I don't feel like doing the math, but we're at a point where the artist has done just two or three albums or so across the better part of the last two decades. So the moments when he does, at least for me, are VERY big deals and I'll go into it more in just a second. Furthermore, of course Beenie's name will always be connected to that of one Bounty Killer and I don't even want to begin to get into the depressing history of Bounty's new album releases, so when either of these two PILLARING artists of the genre give us the opportunity to celebrate them, that is exactly what we should do and do so in full bloom..... but damn I wish they made it a bit more familiar.

Beenie Man now brings forth his own long announced and eagerly anticipated latest creation, "Simma". If you're like me, the very first time you heard just the album's name it got you very excited because it reminded you of an older era (it reminded you of 'Who Am I') and the thought popped in your head that it may be a set with a focal point looking 'back' to that time, musically. Any hopes of that were destroyed when I heard it mentioned that "Simma" would be coming with a more 'worldly' or 'international' vibe (or however they described it) but I was still sitting there thinking HOW THE HELL CAN YOU NAME AN ALBUM SIMMA AND HAVE IT NOT BE A DANCEHALL ALBUM! I know that's ridiculous and maybe it's just me, but that was my thought process. "Simma" comes through Beenie's own MD Music Group, a first but not an unexpected one. Previously, his non major work came courtesy (in some way) via VP Records. Even "Undisputed" was a project distributed through VPAL but, at least as far as I can tell, the label has had nothing to do with this one (although I'd actually be a little surprised if I'm NOT wrong about that one, eventually) and it's all been left to Moses Davis and company. If you recall, there was also a 357 Records, which did "Undisputed" which was also Beenie's but has, at least presumably, made way for MDMG. Of course, Beenie is afforded some of the finest maestros in the game and production on the new record comes from some of the genre's greatest creators including the likes of Tony Kelly, Suku, Walshie Fire and others, including even Jeremy Harding. Along with that, something we'll detail out in just a second is the TRULY RIDICULOUS number of featured vocalists "Simma" features. By my surely incorrect count, five of its tracks feature Beenie and only Beenie, alone; that leaves FIFTEEN which find some form of accompanying artist joining Beenie Man on the tune. It's not something that I love and it is a practice which, for some reason, I most closely associate with Hip-Hop but, as I said, apparently  they didn't have me's in mind when putting "Simma" together. Also not unexpected and GREAT to see has been the anticipation for this one ahead of its release date. I don't know who started it and I don't care enough to look it up, but you're doing a disservice to "Simma" and Beenie Man's enduring popularity if you do not mention the 'Simma Challenge' which found people walking up to and calling others and simply saying "Sim simma" to see if they could finish the timeless lyric -- "who got di keys to my bimma" -- and, as far as I can tell, the success rate was extremely high with only, predictably, much younger people failing the challenge (nothing wrong with that). That was lovely to see and I also saw that news of the challenge had reached Beenie Man and he was very excited about it and hoped to see it continue and it has. It's been very nice to see this album receive this level of attention ahead of its due date because it also speaks to the level of lasting fame and the reputation of the critically acclaimed Davis. That reputation has been earned, however, and all of the work which has gone into building it is done - it speaks nothing to the quality of what comes after it and this is the portion of the review where I come up with some cool way to say I'm about to talk about the actual music and here is me spending the next ninety minutes or so talking about the twenty songs which comprise "Simma".

I intentionally kept alluding to something from very early on here next to something that I stated clearly. On one hand, as I said, the sound of "Simma" is extremely varied and 'worldly'. It's not what I was looking forward to and, for me, that's unfortunate. HOWEVER, with that being said, just listening through the record - Beenie Man is in a pretty good form. He has not lost a step at all lyrically or in his delivery despite recently hitting half a century in age. I should also mention that, at twenty tracks and seventy minutes in length, obviously "Simma" is entirely too damn long regardless of how good it is, but I can honestly say that "boring" is not something I associate with it despite the album's obesity. The first CHUNK of Beenie Man's brand new album, "Simma", is our title track which has to be one of the most disappointing from my point of view, although the actual song is pretty good and one of the finest on the record named for it. I thought, at the very least, 'Simma' would be this magical old school Dancehall and it wasn't, of course. What it is, instead is a very smooth, kind of R&Bish/Poppish type of vibe and it isn't a bad tune at all. I may even go in fact to say that it is one of the finest songs on the album altogether, but you know where my head was on this one. I may've had similar hopes on the second tune, 'King', briefly, but when I saw who was on board on that one, such feelings quickly disintegrated. The very first combination here features contributions from English trio, Ms. Banks (who I do know), Backroad Gee and Teeway (neither of whom I'm familiar with). This is a VERY heavy and aggressive Hip-Hop tune and, for the most part, I don't like it at all. HOWEVER, as I alluded to, what you will find throughout "Simma" are demonstrations of Beenie Man being at the height of his powers and the first blast of that comes roaring through on 'King'. 

"I am the man with the plan

Hit song long time before Wu Tang Clan

Long before Red Man & Method Man

Inside di studio mi ah set di gameplan 

Smoke weed like Cheech & Chong

Lyrics inna mi brain and book inna mi hand

Days pon toppa days mi ah write hit song

So di whole world give mi a brand dat 

[I'M DI KING!]

Mi a di man

Longtime mi ready fi every woman

Gyal dem ah bawl for di wickedest slam

Dem waan di strong, no weaker man

Properly sexed and di money be done

Dem gal yah nah waan no Christian 

CLOSE YOUR EYES AND CLASP YOUR HANDS

YAH GIRLFRIEND GONE WID BEENIE MAN"

It comes off with force (virtually everything in the tune does), but effortlessly at the same time. He could have done this well on his way to sleep or the first thing in the morning and it is gorgeous. The next track up had me far more interested in the accompanying voices as 'Sharpshooter' brings in Nigerian artist Patoranking, the talented Giggs and the always compelling Busy Signal (who is one of my favourite artists these days and has been for the better part of the past decade or so, despite the fact that we do not talk about his work very much). 'Sharpshooter' is fun and it fits somewhere more firmly in the spectrum of Dancehall than its two predecessors. It also features some solid wordplay as you would imagine with such a lineup of lyricists. Rounding out the first batch of songs from "Simma" is a pair of impressive pieces (for different reasons) which feature our star all alone (and only two such tunes can be found in the album's final fifteen offerings). The first, 'Chop Suey', was rather strange the first few times I heard it (and it stil is, yep) because it almost sounds like two different songs going at once because the chorus changes so much. I do enjoy the odd vibes of this one though and as it goes on, particularly during its latter stages, Beenie absolutely shines. The second of these, 'Up Deh', hits for another reason. The sound here isn't anything special (I'd probably call it another one as Hip-Hop; although being more on the lighter side than 'King', easily) and even lyrically it isn't ranking amongst the best of "Simma", but I've convinced myself that 'Up Deh' featured very little in the way of preparation on the part of Beenie Man and he just vibed his way through it and even if the man, himself, told me differently, that's what I'm sticking with! In that regards, 'Up Deh' (for what it is) is nearly special. 

Of course you didn't think we'd get through this album (or seemingly any other one that I review) without an appearance from Stonebwoy and he joins the fun, along with a returning Backroad Gee for 'Zimm'. If I'm 'Sharpshooter' "fun" then I need to come up with a stronger adjective for 'Zimm' because I've had a lot of damn good times with this one and I'm sure I'm not the only one. 'Zimm' rests easily with the class of this project and it's probably one of the best tunes with Stonebwoy's work that I've heard to date (which is saying a lot considering how often we run into him) (incidentally, if you're interested, Stonebwoy set forth "5th Dimension", his own brand new album for 2023, back in April) (more on that in just a second). Longtime Beenie Man collaborator, American R&B songstress, Mya, makes her presence known on another tune with a title which got me excited when I first saw it, 'Docta'. The first time these two linked, several hundred years ago, was for a remix of Beenie's classic 'Girls Dem Sugar' which has gone onto be a classic in its own right. 'Docta' doesn't reach anywhere near those levels to my opinion but it was nice to hear these two vibe together again and I wouldn't be at all shocked if they ran it back at least one more time in the future. Dexta Daps (who, coincidentally, also appears on the aforementioned "5th Dimension" from Stonebwoy) lends a hand on the relatively dirty 'How Deep' (which is about exactly what you're thinking it might be about) ["When mi ask her 'how deep?' Bout nine inch long. She seh 'don't dweet'"] and.... what can I say? I don't hate this song. I like it a little largely on the strength of just how extremely BASIC it is. It isn't Dancehall at all in sound, but there's something very familiar about it that my ears grabbed on to; but I'm not going crazy with it. There are far better tunes on "Simma", but 'How Deep' has stuck with me, at least for the moment. One of the biggest guests, the oft-devastating Shenseea lights up 'Fitness Instructor', which also pulls back Ms. Banks. Pretty much everything I said about 'How Deep' applies to this one, although, from every registerable angle, 'Fitness Instructor' is considerably better. As I've said in the past, you may see and hear Shenseea and come away thinking one thing about her, but that woman is capable, at her best, of HUMILIATING the spoken word. She toys with it! It is to the degree that it comes through in almost everything i hear from her and, for her part, Ms. Banks also sits on a hill of talent which is more pronounced here than on 'King', in my opinion. When I ran through the tracklist of "Simma", my eyes gravitated toward 'Hel-eva Bumpa' moreso than in the direction of any other offering. Over the past few months my ABSOLUTE favourite two songs have been 'Hard Fete' and more recently 'Entering Greenzland' and what they share in common is that they are both works of the  incomparable Bunji Garlin who once again links with Beenie Man on this song. Previously, this pack of prolific poets paired on a couple of tunes to my knowledge with the high-water mark being the remix of Bunji's 'Plenty Gyal' ["DANCE MUST HAAAAAAAAAAVE, PLENTY GYALLLLL. IT'S NOT A MALEBOX! NOT AT ALLLLLLLLLL!"]. 'Hel-eva Bumpa' isn't on that level, but it is all sorts of entertaining and it reaches a place which befits the two MONSTROUS talents starring on it atop Suku's GRRRRR riddim.

Hoodcelebrityy lends Beenie a hand as he attempts to 'Let Go' and does so in a really strong way. This one lays claim to being one of the most Dancehall (definitely of a NEO variety, but that KNOCK is infectious courtesy of a master in Tony Kelly) of any on "Simma" IN SPURTS a quality which, alone, got my attention. It is also impressive on the lyrical side and has a bit of actual substance - all of which help see 'Let Go' ranking very highly here. 'Put It On Me' grabs up Relevant and the very gifted Jahfrican but it's kind of average for me and a set whose absence would not have hurt "Simma" on any level. It's nice to listen to, but there're more pleasant spins and it doesn't really bring anything different for me. Beenie goes solo for the first time in quite awhile on another mediocre (and possibly slightly below) piece, the Seanizzle helmed 'New Money'. Another rather strange sounding track, I'm thinking in a few months I may not remember much about 'New Money' at all and, again, you knew just by looking at it that "Simma" was carrying too much weight and both 'Put It On Me' and 'New Money' are examples of that. They aren't bad and if they were just singles released on riddims no one would pay them much attention (and they may actually do better than likely getting lost on an album), but appearing here they both feel like FILLER. The proverbial ship is righted ever so slightly with a good look from co-captain Cee Gee during 'Heavy On The Grades'. The riddim on the record doesn't do anything for me and it gets lost during matters here, but the back-and-forth between Beenie Man & Cee Gee is, at times, exquisite, which highlights it, easily. You almost wish they tried to do more as 'Heavy On The Grades' is the album's shortest track... I could listen to this again. When I saw that Shaggy (who was also on "5th Dimension") was also on board "Simma" I got an idea of an easy type of vibe between two legends and.... the sun even shines on a dog's ass occasionally, because I got one right. That is precisely what 'Good Like Gold' is. You can't rightly call such a song "filler" due to the level of name value such a piece brings, but 'Good Like Gold' isn't very good and it isn't some super combination that you may have been hoping for either.

The final quintet of tracks from "Simma" features a few more very large names aiding 'the docta' and it also features my single favourite tune altogether here. That distinction does not go to the decent giving of thanks that is 'Blessings'. It's almost comical (and dirty) what Beenie takes a moment to give praises for but to each their own ["Wi come yah so fi mek some money and f**k some p***y and dweet pon our own time. You love Fadda God and bun badmind - sing di punchline"]. I grew to enjoy 'Blessings' but it took some time and I'm thinking it will actual succeed in finding an audience, but we'll see about that. Fittingly following 'Blessings' is 'Prayer' which gives us both Charly Black and Louie Culture (always love to see the Ganga Lee on a new tune) which I LOVED. This one DEFINITELY did hve some old-school vibes circling around it and Beenie Man & Louie Culture were perfect for the moment and Black shines as well. 'Prayer' is stellar and a fine way to end things (nice contribution from the great Dean Fraser as well). 'Fun In The Sun' most certainly is not 'old-school' at all and it finds Beenie Man coming through with those who have NEXT (or NOW) in Popcaan and Dre Island. If you follow the course (this is my way of saying that i should have written them in order and I'm almost done so I don't finish going back and changing it) with this one leading onto 'Blessings' and then 'Prayer' you have a changeup trio at the very tail of "Simma" with all three bringing in some very necessary substance. 'Fun In The Sun' may just be the strongest lyrically of all three as it says to take advantage of what we have and stop bring negativity of all varieties into otherwise potentially beautiful situations. 

"But if wi all work together wi can help each other

A nuh dem, alone, wi fi tell 'BLACK LIVES MATTER'

Wi no racist, mi no believe inna colour

A di hard work you perform mi admire

Every rich ghetto youth fi yo ghetto you be a pillar 

YESTERDAY YOU WAS A KILLER BUT TODAY YOU IS A PILLAR"

Sean Paul not only lends his vocals to 'Supa Star' but his Dutty Rock Productions also takes production credits for the tune that also calls upon the smooth voice of Anthony Red Rose. This one mines a classic riddim and respect goes to both Beenie and Red Rose but Sean Paul threatens to steal his own show completely here courtesy of his thrilling offering. When at his best, Sean Paul has this almost robotic type of delivery (which used to draw frequent comparisons to Super Cat back in da day)  that never misses a beat and I've always enjoyed and still, obviously, do to this day. I got the feeling that there was much chemistry between these three as well and while I don't think they did (seems unlikely), I would hope that all three got a chance to spend a little time around one another in recording 'Supa Star' (how crazy is it that Sean Paul is actually a little older than Beenie Man??). And I've saved the best for last to give myself time to change my mind because I thought that I might. I've never been the biggest fan of Morgan Heritage for some reason I either can't or just don't feel like explaining but at least for the three minutes and twenty-eight seconds of 'Dem Want More' they've made a fan out of me as has Tony Kelly (he didn't have to work very hard though. He never does) (Man's a genius). I'm tired of writing so what I will say is this: You listen to this song. 

I've spent this review whining and complaining about the absence of something which is found in abundance on 'Dem Want More' and I never thought it would have come with lift with from the Morgans and they're right... I do want more. What a sweet, SWEET sound!

Overall, "Simma" is just too damn long. It just is but besides that, though it isn't very much of what I was hoping to hear; in an effort to just judge it by what I hear, it most certainly isn't BAD by any means. It's fun! There are so many interesting musical moments found throughout this release and, again, just based on what it is here (and ignoring what I was hoping for) lovers of many different genres and styles will find something to appreciate and, potentially, LOVE from "Simma" and you just KNOW a Grammy nomination (and potential win) is forthcoming as well. We find a certified legend in Beenie Man still in a wonderful form and showing no evidence of slowing down. Still, in my ridiculous old-agedness I can't help but think that, regrettably, when I think back to this album years from now what is likely to stick with me isn't so much what it was, but infinitely moreso what it WAS NOT..... damn I miss Dancehall. 

Rated: 3.25/5

MD Music Group

2023