The Vault Reviews: Human Rights & Justice by Daweh Congo

Rolling. If you're at all like me, you probably have a core group of favourite artists who rarely ever change. These're, for whatever reason, your 'go-tos'. They serve a very important purpose and occupy a special place in your listening habits; and probably even your entire life. Because of the work they've done in the past, you probably never actually remove them from that lot COMPLETELY and adding to that group is probably just as rare of an occurence. Were I to ask what, exactly, you love about their music, I would be almost certainly inviting a fairly long and detailed response and, if you have any, they form the group of musicians who your children will say that they grew up listening to when they become adults. For me, this group is Sizzla Kalonji. It's Vaughn Benjamin. It's Beenie Man. It's Lutan Fyah. It's Destra Garcia. It's Queen Omega. It's Bunji Garlin. It's Capleton and a few others (my most recent additions would probably be the likes of Skinny Fabulous and Sara Lugo). Another group would be certain individuals whom you greatly appreciate and have spent a conisderable amount of time churning out material of an extremely high quality, so you have a combination of both current form and historical achievements which would probably put them in prime position to be the answer to questions such as 'who're you listening to these days'. My answer to THAT question would be Chezidek. It's be Norris Man, Mark Wonder, General Degree, Pressure Busspipe and a VERY long list of their peers (Mark Wonder might even be in that first lot, actually). If you do this in your head (you'll see just how much fun this is for me), you'd ultmately probably arrive at people who have big current songs that you enjoy or a big album that you've stumbled upon lately (biggup Jah Garvey) but somewhere in between might be a random lot of artists who maybe you don't find yourself listening to quite often but whenever you do manage to tune in, you generally come away fairly impressed. Personally, in terms of reviewing and writing about, by and large, these people can provide DAMN interesting experiences and may lead to situations (like I'm doing right now) where you hear something that catches your ear and it leads you down a path of examining another portion of their catalogue with, perhaps, a newfound level of full appreciation for their work that you did not have previously. In my case, these are Rob Symeonn, Jah Marnyah... Daddy Rings... Ossie Dellimore (what!)... the late Peter Broggs would be in there as well, probably, so would the GREAT Yami Bolo. As I'm naming them, I'm noticing that maybe something they have in common is that they aren't terribly active but you put up a new album/collection/single from any of them and not only am I interested in it but listening to it, alone, will probably draw me in the direction of taking another listen to something that they've done in the past as well (and I can't say that for anyone else here to such confidence. Even if I hear some old tune from Kalonji that I missed or Midnite (and it does happen), I feel the sudden urge to immediately followup on that by looking for some more. I'm pretty happy for that moment).

CLEARLY, I need to think about adding a new name to that last bunch that I just mentioned because I am finding myself listening to tons and tons of old (and new) music by Daweh Congo these days and I'd be damned shocked if the end was anywhere in site. A few weeks ago, I wrote a review for his debut album, "Militancy" and I had so much fun with that set that I quickly set my intentions on tackling another one and I'll say something right now to stress just how strong my interest was: What I eventually settled on (which is the one you're reading now) was, FAR AND AWAY, the best from the time that I listened to. Not that any of them were bad, necessarily; but I really don't like "Guidance" (which is consistently less than stellar in my opinion and I'm being nice), "Jah Children" or "Health & Strength" (as interesting as it is with an album and then a dub album accompanying it). As unimpressed by any of them as I most certainly was as complete sets, I was still wanting to hear and talk about more. Thankfully, hidden amongst those rocks was a near total GEM. 

1997

Daweh Congo's debut, as I said, was "Militancy", which reached in 1997. In the year 2000, he would release a pair of albums; one being the aforementioned "Guidance" for Jet Star, the other being the much stronger "Human Rights & Justice" for Roots & Culture Records from out of France (they also did a bit of work with Eric Donaldson, Max Romeo and a few others) and was produced by a Gayland Bravo & RG Bed, both of whom unknown to me. Like "Militancy", I can vaguely recall "Human Rights & Justice" receiving a nice amount of publicity in its day for what it is. That bright yellow cover is ultra-familiar to my eyes and while I have definitely listened to bites and morsels of it throughout the years, I'd never had any idea to put a reviewer's ear to it until now and, unsurprisingly, I am glad that I did. "Human Rights & Justice" is even better than "Militancy" at its best; and while it does fall below that level once (more on that in just a moment) the rest of its eleven tracks register AT LEAST in the range of above average. If you are unfamiliar with Daweh Congo's music he is most often compared to the legendary Burning Spear and, to no surprise, he does the best of his work when gifted with heavy modern and old school Roots music (which you'll find in abundance here). Another idea that I'm thinking about now, having heard more and more of his early work (and in just listening to him more regularly these days that I ever have) is that Daweh Congo has a very unique PRESENCE to his music. That is due to his unusual voice and patterns but he tends to.... he has a way of saying things that may or may not be relatively innocuous with almost GRAND IMPORTANCE. I'm not saying that he's overstating anything (he is not) but You, as a listener, are given a level of resonance with SO many of his words. It does take a minute to get used to (and I may very well be the only person on the planet of this opinion but who cares) but it is more than worth the effort in adjusting because what results is a BEAUTIFUL presentation of music such as a what is to be found on "Human Rights & Justice". Don't have anything going on at the moment? No. You don't. Let's get into it. 

Let's get the mess out of the way quickly: There's a song on this album called 'Come On Over'... AT ABSOLUTE BEST, it is awkward but it is not awkward. It is HORRIBLE. It's a love/romantic song and it has a constant sound effect of a woman moaning. I have heard worse (biggup Chronixx) but it's written pretty badly as well and it just has not a single redeemable or enduring quality in my eyes and ears AT ALL. Now, with that covered, Daweh Congo begins shining on his big second-ish album, "Human Rights & Justice" with its outstanding opener and title track. 

"Give me human rights and justice

I want it"

The punchline of this song is very simple and brutal but you listen to how Congo says it. It's downright HALTING (if you should have some human rights and justice like laying around somewhere, when he says it, you want to go and look for it and give it to him) and he goes on to weave a message around it which caught me particularly in one aspect. Daweh Congo, specifically, wants what he's due ["Give me human rights and justice. I want it. I coulda never do without. I must have it. OUR CHILDREN NEED TO BENEFIT, WE WORKED FOR IT"]. He does not want to go to the head of the line until his turn has come, so long as when it is his turn, you put on his plate ALL of his food. Next in is the arguably even stronger 'Jah Is My Shepherd'. 

"Now the Holy Abuna is standing at the altar

Gibraltar

Offering out the sacrifices of thanks giving

My heart is willing

In the house of My Father, to be a doorkeeper

King of Fire

Ital greens is what I eat!

JAH IS MY SHEPHERD, I AM THE SHEEP"

'Jah Is My Shepherd' is what I'd call an interactive praising tune. It does what it's 'supposed' to do and gives honours to His Imperial Majesty but it's an ACTIVITY that Daweh Congo is happily engaging in and WORKING on. He's doing this work atop this gorgeous old riddim (which turns into this delightful *squeak* during the verses) which really adds to the vibes and makes such a nice impact on the listener. The somewhat jovial (but not REALLY) 'Another Day' is, legitimately, a little awkward but it does end up working to some degree by its end. 'Another Day' is messy and there sounds like there is some real disconnect between vocals and riddim (and that riddim isn't a favourite of mine at all) but its strength comes in what is SAID by Daweh Congo. Lyrically (as hard as it may be to appreciate and I will definitely agree that it is difficult to sift through everything) (including the even-for-him odd vocal patterns), 'Another Day' is nearly mighty as the songer (the what???) delivers a message that a brighter and BETTER day is on its way. It does work for me but if it does not for you, I completely understand. Check the entirely less polarizing 'Wilderness', another praiser but one anchored in seeking a more natural refuge in order to give thanks. He also, wonderfully, incorporates more tangible elements into things as he talks about using nature as a source of refreshment which a nice and OPENING aspect to the song. 'Wilderness' is kinda excellent and though I'll hesitate to place it with the finest songs on "Human Rights & Justice", the fact that it is SO good but NOT amongst the class of the album definitely speaks to the album's quality. 'Drums', on the other hand, which sends out the first half of the album, most certainly does rank amongst its definitive highlights. This is a song, simply, about pride but there is nothing simple about the route Daweh Congo takes in order to get us there. Coyly, 'Drums' is a very INTELLIGENT song and it's also a little complex. Here, the "drum" appears to serve multiple purposes, the largest of which is as an integral part of a chant and a certain level of awareness; so he'll say "I hear drums. Sistren hear drums", and he's saying 'I FEEL IT!'. I'm proud to be an African and so is SHE and so are they... It is a GORGEOUS offering and as someone who shares the lineage, I HEAR DRUMS TOO! BOOM!

The obligatory ganja tune on "Human Rights & Justice", 'Herb Tree', begins its second half on a very strong note. Utilizing a cut of the Mad Mad Riddim, Congo finds himself in all sorts of trouble during this record. He's in court and standing trial... over a plant. He also has "no money fi pay lawyer fee" and his safety is at risk as well; so he's in tough times. Fortunately, he had the time to scribble out a song marking the occasion and it is a big winner. There's something so EASY about this tune. There're backing singers but they aren't really singing, they're just sort of talking but IT WORKS and works well. You have your herb song and, of course, you have to have one for mama and on "Human Rights & Justice", that is the delightful 'Mother Arose'. 

"Born from a woman, I'm so lucky

Look at what the youths have turned out to be

Dear to my heart, I love her truly!

Way I feel towards her is affectionately

Oh there she goes, Ms. Rose

Mama is a rose

Oh seh she bless her role

Only Jah Jah knows

A river side winds ah blow

So she wash my clothes

I'm gonna comfort her soul, when she grows old

Soft as a flower, mind made up like steel

MOTHERLY LOVE: I KNOW IT CAN HEAL

If you forget, you couldn't be real

Brothers and sisters, careful how you make her feel"

The song title is probably spelled wrong (it's more like 'Mama A Rose') but you can call it whatever you like; it's nice! Super simple though full of character and charm, hopefully Congo's mother got a chance to hear it and I'm sure she appreciated it (and biggup my own Mom. Seventy years young) (and biggup yours too!). Immediately preceding 'Mama Arose' is another big highlight from "Human Rights & Justice" and one I was actually familiar with prior to hearing it here, the HEAVY 'Earth Running'. 'Earth Running' isn't even a social commentary as much as it is a social OBSERVATION. Daweh Congo marks the largely negative state of the times but does so with an idea that the 'sun' is either rising or available... it isn't entirely bleak is my point ["The devil is on the loose. Mankind pray for the goose. Yes, I tell you the truth: THAT SAME ONE WILL HAVE TO COOK FOR TOMORROW'S SOUP"]. I mentioned earlier about the way Congo has this way of saying really basic stuff with a much larger impact and pretty much 'Earth Running', in its entirety, is an example of that. The ideas, as a whole, are definitely impacting but virtually every word out of his mouth, in and of themselves, make it as well. This is a very interesting song and I'm still enjoying the journey through it. For as unique as 'Earth Running' may be, 'One World' is actually somewhat similar. It's just Daweh Congo noting what he sees going on in the world around him. Songs like this make me think that they were VIBES, meaning that he just sort of came up with them after hearing the riddim and I don't really have a problem with that. 'One World' isn't quite the song that 'Earth Running' is but it does have its charm and does stand out for them. In terms of direction -- and only direction (its sound is completely in bounds with the rest of it), 'Big Bad Sound' is the definite changeup for "Human Rights & Justice". You know exactly what's going on with this one. It's a really fun time and I've also seen Congo singing this one as a dubplate as recently as last year so it's done well for him and clearly has shown some legs! Finally, the album ends on its absolute highest note as its closer, the FLOORING 'Jah Mercy Seat' is the single best selection on the album.

The earlier and similarly vibed 'Jah Is My Shepherd' stands well, by comparison (and by anything else, REALLY)  but what sets 'Jah Mercy Seat' apart, at least for me, is what comes from Congo, himself. At times this doesn't even sound like he's making a song. It often comes across like he just woke up in a really good mood one morning, opened his window, started singing and 'Jah Mercy Seat' is what came out of it. It doesn't sound very planned out or directly focused. It just sounds like Daweh Congo doing exactly what he felt like doing in the studio, across what is a subtle but GORGEOUS backing track.

Overall, yep, I'm hooked! Daweh Congo's was never a name that I would have called under-known to me. I've well respected his music and abilities for a long time but, as of late, it's been illuminated... for some reason. His most recent release, 'Amharic Verse' on the African Movement Riddim, is probably my new song of the year so far and, again, I'm hearing things within his back catalogue that just never sounded like that to me, previously, for some reason. I do have experience which such things. I was late to the proverbial party in the cases of the aforementioned Vaughn Benjamin and it also took people such as Mark Wonder and Yami Bolo a bit to really grow on me (and now, at least in the case of Wonder, the man can literally do no musical wrong in my opinion) and now I'm able to appreciate their work, present and past, in a new light. Daweh Congo slots right in there and it's growing. "Human Rights & Justice" just might be his best complete body of work to date; from someone who is well along in the process of making a giant fan out of me. Well done.  

Rated: 4.55/5

Roots & Culture Records

2000

The Africa Movement Riddim

The Africa Movement Riddim [Conquering Lion Records - 2026]

1. 'Faith' by Quan Nelson
2. 'Hail Adonai' by Jelliss
3. 'Guidance' by T'Jean
4. 'Wisdom Over Hype' by Dahvid Slur
5. 'Amharic Verse' by Daweh Congo
6. Africa Movement Ridim

Okay so, I had mentioned this one (sorta/kinda) in a review that I did a week or two ago because I'd had my eyes and ears on it already for a few minutes ahead of its release but the Africa Movement Riddim from Jallanzo The Dubwizard and Conquering Lion Records has now been released and it is thriving mightily at least on one front (but more like a couple, actually). While all of the tunes are at least solid, there're a couple of standouts that I think you should REALLY be paying attention to.

"Propaganda dem ah spread but it can't change di facts-

That the first man and women dem was one wid locks

A di same bloodline run deep in us

Melanin inna mi skin like a burning pot

Wid hair like wool and foot like burning brass

Everybody haffi hail The Negus Negast"

The first of them is definitely the mighty 'Hail Adonai' by Jelliss. Jelliss has been coming on over the past couple of years or so (downright EPIC love/ganja tune he had, 'Medication') but he also had a few big tunes that I've run into throughout the years, particularly one called 'Back To Reality' (which sounded like something from out of the ZIK catalogue) that well caught my attention, so I am aware that he possesses a certain level of ability. Were I not aware, however, 'Hail Adonai' would have certainly remedied that. 

"WICKED SHALL BLOW AWAY, JUST LIKE A TRASH"

The other song here that you'll be doing yourself a favour by donating a whole heap of time to is the ABSOLUTELY MAMMOTH 'Amharic Verse' by Daweh Congo, the single best tune on the Africa Movement Riddim and... probably one of the best songs that I've heard in a minute (I seriously have difficulty NOT playing this record).

Also appearing on the riddim are Quan Nelson & Dahvid Slur, with tunes that are at least decent, like I said, with the latter, with 'Wisdom Over Hype', being quite strong, actually (Slur sounds a bit like Chronixx at times). The talented T'Jean also checks in with 'Guidance', which is also good but is a delightful listen. As I song, I wouldn't place it ahead of 'Wisdom Over Hype' but for pure sonic appeal, 'Guidance' is lovely. And you also get a LOVELY clean version of the riddim itself with a bit of effects added in, making for an almost Dub-like experience. Golden.

Be sure to check out the brand new and GORGEOUS Africa Movement Riddim because it isn't like you have anything better to do.

The Vault Reviews: Militancy by Daweh Congo

Long legs. If you watch the replay of a sporting event, no matter how amazing it may've been originally, it loses a bit of its attraction. When you can ask Google who won and for a play-by-play, even the greatest of spectacles lose a bit of drama and lustre. Similarly, when you watch a great movie, the first time is, far and away, the greatest. It is the only time you'll see it and not know what's going on and be subject to all of its twists and turns. You may love it. It may hit you in emotions that no other movie approaches but after that initial viewing, it will NEVER be that good again. For the sake of comparison, think of your favourite song (or your ten favourite songs, even). Unless you've recently changed your mind, you probably cannot recall the very first time that you heard it. It holds no distinction directly or indirectly -- because you probably can't even tell me what you felt the first time you heard it -- because WHATEVER it is that you love about it is potentially replicated each and every time that you listen to it. Music is one of the very few types of entertainment that our species engage in that is immune to time. Sure, you can have certain things at work such as quality and technology may go a far way in dealing with such things (with how much producers of music love to remaster things) (and I'm not complaining. I recently heard what I believe to be a remaster of the title track of the album I'm currently reviewing) but even certain things in recordings that aren't necessarily perfect can be looked upon as adding to one's appreciation and affection of a particular song. You hear it today and you love it.... nearly thirty years from now you may still love it and for the very same reasons, regardless of where you may be in your life at the time (and how ridiculously different it may be from where you were the first time you heard it). We deal with Reggae around here, so while I never spend too much time speaking about a guy named Bob, I do think that it is worth mentioning that though Bob has physically been gone for nearly forty-five years, his greatest hits album, "Legend", continues to dominate the genre in sales as Billboard recently announced it was the best selling Reggae album in 2025... its SIXTH consecutive time taking top honours. Fifty years from now, I'm not surprised if the case is the same, as his music continues to find new audiences (if such a thing is even possible at this point) while maintaining the interest of his older ones despite the fact that the songs are the same. When you make genuinely high quality music, it hits like absolutely nothing else and it can, potentially, hit FOREVER.

If you do not like this song, leave and never come back

So does that will explain while I'm slapping a full review on a relatively random and obscure nearly thirty year old album from someone who definitely does not register amongst the biggest stars of Reggae music? Yep. It does. A few months ago, I stumbled upon a song from 1997 by the name of 'Rocky Foundation'. It was produced by the mighty Kariang and it CAUGHT ME. For some reason I cannot describe, this very random tune has remained on my players for the better part of the final quarter of 2025 or so. Ostensibly, there's very little remarkable about it; it is just A BEAUTIFUL SONG. The song was done a singer by the name of Daweh Congo who I have talked a bit about in the past but, as I look over to the tags on this page, he doesn't have one and because he was in the process of DESTROYING me with 'Rocky Foundation', I decided it was time to do something about it and it just so happened that Congo had an album at around the same time 'Rocky Foundation' was about and, listening to it these days, that album had also aged incredibly well. 

"Militancy" was an album which received a decent bit of attention in its day (1997) and the years around it, if I recall correctly. Though somewhat obscure, it had secured a fairly decent following for Congo and these days is kind of regarded as more of an underappreciated gem of a set (did all I could to avoid using the word "underground" in there). It was, in fact, the debut album of the Kingston born Daweh Congo who, as the son of 70's Reggae singer, the late Leo Graham, would have had a bit of natural attention on him in the early stages of his career. The album came via the all kinds of interesting RUNNetherlands imprint who had a pretty decent run in their time as, along with "Militancy", they also worked with the likes of Tanya Stephens, Macka B, Prezident Brown, Panache Culture and others (like ET Webster) and really made a very nice contribution to Reggae music throughout the 1990's. "Militancy" remains perhaps their most well known release but RUNN did a more than respectable tour of duty in their day. The album was guided by the venerable Barry O'Hare and really went to establish a borderline (or a 'floor') level of quality for Daweh Congo which persists to this day (he has a tune coming in a few weeks by the name of 'Amharic Verse' which is EXCELLENT) ["Sing Amharic verse now. Hail Selassie First now"]. This man does not make bad music. He never has. Though he doesn't receive the attention in 2025 that he may've in... 2000 or so, that isn't his fault at all. Over the years, Congo has done some considerable work whether you realize it or not. Back in 2008, he released what I consider to be his greatest piece of work to date still in "Ghetto Skyline" (featuring the wholly damaging 'Blue Moon') (DO NOT -- I REPEAT, DO NOT -- LISTEN TO THAT SONG) (do so and you will never know peace again) but listening to "Militancy" these days... it isn't lagging very far behind at all and for those who did catch on in its earlier years, I can clearly see (hear) what would have been the attraction. When this album is at its pinnacle, there's a very BIG and inviting presence that it has. It isn't in the same way that I would say about the last album that I reviewed, "Andromeda: Sign of The Times" by Sydney Salmon & The Imperial Majestic Band but there is definitely something inherently attractive and damn near special about the way in which this album comes through to the listener AND I should also note (in this entirely too long sentence) that "Militancy" doesn't have any era. Though approaching its twenty-ninth birthday, it sounds modern, old school and everywhere in between. Let's get into it. 

Daweh Congo's voice has always been somewhat similar to Burning Spear's to my opinion and I've heard others say that as well. When you place that in a more modern context (and I don't necessarily mean that in terms of time. I'm saying "modern" in respect to activity as you don't associate The Spear with jumping on someone's riddim), the results can be downright hypnotic (there was once a tune called 'Blue Mo.... nevermind. You don't need to know that) and in an unusual way. Congo's style can be therapeutic and challenging at the same time but it works to the tune of a largely undeniably high level of consistency. The first part of "Militancy" is somewhere in the stars and the very first part of the first part, 'Travel East', may just be the best part of all the parts (that's a lot of parts).

"From the old captured land, backra plantation

Lionheart hold a meditation

CHANTING FOR COUNTLESS REPARATION

From the wicked, from the wicked system

Inna far away land, I remembered Zion

INNA DESOLATE PLACE, JAH SHOWED ME HIS FACE"

Checking in HEALTHY, nearing five and a half minutes, 'Travel East' affords Congo all the time he needs to settle down and get comfortable on that SWEET riddim and what you end up with is such an impressive vibes and one which well puts you in  the mind to hear what is to come after it. His voice, inherently, may not be the most emotive but you hear everything in this one. I hear Daweh Congo completely losing himself in singing this tune and it comes roaring through on this MAMMOTH opener. Charged with and up to the task of following 'Travel East' is the album's obligatory ganja tune, the downright stunning 'Coconut Chalice'. In a very basic level of quality - you just don't make ganja songs that sound THIS good to any type of frequency. 'Coconut Chalice' is SPECTACULAR as Daweh Congo approaches the 'topic' in a very broad way, covering virtually every single conceivable aspect in a gorgeous way. Next up is Congo's cut of Bob's Heathen Riddim, 'No Peace'. Congo finds his comfort and his harmony at home ["No peace is in foreign. My sistren, dem ah send greeting but no peace is foreign"]. Again, portions of this one, particularly the ending, are rapturous in a hypnotic type of way. He so much appears to lose himself in the vibes and, for the astute and curious listener, it is such a damn attractive quality to the work of Daweh Congo. 'Study Garvey' has probably gone on to become the most recognizable track on the whole of "Militancy" and it also ranks highly in its quality. I mentioned that I compare Congo's vocals to those of the legendary Winston Rodney and 'Study Garvey' is definitely something that you would find in the bag of the Burning Spear who idolized and celebrated the great Marcus Garvey like no other. Congo is up to the task as well.

"I man would like to reflect on the message that Marcus left

Cause if you look around, some no know self-reliance yet, not yet

So gather your thoughts and come along

Children, this is a chance for your freedom

If you're willing to be free - free from slavery

Come follow dem yah teachings of Marcus Garvey

Mek wi study Garvey, come mek wi study Garvey

Know yuh history and wi destiny

Mek wi study Garvey, come mek wi study Garvey

Know your history, further wi destiny

So why they teach about Columbus?

They don't teach Mosiah Garvey in school, in school

A propaganda dem spreading!

I wonder who dem tink dem ah fool, dem ah fool

Black man, I know something is wrong

You see, wi have been down for very long

But there's upful livity in strength & unity

Cause such is the teaching of old Mosiah Garvey"

The song is both exalting and tangible (as you would think Garvey, himself, would prefer) (he'd probably prefer 100% tangible, actually) - there is MUCH substance in this one. So, while you enjoy that beautiful sound (courtesy of the legendary Kette Drum Riddim) be sure to give ample attention to the words that you're hearing as well; failure to do so is failing to FULLY appreciate 'Study Garvey', at least in my opinion. I think that the vocals get a little too loose, at times (the chorus), on 'In America' but not enough to spoil the tune altogether. A social commentary about.... America, this one touches on things such as violence and governmental malfeasance. I'm damn curious as to what drove Congo (or whoever it was) to write this tune. It does have its moments but it, ultimately, does come off as somewhat awkward; and, given its length (it is the only other song besides the opener that is north of five minutes on "Militancy"), although not BAD, 'In America' is probably my least favourite tune on this album. If the ship needed righting (and it didn't), the semi-jovial 'Together Thing' takes care of that. This multi-faceted celebration (he literally celebrates EVERYTHING that comes to his mind) certainly isn't a GREAT song but it holds the place it has on "Militancy" as a positive addition to the vibes. Particularly, it shines musically. You can appreciate/enjoy this one on a very easy level and the message supporting it (albeit likely spread too thin) carries weight as well. I also feel inclined to mention the album's love song here, 'Love Is Real'. It isn't great but it isn't hindering either. It's just a kind of bouncing love song which is surely cursory but, to its credit, as 'Love Is Real' progresses, it does develop and, by its end, at least musically speaking, it's a fine bit of instrumentation. 

The second half of "Militancy" begins in the same way that the first did with a very big tune, 'Jah Call Them' (again, biggup Burning Spear), which reaches atop the Drum Song Riddim ["Just mek dem secure!"]. Daweh Congo is prepared to answer HIS call and he suggests that the rest of us do as well when the time comes ["I CALL JAH UPON MY BLOOD CELL PHONE!"] because no such protection and guidance exists anywhere else. 'Jah Call Them' is just gorgeous and I have to say something about this... kind of subtle but entertaining amount of spontaneity that you get in the latter stages of it. It isn't the only time (or the first time) on the album but just listen to the ending of this tune and how much FUN it sounds like Congo is having while bringing it altogether. That's something that definitely adds to the listening experience for the listener - knowing how much it meant to the artist (or maybe that's just me being a nerd). Without question, 'Let Them Fight It' ranks as one of the project's finest offerings and it just may be its single best written piece. 

"How many empty buckets broke in Standpipe?

How many homeless people?

How many sleepless nights?

When will those who have nothing pay the price for services the system never provide?

Politics is a trick, so systematic

A no poor no benefit, only rich get rich!

I can see the economical frigidness

Oh my advice is this: Don't put your life at risk"

"Some should go to trial and get a sentence

They are the ones who provoke the youths to violence

And then again, youth, you better watch yourself

No more politically motivated offense

Politics is a trick, so systematic

And in your jailhouse stint, there is no justice

When they give you firestick, do not accept

Oh my advice is this: Dem a terrorist!"

Congo dazzles during portions (pretty much all of it, actually) of 'Let Them Fight It' with his words and when you add in the fact that song also SOUNDS so damn good, you have a substantial piece of music on your hands from this album and the whole of his catalogue also. Congo pays a thick homage to the wonderful music that he and his peers make on 'Rythm Track'. You hear songs like this one and maybe you don't pay them much mind because you think they're just kind of... THERE and have no significance but that isn't the case with 'Rhythm Track' to my opinion (and, just generally speaking, I enjoy songs from this perspective). Congo deals with the power of the vibes and how they make people feel ["If you're happy and you love it, I say shout 'Forward!'"] and their importance in the world, while dealing with the behind the scenes matters as well. The Swing Easy Riddim plays the backdrop for another of the more recognizable tracks from "Militancy", 'Golden Text'. Find a book and get to work is the sentiment behind 'Golden Text'. You could take this one in a more educational direction, perhaps, but Congo's focus, unsurprisingly, is on text of a spiritual kind ["Study the golden text. Meditate now and retrospect"]. Between this song, however, and 'Study Garvey', you can see that such things are very important to Daweh Congo throughout "Militancy" - awareness, education, humility. And 'Golden Text' is just a nice vibe as well. It's very pleasing to listen to. Lastly, we FINALLY get to the title track where Congo is looking for a few fit and capable soldiers on behalf of His Majesty. It isn't a full-on physical war that he's recruiting for (although that may be involved at some points) it's more of a mental and spiritual group of warriors that he's searching for and doing so with a recruitment anthem that is divine. 'Militancy' is a very curious choice for this album's title in my opinion but the actual tune is FLAWLESS. It is such a beautiful vibe and it stands out on prominently on the album named after it. You could sorta/kinda call it a praising piece although that might not capture it entirely but that is surely a part of it. What I ultimately took from the closer is that Daweh Congo, again, is trying to put a bit of pride in the masses, while also challenging us to live more upful lives. MISSION ACCOMPLISHED, SIR. 

Two things stood out for me that I want to circle back to briefly before I put a bow on this review: The first is something I alluded to more than once and told myself, intentionally, that I would stop mentioning; and that is just how many of these songs PICK UP as they go along. It came back to mind as I was listening to 'Militancy', because when you get three-ish minutes into it, there's a quick point where the music gets to BREATHE a little (it's closer to 3:16 if you're looking for it) and it seems to intensify (at least for me and maybe only me) after that. It is such a subtly powerful moment and it really just adds to the quality here and it makes me want to listen to this album more. The other thing I wanted to mention is completely ridiculous. I just wanted to take another opportunity to say just HOW DAMN GOOD 'TRAVEL EAST IS'. 

"IN A DESOLATE PLACE, JAH SHOWED ME HIS FACE"

I WAS LOST! I WAS ON MY LAST LEGS AND HAD NOTHING GOING FOR ME AND HIS MAJESTY SHOWED ME THAT HE WAS STILL WITH ME! WHAT A SONG! WHAT A BEAUTIFUL SONG!

Overall, yes, I will continue to drool all over 'Travel East' and a few others here and you should join me. We often look at Roots music as being of a certain type of sound, where it is built on all of these certain themes and ideas and while that is certainly true and "Militancy" is no different, it's also VERY ENTERTAINING. I don't know if newer fans will appreciate it in the same way that more familiar heads DEFINITELY will... but I'm of the opinion that even if this is your very first interaction with the genre, that you can enjoy the MUSIC that you will hear on this album. It is of such a quality level that I think it can cross that bridge to some extent. For me, however, it's golden. "Militancy" is an impressive early career collection from an artist in Daweh Congo who, although he may have not (he hasn't) gone onto reach a level of superstardom in Reggae music, has established himself as a tremendously capable and consistent vocalist. If you need an example, check "Militancy" (and pretty much anything else he's made since): A random, nearly three decade old album that I just decided to review one day. 

Rated: 4.35/5

RUNNetherlands Records

2025