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.

Run With It: A review of Born For Greatness by Buju Banton

Source. I wonder if, at the highest level of doing just about anything, there comes a point where you more begin to look at what type of legacy it is that you're leaving in an even greater way than the current work that you are doing. Certainly the two could go together as if you're always doing the best that you possibly can, presumably, the greater it will be perceived immediately and later on. As time passes and as a new generation has taken very large steps ahead, there is a class of artist who I've began to think about in a more historical context (even if they aren't doing it themselves for the most part) because I think that not only is it directly interesting, but I also think that we're now seeing and going to continue to see a number of individuals come to prominence who were CLEARLY influenced by them. For example, the last review that I wrote was for an album called "Simma" by Beenie Man and Beenie is DEFINITELY one of those artists who I've began to place in that wider-than-present scope. I don't know just how inspirational Beenie Man has been directly -- if you think about it, how many times have you heard someone and thought, 'now this guy sounds a lot like Beenie Man -- but I think the levels that he has reached and the way in which he did it helped to inspire not only a forthcoming generation, but also many of his peers as well (whether or not they'd want to admit it). Beenie was one of the few people that showed just how powerful Dancehall could be in both its authentic form and with just a bit of additions and, clearly, he continues to do that to this day. You can't have one without the other, so certainly from Beenie you go to Bounty Killer and while the Killer's legacy is less complicated than that of his longtime rival's, it is no less powerful at all. While he has enjoyed success across the world and back, Bounty Killer is and will for the foreseeable future be known as THE most influential artist that the Dancehall has ever produced and one of the most influential that Reggae, as a whole, has ever seen as well (surely he hasn't approached the levels that Bob Marley has, but you name me someone else making Reggae music.... or any type of Caribbean music that has CLEARLY inspired more artists than Bounty Killer). Not only in terms of his HEAVY, kind of villainous, style; but also with the work he's done with actually helping bringing youths to the forefront, there're a lot of people who would not be anywhere near they are these days without the help of the Killer in someway or another. The Vybz Kartels (him being one such individual), Sizzlas, Capletons and Sean Pauls of the world would be others who, although still active and firing well, I've begun to consider just how we'll look back on what they've already done for us and are, most thankfully, continuing to do - as a CREDIT, because they've earned it and many of their peers, many of those who came before and those who are yet to arrive have not and will not. They are our greats.

Someone with both feet firmly planted and both hands gripped within that group would definitely be Mr. Mark Myrie, Buju Banton. When Buju's time is done and we look back on his career, he will DEFINITELY be regarded as one of the most noteworthy (and controversial, in both good and bad ways) figures that we've ever seen and he'll also likely go down as one of the most respected as well by both his contemporaries and fans, alike. I always remember a quote from Tony Rebel from maybe twenty years ago now where he said something to the effect of Buju Banton being the sun around which every other Reggae artist revolved! That is a HUGE compliment, particularly coming from someone as esteemed as Rebel and I would think it wasn't an opinion that he, alone, kept at the time. Throughout the years Buju has maintained a very interesting place in the music as someone whose work, inherently will receive international attention because he had built his name up so highly (through various ways) around the world and also on the local level as well. Though nowhere near as active on 'this riddim or that riddim' (and it's been a very long time since he has done that) as he once was, when Buju does release new music virtually everyone with an eye on Reggae music pays attention.

2020

....especially when he does an entire album. Buju also has the distinction of, like very few others in the music, of being able to generate MASSIVE attention with an album release. Reggae and Dancehall have never been genres geared towards the construction of albums (or mixtapes as you'll see in other forms of 'urban' music), but his output like.... Beenie's, Sean Paul's, Shaggy's and even Capleton's for a short period of time (and Capleton would be an even more different case because, at his peak, he didn't receive the level of international consideration as the others I've just mentioned, but more hardened Reggae heads PAUSED when that man made an album around the early 2000's) (the 'More Fire Years) (MISS THEM NOW, DON'T YOU!) (so do I. Never knew just how good we had it until times were over) has always managed to generate a considerable buzz when Buju decides to make an album. His most recent, "Upside Down", set came just three years ago and not only was that his first release following..... an extended hiatus (that's what we're going to call it today), but it was also his first marking a union between Buju Banton's Gargamel Records, which always handles his work, and US major, Roc Nation. That relationship has now been rekindled (not really but I do so enjoy using that word) as Buju's latest creation, "Born For Greatness" has now been brought forth. The album comes in a curious and fruitful year for Reggae albums, on paper, as it releases very close to other sets from the legendary Burning Spear, the aforementioned Beenie Man & Sizzla Kalonji and is just a week ahead of a forthcoming release from someone we're going to  talk about shortly (that's Beenie, Buju and this other guy in three consecutive weeks (and also mixed in there is an album from Richie Spice) which is fantastic and Beenie and Buju release albums a week apart and both celebrated the completion of their fiftieth years on the planet just a few weeks apart as well). As I said, Buju Banton's albums have always been a very big deal as evidenced by the fact that six of his last seven albums (with "Unchained Spirit" being the only exception) have been nominated for the Reggae Grammy and, in 2010, his "Before The Dawn" would net him the award. I'm virtually certain that "Born For Greatness" will make it seven of eight and, despite a packed year and much competition, I think Buju has a decent shot at picking up his second Grammy (shockingly, his opus, 1995's "'Til Shiloh", was not nominated (although I don't think 'Grammy' knew who Buju was in 1995; but with full respect to the likes of Bunny Wailer (who won that year with "Crucial! Roots Classics" and Dennis Brown, Inner Circle, Black Uhuru and Aswad, all of whom were nominated, Buju's had the best album that year, in retrospect, in my opinion). If you're at all familiar with the artist's last few records then, musically, you're well aware what to expect with "BFG" as it features both sounds more terrestrial to Reggae music as well as a variety of different other vibes as well. Because of that, I wasn't as disappointed to not see much actual Dancehall still, what we do end up getting, because of a relatively large chunk in the middle of the album, comes off as somewhat uneven broadly, but the album does offer two or three moments which're wholly spectacular. Let's talk about it! 

One change that we do get here, however, comes on the production side. You'll usually find a Buju Banton album stuffed with big named maestros but, for "Born For Greatness", things have been streamlined just a bit. One or two of the names in at the helm should be well recognizable but, for the most part, production is handled by Buju, himself, along with longtime collaborator Jermaine J'August Reid. While I definitely have to admit that I would have LOVED to have seen another scorcher from Dave Kelly, what I do end up hearing on the new album does consistently manage to impress, musically, regardless of genre (doesn't mean I like them all, I most certainly do not, but the music is nice during the entire album for the most part) (I also feel inclined to mention (probably because of what happened on "Simma"), that only THREE of the album's SEVENTEEN tunes are collaborations). An example of just how good the sound can be here is to be heard on the opener of "Born For Greatness", the very unusual sounding 'Ageless Time'. With a kind of a spiraling R&B sound, Buju gets things going in a very nice and chilled way with a tune that takes me in a few ways. At its core, I think 'Ageless Time' is about depression and disheartenment. It's about losing one's way and having memories about much better time. I think the goal here was to attempt to vivify the good times but I don't know how successful Buju is at that, so if you come away branding the opener as kind of a SAD tune, I don't think anyone could blame you, but it is a GOOD SAD one, in my opinion. If 'Ageless Time' passes through just a bit too bleak or you, then the second effort, 'Life Choices' , might be a little more your speed as it is more lively. It's also nearly excellent. 

"Life choices, true sacrifices

So many voices, except when there is crisis

The lifestyle, the struggles and the vices

THE ENTIRE CAKE, HOW YOU WANT THE SLICES?

Secret dealings

Major surprises

Slow to the top or meteoric rises"

When I really got into the meat of 'Life Choices' it began to bloom. It's a song about living life (DUH!) and the struggles that we all go through and the decisions that we make, the MISTAKES that we make and how we grow (and shrink) from those experiences. It is somewhat broad on the surface but, again, what you're able to dig out of this one, should you take the time is MIGHTY and I appreciate it more right now than I ever have. The infectious title track follows and while it also has more substance to it, the first thing you'll notice here is its sonic appeal. Good luck in listening to 'Born For Greatness' without moving something. Some part of your anatomy will be tapping or snapping or bobbing in some way or another and with it, Buju takes the opportunity to remind that the easiest way or the road most traveled isn't always the best course for everyone. I was fairly confident as to what my favourite tune on this album would be when I heard it and by its end I was correct (for a change) as the downright MASSIVE 'Coconut Wata' stood up as the peak here for me (by the slightest of margins)."Cool" would be the term dominating the description here: 'Coconut Wata' IS JUST A COOL SONG. Blessed with kind of a neo take on old-school Dancehall (that makes no sense at all, I know it. You don't have to say it), this one grabbed my attention and completely refused to let my ass go and for that, I am thankful! Charged with keeping the vibes high following 'Coconut Wata' is 'Yard And Outta Road' whose title had me thinking that its vibes wouldn't be very far, at all from the tune preceding it, but all was back to normal in that regards because I was completely wrong about that. Though its subject isn't too far out of bounds (although I wouldn't have predicted that either, actually) 'Yard And Outta Road' is much closer to being a ballad than it is to being this kind of dusty piece of Dancehall candy (that you brush off and eat anyway and hope no one saw you do it). Still, while I cannot count it amongst my favourites from "Born For Greatness".... it isn't bad and it fully displays a certain quality of Buju Banton's that I'll get more into in closing, but he has a very potent talent which makes moments like this work more often than not and I would argue that Buju at a level which isn't his greatest is more capable than many of his peers in their non-prime form. 

The first combination off of "Born For Greatness", the woefully named 'Body Touching Body', did come as a pleasant surprise. The track features Victoria Monét, an American Pop/R&B singer whom (is very easy on the eyes) I'm fairly certain that I've never come across prior to earlier this year when she had a song by the name of 'Party Girls'.... with Buju Banton. That tune was odd -- there was a Dancehall song wrapped up in the middle of R&B -- but it wasn't bad and, as far as I can tell, it and the album it appeared on, "Jaguar II" did pretty well. 'Body Touching Body', oddly enough, is more straight-forward R&B than 'Party Girls' and Monét returns the favour on a composition, seemingly, more directly to her specialty. I did not expect at all to enjoy this one as much as I ended up likin git after a few spins. It just has a really nice, easy vibes to it (and there is one SWEET groove somewhere in the middle of it all that is intoxicating) and, despite its brevity, it got to me and maybe we can see these two working together again at some point. Who knows, maybe the musical relationship between Buju and Monét may some day grow to equal that which Buju also has with looooooooongtime collaborator, the afore-alluded to Stephen Marley who not only features here as a vocalist, but also as a producer as it is Marley who stands behind both 'Feel A Way' and the opener, 'Ageless Time'. The relationship here goes back decades between these two as Marley also appeared on the previously mentioned "Unchained Spirit" record way back in 1999 (as did Beres Hammond, Luciano, Morgan Heritage and Wayne Wonder.... just a LOADED album and it may just be Buju's most underrated release to date); and it also carries forth as a week after "Born For Greatness" reaches, Stephen Marley's own full studio album, "Old Soul" is set to go and any guesses who appears on that one??? The relationship-centric 'Feel A Way' is pretty decent. That riddim has all kinds of twists and turns and it's mostly R&B, but I have no problem with this track. These two have been there and done that and gotten the t-shirt for it and they will continue to. You'll probably like 'Feel A Way'. Considerably stronger, however, is the very catchy 'Turn Up Tonight' (remember 'Gal Your Night Tonight'?). With somewhat of a Jazzy type of sound, Buju delivers another one for the couples-effect, but this one is just LOVELY to hear and he does manage to produce on sterling verse in its midst. I didn't hate 'Sweeter' either, but that one, which comes just ahead of 'Feel A Way' is the true beginning of a lull on "Born For Greatness" in my opinion. For its part, 'Sweeter', once again, focuses on relationships, this time specifically dealing with what happens after the fight, the... "making up" process. It's surely relatable (in a good way), but there's nothing really remarkable about it. The [EXACT] same thing could be said of 'Plans' (although I'm going to use it to illustrate a point later on here and give it a bit more credit), which kind of continues the run on mediocre love-like songs on "Born For Greatness". There isn't much to be taken from this one and, with a minimal backing, it doesn't really even try to be much (which ends up working for it in a way) but.... it's here. Okay now, if you take the very next two selections on the album, 'Nuff Love For You' and 'Walked Out' (might as well tack them onto the end of this big ass paragraph) you get yet another pair dealing with the same topic heard on the previous FIVE consecutively but, with the exception of 'Body Touching Body',(and maybe 'Turn Up Tonight') they're better, but still not what you'd call great tunes. The former is the better of the two with its more appealing vibes (and that chorus will have you KILLING it over and over again and have you doing it in short-order) and decent 'backbone' (I know I may you do you wrong sometimes, but they're mistakes and you do me wrong too, but I still love you!). The latter's strength is in Buju, himself. Yes, it also does have a different sound which is likable, but Buju's captivating reigns supreme here and saves 'Walked Out', ultimately. With alllllllllll of that being said, however, at this point of "Born For Greatness" I have to admit: I'm pretty damn tired of love songs.

Relief (in subject only) comes at track #13 'We Find A Way' (and I didn't think it would, I thought the shift would come on the next one) which is basically 'We Shall Overcome' and it isn't terrible but it most certainly isn't a highlight on this release and then there's 'My Microphone' which was NOTHING like I was expecting. I thought this one had the potential to be another Dancehall special (maybe one focusing on skill) but, instead, 'My Microphone' is a very quick return to form of the material coming just ahead of it (sans 'We Find A Way'). It is a slight changeup on the course, however, as it finds Buju with his eye on someone special, looking for the opportunity to get to speak to her and while he waits, his microphone serves as his outlet. The song is on the upper side in regards to quality when it comes to these types on "Born For Greatness" but... yeah, I'm kind of tired of them now.... is this a Turbulence album??? Still, I do give a credit to Buju and Reid for putting it together as such. 'My Microphone' is interesting to say the least but I am in dire need of someone taking a large, blunt object and smacking me in the face with it! I require some FIRE before the end of this album! As my luck would have it, one of the final pieces here is actually called 'Trial By Fire' and though it be largely without the type of flames that I was searching for, it does bring in a nice chunk of passion, oh, and 'Trial By Fire' is sublime. A spiritual piece with more social elements supporting it, this record is GOLDEN and steps near the top of the album IMMEDIATELY. This is the type of vibe that Buju kind of 'wonders off' and brings during many of his albums that completely works. It isn't a preponderance of love songs, it is material exactly like 'Trial By Fire' ["FLAME BURNING INSIDE YOU NEVER CONQUER THE ANCESTRAL PLANE: THAT'S MY FATHER'S PLACE!"] which is a big winner. The end of the album also carries 'High Life' which is, on paper (and in actuality, really), the single biggest combination on "Born For Greatness" altogether as it features Buju alongside Hip-Hop great and longtime fan and supporter of Reggae music, Snoop Dogg. I really like 'High Life' and have from the very first time I laid my ears on it. It won't change lives, I can't imagine that they intended it to, but if you're just looking for a fun selection about exactly what you're thinking it's about, then you will LOVE 'High Life'. Lastly is probably my second favourite tune on the whole of "Born For Greatness" as Buju channels the legendary Paul Robeson on 'Let My People Go'. A ridiculously short TWENTY YEARS ago (I can literally remember getting that album - like the actual moment I received it), Buju released an album by the name of "Friends For Life" which was crowned by a huge tune called 'Up Ye Mighty Race'. 'Let My People Go' isn't THAT good ('Coconut Wata' isn't THAT good) (that thing was perfect) but it reminds me of 'Up Ye Mighty Race' for its theme. 

"Whole world is in bondage

 Let my people go

Tell these tyrants to let go!

 Let my people go

What remains, they will not be able to salvage

 Let my people go

There shall be rioting, rooting, raiding and ravage

 Let my people go

They control the whole world, there's no one to stop them

They fiddle while the world burns-

Creating stress and problems

Chaos on a global scale, were created only by a few

NOTHING  TO DO WITH I & I, BUT INVOLVE I MAN & YOU!

Tribal war created for money

 Let my people go

This blood march you create ain't funny

 Let my people go

What I'mma saying is so real

YOU MIGHT SEE MY FACE, BUT YOU NEVER FEEL WHAT I FEEL NOW!"

I think the song is best described as PASSIONATE! It has tons and tons of heart at its core and such a vibe, just as it did coming from 'Up Ye Mighty Race', resonates immensely on an outstanding way to conclude things. 

I do want to mention a couple of things -- one pro and one con -- in regards to "Born For Greatness" and, perhaps, just Buju Banton, in general. On the positive side is something that I don't know that I've ever mentioned about him previously: BUJU BANTON HAS CLASS! It may not be a quality which comes quickly to mind about someone whose style is so tough and rough around the proverbial edges, but he's able to make things work that aren't necessarily going great. I go back to 'Plans'... not a great record. It isn't great at all, but when you section it up and take it in smaller bites, little blips or brilliance definitely come through. He always has that possibility where something about a particular tune will stay will you and there are not many people at all who the same thing can be said about. On the con side: "Born For Greatness" is too long. There're seventeen tracks (checking in at just shy of an hour) and it probably would have been healthier, at least in my opinion were it closer to twelve or so. That's not an unusual critique, I find myself saying it fairly often and that's fine, but in this in particular, the album definitely could have done with less relationship/love songs. 

Overall, "Born For Greatness" surely isn't the best piece of work Buju Banton has ever released and I don't think that it's even relatively close to it either. However, it isn't entirely bereft or merit either and after taking it in fully I think it fits fairly comfortably in the middle of the pack of Buju's catalogue (and if you wanted to rank it a little higher or lower, I wouldn't have much problem in either case). Buju's position in Reggae music is one which is wholly unique so it's likely that this album will be either overrated or underrated, but I think that when I look back on it, "Born For Greatness" will be an album which, though not without its obvious flaws, is another demonstration of the star power and attraction of one of the brightest burners Reggae music has ever seen. 

Rated: 3.35/5

Gargamel Records + Roc Nation/Def Jam Recordings

2023

Coming Soon: L-E-G-E-N-D-A-R-Y

Okay so, look up on the release schedule and.... there're quite a few GIANT names loaded and set to release full projects in the next couple of months or so, thought I'd pack them all in a nice, neat (it'll be messy) little package for you so you won't forget; and even if you do forget, I'll probably tell you about them again at some point. Let's go!

"The I-Grade" by Sizzla Kalonji [Izreal Records & Sonovic Music]

I guess the new good news about the next album from Sizzla Kalonji is that it's a virtual LOCK to be better than  the last album from Sizzla Kalonji. In April, the wizard from August Town released "Run Tingz", which may lay a slight claim to being the single WORST album he's ever done. He has roughly two or three million albums or so, so you know that such a statement should carry a lot of weight. "Run Tingz" was absolute trash. So I can extend my 'guarantee' and say that either "The I Grade" will be better (it will be)... or it will be THE worst album he's ever done. 

In March, Kalonji dropped a single in collaboration with Izreal Records and Sonovic Music by the name of 'New Year'. That song was average, maybe slightly below even, and it was infinitely better than every song on "Run Tingz" save for one which I don't feel like looking up (I think it was called 'Gallang Bad'). It didn't make me hopeful for anything else that the union might produce, but you look up and they've now come together to make a full album, "The I-Grade". I don't have much in the way of expectations in regards to this one -- unfortunately most of Sizzla's recent complete albums have been underwhelming -- but there're a couple of tiles that seem promising at least and maybe "The I-Grade" will come as a surprise to us and break the recent trend.... and it is still a new Sizzla album and, somewhere inside of me, "new Sizzla album" STILL excites me, all these years later. "The I-Grade) releases on the 11th of August.

"No Destroyer" by Burning Spear [Burning Music]

Now I told you there would be legends. The biggest of them all in this post is the legendary Winston Rodney, Burning Spear who is making a full comeback to the game following an official retirement of half a decade or so. Having returned to the stages ~ 2021, the Spear is now set to deliver his first full album since 2008, "No Destroyer". I can remember thinking it rather odd that a musician retired because although it did happen, functionally, you so very rarely hear it actually announced and, as far as I know, it usually comes as a result of poor health. Thankfully and clearly that wasn't the case here as the near octogenarian Reggae BEAM (without Burning Spear, we'd all be kinda lopsided) did not make a brief check-in type of revival on one of his favourite shows or anything like such. He has truly come back to us.

Ahead of the release of "No Destroyer", Burning Spear has given us a taste of what is to come via the album's first single, 'Mommy', which is excellent. The two-time Grammy winner figures to be also in play this year and, unless I'm really forgetting someone, here is your sitting Grammy favourite of 2023, the moment it comes out. That moment ("it comes out") is nearing as Burning Spear's "No Destroyer" is available from August the 18th. 

"Simma" by Beenie Man [MD Music Group]

Though the tracklist that I've seen does not currently list any, supposedly the latest album from long reigning King Of The Dancehall (in my opinion, the Dancehall's final king for the moment, because Dancehall ain't Dancehall any more), "Simma", is absolutely loaded with featured guests: To name but a few of the ones you're likely to be most interested in, Busy Signal (that should be wild), Sean Paul, Louie Culture, Bunji Garlin, Shaggy, Morgan Heritage, Shenseea and Anthony Red Rose. While handling production are the likes of Suku, Jeremy Harding and Tony Kelly. That lot of names has me WELL interested and hopeful that the [actual] Dancehall side of Simma could at least potentially be quite special. Of course I'm also expecting (due to Beenie saying it) a wide variety of mixture in the vibes -- also featured are previous collaborator, R&B singer Mya and the inescapable Stonebwoy.

Billed as 'The Doctor's' seventeenth overall studio release and his first in the seven years since 2016's uneven "Unstoppable", "Simma" comes via his own MD Music Group (earliest rumours that I recall hearing had it coming through VP Records and we'll see if they have any involvement with the project, ultimately. "Unstoppable" was done on Beenie's 357 Records and released by VPAL, VP's distribution arm), which is certainly a big step in a career which has been full of such strides. Though I'm expecting it to be quite 'worldly', I do have a relatively good feeling about "Simma" and I'm expecting the Dancehall portion of it to be considerable... also a LOCK to receive a Grammy nod at the end of the year. "Simma' is set to reach just nine days after Beenie Man's FIFTIETH birthday on the 22nd of August.

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

Lastly (literally, it's the last one coming out) is Buju Banton who is already back from 2020's Grammy nominated "Upside Down" ["Mi nuh trust phone, mi nuh own, mi like it"] with "Born For Greatness". Like pretty much everything Buju does these days (and has done for a very long time, for the most part), "Born For Greatness" comes via his own Gargamel Music imprint and the same association which was struck for distribution of the aforementioned "Upside Down", with Roc Nation, is still at work here. 

With respect to Burning Spear, I'm thinking that "Born For Greatness" will turn out to be the best actual release on this list. It will certainly be varied, it always is from Buju, but it will just as surely carry a few HAMMERS! One of which, 'Coconut Wata [Sip]' has already dropped ahead of the album and it is FILTHY! Longtime friend Stephen Marley, Snoop Dog and Victoria Monet all feature (and I'm also really looking forward to tunes called 'My Microphone' as well as 'Yard & Outta Road' and 'Walked Out') and you know Buju always brings in A+ level talents in production as well. Like the two albums I've mentioned ahead of it, "Born For Greatness" is also a likely Grammy nominee, at the very least, for 2023 as well and September 8th, 2023 is its due date. ENJOY... I'm going to have a nap and I'll see you later.

Sharpened Iron: A review of The Kalling by Kabaka Pyramid

#1. Though it may lack in the area of being at least directly competitive, in many ways music can be like sports. This is particularly true, in my opinion, when it comes to examining the career trajectories of its practitioners and just how involved and accessible such a look may be. Depending on the popularity of an athlete, you may right now be able to go on to YouTube and actually find footage of their very first competition and at surely their most recent. Similarly, take your favourite artist and do the research to find out what they're earliest of recordings were and there's a decent chance that, in scouring the internet, you'll probably be able to find that material as well. You can then go on to see all the various twists and turns that their career has taken to get them to the place where they are now and that is ultra interesting and just damn fun to look at it, isn't it?? Sometimes (many times) it's surprising. In Reggae, we can look at a variety of different people and see all of the career shifts that they have enjoyed. For example, when you originally heard the hardships endured by someone like Natural Black in leaving his native Guyana to seek (and actually find to a degree) stardom in Jamaica, you probably would have never been able to foresee what was to come from the former 'Love Rastafari' singer - far from reality indeed. Similarly, and going further back, you probably did not expect such a MASSIVE spiritual shift coming from seemingly 'reformed' Dancehall bad boys, Capleton and Buju Banton. In fact, the fact that they did go through those changes made it easier for us all when the likes of Spragga Benz, Frisco Kid and even Lady Saw, more recently, would also enter different stages of their respective careers. That's on one end, strangely enough, also just as compelling, arguably, is what happens when you latch on to an artist relatively early in their musical journey and what eventuates for them is either exactly what you would have envisioned, or fairly close to it (especially when they're really talented) (if you thought someone was rubbish when you first heard them and, a decade later, you still think that they're rubbish, it probably won't be as fun). I'll draw on two examples that're favourites of mine who have gone onto turn into amazing artists and it has come to absolutely no surprise at all. Wayyyy back in the day, I came across a group of artists from out of St. Thomas by the name of the Star Lion Family. Two of the artists in the group would go on to strike me as being supremely gifted, NiyoRah and Pressure. Years later, while maybe not as active as I would like, the former has become one of Reggae's most reliable acts to my opinion and while I could not have predicted the superstardom enjoyed by the latter (he has become, arguably, the Virgin Islands' most well known Reggae artist.... like ever), the fact that he has become one of the most potent chanters in all of modern Roots music, again, is not shocking at all; and I have thoroughly enjoyed and will continue to thoroughly enjoying listening and following the paths of both.

Today we take a look at another individual who has greatly fulfilled the very specific type of promise that I heard early in their career to a downright scientific level. When I first began to listen to Kabaka Pyramid, the very first thing that came to my mind about him (besides, of course, how cool his name was) was that the Kingston native was extremely SHARP. From listening to his music -- in the way he wrote and presented his messages -- I knew that I had found someone who had a very sharp intellect and had an exciting way of putting things together. Going back, in Pyramid's same 'class' or 'generation', you also had the likes of Chronixx and Jah9, both of whom would also show staggering levels of potential which they would also live up to. What all three would have in common (many things) was a SKILL level only demonstrated by THE most gifted of artists. Specifically, Kabaka Pyramid would TOY with the spoken word. It was a damn joke (and I mean that in a good way) what he was capable of. He'd say things that I'd hear clearly the first time through, but would find myself rewinding back just to hear it again and again and the artist would drop some lyrical GEMS (such as 'Liberal Opposer', for example). These days, I equate what I heard back then to someone like Agent Sasco but in the Agent's formative years, as Assassin, it didn't sound like THAT (if ever you want to go about developing a talent in Dancehall music, you go and find out exactly what happened with Assassin. Whoever or whatever did that is a damn scientist or something) (took a mountain of talent and placed an even larger mountain right on top of it). Kabaka Pyramid's lyrical talent was immense and it put everyone on notice that we had a serious talent forthcoming.

2018

And it forthcame (probably not a word). In 2013 Kabaka Pyramid would give the world its first taste of how transferrable said talent might be to a full length project in the form of an excellent EP by the name of "Lead The Way". That release would go onto become one of the finest EP's of its day (and still is probably one of the best... like ever) and, again, whet the appetite of fans everywhere for an inevitable debut album. That would come half a decade on in the extremely well received "Kontraband". BOOM! Though it released during our hiatus and I never got to sink my reviewer's teeth into it (something which I can surely change at some point), in case you were wondering my take on it: "Kontraband" was awesome. It was a fantastic album and, given the number of times that Pyramid had appeared on one of our 'Most Wanted' lists (a feature listing out the artists I most want to do an album for the new year), it was probably one of the most anticipated debuts in recent times; and it did not disappoint. Tunes like the MAMMOTH 'Well Done', the title track with its guest who we'll talk about more in just a second, 'Make Way' with the aforementioned Pressure Busspipe, 'Reggae Music', 'Everywhere I Go'.... (and I'll stop there because I will literally name every song on the album), all went into making "Kontraband" a mighty fine debut album and a fantastic album, in general. That set would come via Kabaka Pyramid's own Bebble Rock Music in association with the venerable Ghetto Youths International - the label of the first family of Reggae music, the Marleys. Well, apparently everyone who was involved with "Kontraband" was very happy with the way it turned out (they had no reason not to be), because the exact same set of circumstances sit behind Pyramid's brand new and second full length release, "The Kalling". The previously alluded to Damian Marley, once again, acts as executive producer and I'm thinking that it has been quite awhile from the last time I reviewed a new album and FULLY EXPECTED to give it the highest possible rating. I've done it previously, I'm sure (Mark Wonder's "Working Wonders" was one of them, I believe), but it's been a few minutes since the last time. When I initially saw "The Kalling" (great title and very simple, yet interesting, cover) and realized that I had come across some early work form it already, I had a VERY good feeling about it. That, combined with the levels of "Kontraband".... and pretty much everything else he's done... like ever, led me to believe that what was to come on "The Kalling" was going to be something special. There's something so inherently THRILLING (at least for me) to get into an album from such a gifted wordsmith like Kabaka Pyramid and by the time it had release, I absolutely could not wait to hear what he has to say on "The Kalling".

He actually had quite a bit to say and, as it turned out, he had 'kalled' in quite a bit of help to get the message across. The fifteen tracks here clock in at a very healthy fifty-five minutes and twenty seconds (for all of the nerds out there, that's about a three minute and forty second average) (very solid) and ELEVEN of them are combinations, featuring variety of different artists; some were very expected and others, not so much. Typically, I don't enjoy when it is THAT much and I was not overjoyed to see it here either but, after having worked my way through it, I can honestly say that there were no missteps in choosing who came along on this journey and, in most instances -- if not all -- the featured artists helped things along and not, as I may've expected, taken some of the time to shine away from someone who I just wanted to hear more and  more of (coincidentally, it also happened on Pressure Busspipe's "Rebel With A Cause", where Kabaka Pyramid guested (as did Jah9, Akae Beka, Sizzla, Reemah, Anthony B and others). The single biggest name of the entire lot to appear on Kabaka Pyramid's brand new album, "The Kalling", is also the first as Pyramid takes on a remake of 'Mystik Man' and does so with the original mystic, himself, the Stepping Razor ["don't you watch my size - I'm dangerous"], Peter Tosh. I listen to this one and I'm kind of jealous because I know that there're a lot of people out there who will have 'Mystik Man' as their introduction to Kabaka Pyramid and what they will find is a damn TORCH who uses this moment to not only introduce himself to newer fans, but it's also somewhat of an intro for what is to follow. However you choose to categorize it, 'Mystik Man' is DEVASTATING!

"Mystic man, new album weh you listening, man

I've been patiently waiting, but a my time fi tek ova di business, man

Mystic man, mystic man Chef KP in di kitchen man 

Cooking up ital hit song, mi nuh miss one, mi ahgo fill prescription

Mystic man, mystic man stocks and crypto - risk it man

Passive income, I'm wid dis man

Bank accounts up in Switzerland

Mystic man, mystic man Kingston mi born, mi nuh English man

Locks pon mi head, man a Rastafari

TELL DEM HAILE SELASSIE IS THE MAN

Like Peter Tosh when di beat ah knock through di speaker box

YUH KNOW MI LYRICS DEM CLEAN, DEM NUH NEED FI WASH

NEW ALBUM AH DROP AND DI STREETS AH WATCH"

I mean.... just DAMN! Surely Tosh, himself, would approve of what had become of his work as Pyramid had breathed new life into one of the greatest songs of all time with a very impressive rinse ["I go deeper than di surface. More time I swim wid di urchins"]! Another storied figure appears next as Jr. Gong, blesses "The Kalling" with his first of two vocal contributions with the big pre-release single, 'Red Gold and Green'. I have previously called the PROUD tune "perfect" and I stand by it to the degree of it being -- by the slightest of margins -- the best tune I hear on the whole of "The Kalling", at least for the moment and, just because, should I find myself changing my mind, I'll just say it, I won't even come back and edit this out! 'Red Gold & Green', along with being the downright dominant lyrical display that one would imagine resulting from such a pairing, also has such a simply nice vibes around it. A beautiful but not overdone riddim carries complete and utter genius and one of the best things about this tune is that YOU KNOW that it isn't the last time these two will team up (they literally will do it again in about forty-seven minutes) and the next time it will be amazing as well. 'Make Things Work' is the first of four solo and it IMMEDIATELY has my questioning my choice of favourite songs on "The Kalling". Somewhere during the middle portions of this one I just stopped it and started patting myself on the head (good boy! Good boy!!) because of what I was listening to and at the risk of overloading this review with lyrics (I promised myself that I wouldn't), watch this:

"Man ah hustle fi di paper 

Fi di break, I am di baker

Dung inna Jamaica, fi mek it, it nuh easy

Mi rather be a waiter than siddung and wait like a waste man

Fi no man gimme nuttin, mi nuh needy

My determination: Fi richer than Akon and uplift di population cah Rastaman no greedy

A no hesitation inna mi meditation cah man a no nuh slave and mi waan fi move freely

But until then: 

Somehow, someway got to make things work

Long life, more pay, that's what I deserve

No time, no day hand-to-mouth caan work

I got to hold my destiny, I know what my life is worth

I was born a King like the Pharaohs of Kemet

I no forward fi yah slave out, so neva you forget 

But I'm always on time, mi neva miss a step

Why you treat me unkind?

Through a mi ah buss a sweat

But mi nah go deyah long because mi have some bigger plans

Mi waan fi be mi owna boss and mi ah save up all mi can 

Invest inna some stocks, some options and bonds

I'm thinking long term

I hope you overstand"

There is a way to uplift your current lot in life. There is some positive way of bettering yourself, that is the sentiment behind this master class of lyrics and though it may not feature a helping-hand vocally, it does have going for it one of the most beautiful musical tracks on the entire album. BOOM! Third generation Reggae music royalty, Jemere Morgan (a complete TWIN of his father, Gramps Morgan), checks in for the first of a pair of contributions to "The Kalling" on the very interesting 'Grateful'. I like the kind of old school... Jazzy sounding structure behind this one, it actually helps to heighten the periods when Pyramid awakens and decides to lyrically destroy everything he can find, EVERYWHERE. Most remarkable is the fact that, although he does cover a lot of ground ["...look how mi happily travelling, just like a javelin. Nuff a dem babblin"], he never really does stray too far away from the theme of being grateful and thankful to be who he is and where he is. Morgan will later return on what is a definite changeup on "The Kalling", the dance-ish catchy 'Energy'. I was very happy to hear the direction of the track as, after hearing the vibes, I'd kind of assumed it was "energy", meaning just an up tempo song, lacking an actual direction but I was wrong (what else is new?). At the core of 'Energy' is just positivity and having good feelings and outlook on life, while refusing to let others spoil it for you. So many times you hear pieces like this one and they're, effectively, just throwaways. They sound nice and that's what is why they exist and there's nothing wrong with that, but it's always nice when someone takes advantage of every single moment to make a point and that is what happens with 'Energy'. Striking social commentary, 'Stand Up' is made all the more mandatory because it features songstress, Nathalia, with her all sorts of colourful vocals. The specifics on 'Stand Up' are HUGE! You listen to Kabaka Pyramid's final verse on it and tell me different ["You si dem, waan fi muscle mi, but I ah speak out. That's why dem record label dem no try and reach out. Dem know seh dat mi different from dem guys weh bleach out and Rasta nah go sell mi soul fi buy no beach  house"]. Nathalia instantly takes things higher, blessing the chorus with her talents and I'm very curious to see if/when my typical listening routes lead me into her path again at some point with that voice.

As far as what stands out, on paper, there is a pair of songs on "The Kalling" which're likely to gather a huge amount of attention (along with the two with Jr. Gong), the title track and 'Faded Away'. 'The Kalling' links Kabaka Pyramid with a trio of big artists in Protoje (new album, "Third Time's The Charm", out now), Jesse Royal and Stephen Marley. The tune is a 'kall' to action, stating that there is a need in the world now for new leaders and soldiers to take up various causes, especially in the name of Rastafari. All four artists SHINE and what I really loved hearing was that, although they do glorify the position and present it with the deserved importance, they don't paint an unnecessarily and unrealistically BRIGHT picture ["When you take up Rasta banner, do not take it fi no joke. IT'S MORE THAN JUST THE LOCKS UPON YUH HEAD AND WHAT YOU SMOKE"]. Normally, when you see a song like this and just how many people are involved, you may get the feeling that there is simply too much going on with it, that is not the case at all with 'The Kalling'. Instead, everyone is afforded their proper time to get their point across, with Marley so wonderfully tying it all together with a stirring chorus. You'll hear three more voices on 'Faded Away' as, along with being joined by the great Buju Banton, the tune stands as a remake of probably the most well known piece of work by the venerable Junior Byles (who has lived one of the most interesting lives in Reggae history) (biggup Junior Byles), 'Fade Away'. 'Faded Away', for me (and maybe only for me) is even stronger than the title track! This thing is gold! Along with the vocal performances, which center around people just having their eyes on the wrong things in life, that PULSING riddim running around it all is a stunner. Again, I have to mention just how skillfully everything is put together. Everyone stays on topic and doesn't deviate and it makes for one powerful package which, just like the opener, hopefully goes on to bring new added attention to a classic. The other combination in this middle portion of "The Kalling", 'Mr. Rastaman', may be destined to go overlooked, but that will be your fuck-up if you find yourself guilty of strolling by it because it is excellent. The versatile (and often funny) back-and-forth between Pyramid and Tifa ["Baby girl just come yah, mek mi tie di knot. Mi show you every style mi got. Mi know you have a tiny slot. Mi have di key fi fly di lock. Gimme all di time you got. Ras no use no Viagra"] is delightful on a tune, again, with some of the other names on board, may not get a major listen, but for everyone who does - ENJOY! 'Mr. Rastaman' is definitely a romantic/love type of song as is the lovely solo number preceding it on "The Kalling", 'Safe Right Here'. I'm going to resist the temptation to write it out because I'm probably about to do it for the next song, but you PAY ATTENTION to what Kabaka Pyramid says on 'Safe Right Here'. You can style it up as a love song and you know no one ever really says anything important on love songs, but this man's attention to detail (more on that in closing I'm thinking) is amazing ["Come close to me. Make yourself comfortable in my upholstery. Yuh getting treated like a Queen is supposed to be. Let's break the monotony. I want you all over me"]. The sonics are also very well done and help to build the mood on a potently sultry type of selection. And then there's the BOOM! The penultimate solo track on "The Kalling" is certainly the best of its kind and is also, arguably, the best of any kind. 'Addiction' is.... just ridiculous.

"Wake up in di morning as I open up my eyes

I see my phone light right next beside

Nah go mek a minute pass before I-

Tek it up fi go pon Instagram and check my timeline

Scrolling and swiping before mi brush meh teeth

Probing and liking before mi cup of tea

Check how much new followers mi get from last week 

Then mi post a picture weh mi know di likes ahgo peak"

"Feeling down, need a boost of energy

Go pon Amazon fi buy something mi nuh need

'Same Day Shipping', yow a wah dis mi ah pree?

'Anytime before 10, doorstep delivery'

Every ten minutes Fed Ex start to send di tracking

Then after that, mi click, continue shopping

SCROLL TIL MI WEAK AND YOU KNOW THERE'S NO STOPPING-

DI ALGORITHM WEH DEM GET MI TRAPPED IN IS CALLED ADDICTION"

"Sucrose, fructose, granulated

Up inna di cupboard, weh mi have it waiting

Straight to di sugar weh mi gravitating

PARASITE DEM INNA MI BELLY HAVE A CRAVING

ALL WHEN MI FULL MI STILL NAH STOP

IS A NEXT SLICE OF CAKE MAN AH ASK FAH

Ice cream and di works and that's just fi desert

How mi nah get diabetes or cancer from this addiction?"

Do you remember when I said that one of the first things that I thought about Kabaka Pyramid when I heard his music was that this youth was SHARP?! This man breaks down, geniusly (again, that might not be an actual English word), three different addictions which I would say are relatively commonplace these days, to the point where, if you cannot DIRECTLY relate to any of them, then you surely know someone (probably someone fairly close to you) who can. It's such a POWERFUL tune, particularly in the way it is demonstrated because there's no drama here. Pyramid is fairly laid back and relaxed and never forces things, even slightly. He's speaking like someone well within the mindset of being in these feelings, who has accepted that this just the way it is for them. 'Addiction' came as a pleasant surprise to me. I had no idea what to expect from it but, by its end, what I got was one of the strongest offerings that I have heard from Kabaka Pyramid. I will also mention the album's final solo selection here, the COOL 'EZ Ride'. Although it is the most broad piece you'll find on "The Kalling", 'EZ Ride' still definitely manages to make a point and leave an impact. The final verse dazzles ["Easy ride, mek wi trod a Mount Zion high. Elevate and show dem wi have a higher mind. Selassie I, HIM a di blueprint fi I & I. So wi stay up, wi have whole heap a frequent flyer miles"] but even up until then we find the Pyramid in great form with the unifying theme, to my opinion, being the observation of a moment to be taken to find a clear head and frame of thought. To LISTEN and respect others and, generally, just attempt to treat one another better and with more respect. As I said, it's more on the broad side than you're going to hear from Kabaka Pyramid anywhere else here, but 'EZ Ride' holds its own. I also want to mention the vocals on 'EZ Ride'. Kabaka Pyramid is not a singer, but he does push his voice a little more on this song and it is a nice variation (I would tell you who I think he sounds like, but I'd have to chip away it somewhat to get it across, so I'll keep that to myself) (Iyah) It is a very strong selection. 'Mary Jane' is the obligatory ganja tune for "The Kalling" and he tackles it with another staple of Ghetto Youths International, the very talented Black Am I ["IN THE GHETTOOOOOOOO!"]. These two previously teamed up on the scalding 'Jah In My Corner' from just earlier this year ["Even when babylon buy out di referee, wi face di penalty and still ah win di victory!"] (BOOM!) and, CLEARLY, common sense has won out as someone who heard that first effort decided that the union needed to happen again and HERE IT IS! 'Mary Jane' is a syrupy sweet vibes (credit to the saxophone player, whoever he/she may be) made even more delicious by the vocals. Go ahead and think that you've heard everything that can possibly said on such a song and ignore this one if you like and you'll miss some truly powerful wordplay ["If you drink blood like dracul-er, caan tek a draw of mi chalice, sir"] and just one very nice tun altogether. Another young GYI standout, Answele, joins Kabaka Pyramid on "The Kalling", making his contribution on the outstanding 'Life Is Everything'. Songs like this always hit me personally, because I see a great value in realizing just how well you do have it. You. YOU READING THIS RIGHT NOW, you have problems in your life; maybe you have a lot of them. You are a human being, which means that you are incredibly flawed, but you still have something going for you. There's something or someone in your life that brings you joy and it's important to be thankful for those things, because you don't know how long they will remain. That's what I took from 'Life Is Everything' and, incidentally, should you want to hear more from Answele (and you should), you can check out either his well decent EP from last year, "In Control" from last year or "One Way Mixtape" which just released a few days ago (still working on the latter, but the title track on that one is really good work). Lastly, our producer, Gongzilla, returns for his second vocal piece, a sequel to the title track of the first album, 'Kontraband, Pt. 2'. This is a vibe. I dare not call it a freestyle from Kabaka Pyramid (if it is, it is the greatest of all time), but it comes billed as a "Bonus Track" and it exists -- just in case you needed another example -- of the FLOORING talent that is Kabaka Pyramid. Everyone has a talent. We all have something that we're good at and we're fortunate when we can find out exactly what that is. Music, in general, is fortunate because Kabaka Pyramid found his.

I do want to, briefly, dig into that talent just a bit more because, in listening to the album for the sake of this review (the first time I've reviewed a Kabaka Pyramid album), I feel like I have gotten a fuller experience and am better equipped to explain a few things. You have remarkable lyrcists in Reggae. We're very fortunate. We have loads of them. People like Sizzla Kalonji who is capable of producing these large, anthem like pieces where, seemingly, every single letter has already been given to him and his gift is in bringing them all together on these immortal pieces. We have Vaughn Benjamin who GAVE us all a glimpse into his lifelong affinity with words unlike no one has ever done and there're so many others like such as the brilliant Reemah, who all have what they individually do well. In my opinion, Kabaka Pyramid's greatest strength as a writer and a conveyor of the word is his attention to detail. Not only does he seem to revel in his ability (it's almost as if he enjoys it as much as we do!) (a very Bunji Garlin-ish trait), but he takes pride in grinding it down as finely as he possibly can - like he's just as curious in seeing how far it may spread. What comes through at the end is a sound that is so NATURAL, yet so SCIENTIFIC that, if it has an equal, I do not know it. I brought up Bunji Garlin and I do hear some of that in Pyramid, but I also hear Sizzla, I also hear the teaching style of Reemah and the COMPLETE range of passion from someone like Agent Sasco, all the way to a Capleton, for example. Kabaka Pyramid covers every base and I don't know if any other single individual has EVER done that. 

Overall, I am very pleased to say that "The Kalling" is almost EXACTLY what I thought it would be. Both in terms of its sound and quality, the album delivers what I was hoping and it is a GORGEOUS display of the tremendous talents of Kabaka Pyramid. Also, as a complete package, as I mentioned, I love how everything feels around this one. I don't know if they finished everything and thought that they may have had something truly special on their hands (they did) or if came beforehand, but when you look at "The Kalling", your eyes tell you one thing and, later on, your ears will confirmit: It's special. So as I sit here and make my greatest attempt to not become a prisoner of the proverbial moment and give some sort of historical look into this day and half old release, what I will say is that if 2022 were only nine months long, "The Kalling" would take the top prize for me. It is THE best Reggae album I have heard this year so far. Period. 

Rated: 5/5

Ghetto Youths International & Bebble Rock Music

2022

Digital