Earl Sixteen sets Roots Foundation with JahSolidRock

"Roots Foundation" by Earl Sixteen [JahSolidRock Music]

I don't know if the term 'CLASS', as a descriptor,  is one with which we typically associate Roots music. In the entire genre of Reggae, it's typically reserved more for Lover's Rock singers i.e. Gregory Isaacs, Beres Hammond and the likes or maybe even, occasionally a Dancehall DJ who has demonstrated an exceptional level of skill (and, particularly, only during a time when the skill is the only thing in question and not more controversial subject matter.

However, if you really think about it, we have more than a few Roots singers who have demonstrated a certain level of elegance and confidence -- traits which, when combined (and maybe with one or two others) are what we refer to as "class -- throughout their entire catalogue. Of course I'm looking at someone such as Luciano who, despite making a brand of the music which also features this very 'dusty' and humble quality to it, has also exhibited loads of grace and refinement during his storied career. There've others like personal favourite of mine, Mark Wonder, ETANA, Glen Washington a slew of others. If such a thing exists, CLASS is an underused term in Reggae circles, in my opinion.

I took this route for this particular release because when I listened to the latest set from grizzled veteran, Earl Sixteen, I was immediately (and unsurprisingly) taken by the overall quality of what I was hearing. That surely has tons to do with an entire career of such output from the singer and it also helps that E16, on his latest body of work, finds himself linking with one of the polished outfits in all of Reggae music today, our good friends at JahSolidRock. Throughout the years of the existence of this blog, JSR along with maybe two or three others (such as the Zion I Kings) have been responsible for producing CONSISTENTLY some of the finest music in all of modern Roots Reggae that we have come across (and even before then as well for a few years, if I recall correctly) and when they've released new music, it's always gotten my attention be it from one of their favourites like Chezidek or Addis Pablo, or ANYONE. Way back in 2011, Earl Sixteen and JahSolidRock would link for an exquisite full project by the name of "The Fittest" ["Only the fittest will survive, that's what they say. Only the strong stay alive"] and now, a very brief baker's dozen of years later, the duo reunites to build "Roots Foundation". Pack your bags and make sure your shoestrings are laced as Earl Sixteen and all of us HAPPILY return to the highest region. Let's go! 

'Brave Enough' & 'Brave Enough Dub'

The opener, 'Brave Enough', is an all kinds of interesting love song. That is, effectively, what it is: A 'love song'. However, with that being said, it isn't the stereotypical lovey type that you may be expecting.... 'Brave Enough' covers those bases quickly and then primarily spends its time focused on THAT GRIND that love can be. I found this one so interesting because, first of all, after seeing the title I wasn't at all expecting this type of a song and then to see E1 uses the word (correctly) "BRAVE". Loving something or someone, in particular, definitely does take courage. It takes courage to express those feelings and to act on them and, if they're reciprocated, begin the process of.... whatever that may mean for you at that time. It was being brave to go through but you so rarely hear that expressed and having it done here makes for an excellent move.

The dub version of 'Brave Enough' takes the riddim, which is fairly simple and plodding 9and I mean that in a good way. If you enjoy Roots Reggae music (and you do), you will LOVE this track), and builds upon it in all the way you're expecting it to. The criticism with 'Brave Enough Dub' is an obvious one: It's over half a minute shorter than its vocalized counterpart and, perhaps it's just my opinion (it is), but I do enjoy longer dubs as, seemingly, without vocals it takes more time to develop a vibe and I would have LOVED to hear more of what is one of the finest compositions on "Roots Foundation". 

'Natty Dread a General' & 'Natty Dread a General Dub'

With its almost immediate big horns, 'Natty Dread a General' comes blaring through following the more laidback 'Brave Enough' before ultimately settling down. 'Natty Dread a General' is absolutely gorgeous. It's my favourite tune on all of "Roots Foundation" and, at least for me, the spine of its strength is anchored in this wonderful 'matter-of-fact-ness'.

"Dread a General

Dread a General 

Rastaman a di original"

That EASY, no frills kind of vibe is delicious behind this one (even as it does develop) is GOLDEN and really matches the feeling of the entire project from the simple cover and title.... you look at this one as JUST VIBES. The dub does continue along in such a way following, again, that big beginning. I won't speak for you and I won't pretend to be such a person myself but I would think that certified Dub heads would eat 'Natty Dread a General Dub' UP! The horns kind of 'trace' the composition, remaining present throughout but never overbearing and it channels up and down in terms of intensity delightfully.

'No Love'

You'll find no dub version attached to 'No Love', unfortunately, but what you will find is another sterling effort from E16 and JSR. I believe the tune is a remake of an older one and E16 more than pays homage to the originator as his take is a big social commentary on the broader side and just a solid offering. I will warn you to not get too comfortable with 'No Love', however, as not only is there no dub, the track is also the single shortest to be found on 'Roots Foundation". 

'Every Nubian Is a Star' featuring Mutabaruka & 'Nubian Star Dub'

You may actually recall this next one as a cut of 'Every Nubian Is a Star' also featured on Addis Pablo's joyous "Melodies From The House Of Levi" from just a couple of years ago. Here, we find E16 linking with the legendary Mutabaruka on a piece that was created to place a GIANT CHUNK of pride into Africa and all of her children around the world. Every single one of us. Mission accomplished.

I was actually pretty excited to hear the dub of 'Every Nubian Is a Star' because it was completely new to my ears and, given the fullness of its riddim, I thought that it might make for a nice and 'Nubian Star Dub' does not disappoint. This is a selection where it pays greatly to focus on some of the more subtle details in the sound because you'll begin to notice different sounds (like those gorgeously TEASING drums that come and go once or twice, but never stick around long enough!) that you might not hear AT ALL on a more cursory spin. 

'Ghetto College' & 'Ghetto College Dub'

Were it not for the aforementioned 'Natty Dread a General' then I would lay the distinction of the best tune of "Roots Foundation" being this MAMMOTH shot, 'Ghetto College'. I based this write-up on the concept of CLASS and CLASS is dripping off of 'Ghetto College'. It's on the floor and the walls and you can smell it in the air! The idea here is one which lifting up the importance of 'street-smarts' and the type of education that you cannot receive from reading books and being taught in some institution of learning. Furthermore, i do so love how E16 directs the idea to the leaders who may have not had that experience which can be so vital for one's own self but for UNDERSTANDING OTHERS as well.

As for 'Ghetto College Dub'.... when I first heard this thing, I thought "what the hell am I listening to"? I was thinking maybe they mislabeled it and it was supposed to be a part of something else or maybe it was just an unattached dub that JSR made and attached it to "Roots Foundation". Again, if you REALLY tune it in, you hear that same pattern from the vocal version immediately before it steps outside of this.... shadow (which is exactly what it is, musically speaking). As it moves along, what results with 'Ghetto College Dub' is EASILY one of the best of its kind (or any kind) to be found here (feel like I'm saying that too much, but I don't feel like going back and changing anything at the moment). It is amazing! 

'Amazing'

Also amazing is, 'AMAZING' (I originally used the word "sublime" but upon remembering the next song's name, I changed it!)! "Roots Foundation" ends as it began with a love song of sorts - this one being more terrestrial than the wicked 'Brave Enough'. 'Amazing' is straight forward but most certainly isn't sappy or dramatic in any way. The riddim behind is downright stellar (which makes it all the more unfortunate that we do not get a dub of it. JSR has spoiled us all) particularly during its later stages (the riddim suddenly LEVELS UP at approximately the 3:11 mark) and Earl Sixteen uses the moment to deliver a tune high on RESPECT and the all of the wonderful values necessary for a healthy relationship. 

"Roots Foundation" by Earl Sixteen and from JahSolidRock Music is available right now and you have no good reason not to listen to it.

What I'm Listening To: Dis Year!

"Rightful Ruler" by Earl Sixteen [Zion High Productions - 2022]

First up today is the latest from our old friends at Zion High Productions and the Zion I Kings as they recently pushed a more than solid EP from venerable Jamaican vocalist, Earl Sixteen, "Rightful Ruler". The eight tracks are comprised of four actual tunes with dubbed out version of each tune and, as you expect from both artist and label/s, it is EXCELLENT! For my listening 'habits' Earl Sixteen has generally been someone who I don't find myself listening to nearly enough as, virtually every time I do dive into his work, I am greatly impressed. "Rightful Ruler" is definitely not an exception as it comes out swinging with its mighty initial effort, the downright ROYAL sounding 'Jah Earth'. Subsequent offerings, both the title track and 'Take Some Time', definitely keep the vibes high, but I have to say that taking top honours on "Rightful Ruler" has to be 'Find A Way' which features Mr. Williamz in a golden form. 

"Well natty dread deh yeah fi step it

It no really matta anyway you waan tek it

System - a just to how dem set it

500 years, Binghi man nah forget it

Up inna di hills pon di farm where wi headed

Dung inna di city, yow a pure blood shedded

Marcus Garvey did dun come set it

And Earl Sixteen just ah sing out di message

Watch ya now-

I & I ah express it

Teach di ghetto youths, mek dem know seh wi blessed

Love an unity, wi haffi expect it

Don't let di wickedness get embedded

Certain type a thinking, Jah know wi haffi left it

Certain type a teaching, wi nah accept it

Youth inna di ghetto dem call mi aggressive

And then ah talk bout wi non-progressive

That is why -

I've got to find my way back home

And no more will I roam

Cause it's been so long-

We've been down inna babylon

And there's no place for the Rastaman"

'Find A Way' was probably amongst the best... ten or so tunes that I heard from ANYONE in 2022 and, for what it was, "Rightful Ruler" was DEFINITELY one of tehe year's strongest EP's altogether as well. 

"Look To The East" by Junior Campbell [Love Injection Production]

Quietly, one of my favourite labels over the past couple of decades or so has been Love Injection Production from out of the UK, as they've provided some well sturdy releases from the likes of Turbulence, Everton Blender, Mykal Rose and others, so when they do work, I try to pay attention. In early 2023, Rowen Johnson and company are back and work (twice, actually) with the debut album (I THINK) from sweet singing Jamaican vocalist, Junior Campbell, "Look To The East". Best known as the song of the legendary Cornell Campbell, Junior is set to build a legacy of his own and, judging from the early returns off of this one, he's doing quite well for himself. Along with the lovely eponymous piece, "Look To The East" contains a few other big tunes such as 'Give Jah the Glory', 'Nah Lef' and a pair of covers of his father's catalogue, 'Stars' and 'Boxing'. I'm still working on this one, but it sounds quite pleasant so far so definitely take it out for a listen, yourself.

{Note: Love Injection also has a new album out for Glen Washington, "Mr. Washington"}

"The Message Album" by Ginjah [Black Metro Music]

It was my intention originally to review "The Message Album", the latest body of work from big-voiced veteran singer from out of Hanover, Ginjah but, after listening to it quite a bit, I didn't think much of it, actually and I didn't have much passion for it (and, maybe it's just me, but this album seemed to have some type of 'disconnect' to it. There were several songs which seemed like the vocals and riddim weren't exactly in synch). A month or so later, while things still haven't changed on that front altogether (I'd be shocked if I ended up ever reviewing this album), it has found its way back on my players. I never thought it to be BAD to any degree, there just... wasn't much of anything in the way of SPECIAL for better or for worse. That isn't to say there wasn't good material here, however, and tunes such as 'I Love Papa', definitely 'Soul Lady' and the single best tune here, 'Jah Jah Real' were and remain something more than average. 

Tiwony [7 Seals Records]

Sickeningly, it's been over eight years from the last time Achis Reggae favourite, Tiwony, released a full length album. That set came, late 2014's "Roots Rebel", came via one 7 Seals Records so, as you might imagine, I got very interested when I saw that the same label (which, I think, is his own) had recently put out a pair of singles, the anchoring 'Rumours Of War' and 'Don't You Worry'. The former, vibed (and written, I THINK) by veteran Randy Valentine is a GORGEOUS social commentary, while the latter -- as its title would suggest -- is more of a love song with a very interesting pacing and arrangement of the delivery. It's also a very FUN vibe and carries a lot of POSITIVE energy. You know what I went to thinking when I saw two new singles from the same label in relatively short order (about five weeks in between their releases).... and it was true, as our research reveals that coming soon (maybe in February) is the brand new album from Tiwony on 7 Seals Records, "Frequency" and I cannot fucking wait!

The Bank Of Devon Riddim [Twelve Tribes Entertainment]

This one, I've forgotten to remember quite a few times when doing one of these... probably because I don't LOVE it, but it does have one tune which absolutely kills me. Biggup DJ Jahmar who sends his latest creation (might not be true anymore, actually), via Twelve Tribes Entertainment, the all kinds of interesting Bank Of Devon Riddim. If you've read these things to any degree, then you can probably guess what type of track this is although it is a bit different. The BOD, though definitely Dancehall, has an unusual and almost Arabian sounding vibes to it. It makes for a pretty good backdrop for Red Fox (who well impresses on his 'Badda'), TrapShotta Rally and Kiprich. HOWEVER. what remains of the riddim is put to the sword as WASP DESTROYS it with his track, 'Bob Marley' ["Man a rockstar like Bob Marley"].

"Mi shot di sheriff, but mi neva shot di deputy

Wi set trend, dem send threat, caan get to me

Never lef mi guitar, be careful how you step to me

UNDERESTIMATE ME, NOW DEM GYAL AH OPEN SESAME

Inna overdrive, put in work, lef a legacy

Bunny a di Wailer, Peter Tosh a wid di energy

Deadly combination: Hennessy mixed with enemy

Gal ah set di ting, Tuff Gong a di remedy

Bob Marley

Bob Marley

Bob Marley

Man a rockstar like Bob Marley"

"Reggae Max: Anthony B" [Jet Star - 2002]

And in our 'blast from the past' section this time - I've been listening to quite a bit of Anthony B lately. Though he didn't have a new album for us last year, he did deliver a fairly strong steady set of singles and I am well looking forward to what is to come in 2023. As is my habit, when you give me good NEW stuff to enjoy, I go mining! As of late, I have landed on this wonderful little gem from more than two decades ago now. Once upon a time, when Jet Star was in full swing, they had a very useful complation series by the name of Reggae Max. The were used on a variety of different names; from the legends, Dennis Brown, Marcia Griffiths and Gregory Isaacs; up to the currents such as Beres Hammond, Lloyd Brown and Glen Washington. A few artists even had two installments of Reggae Max such as Sizzla Kalonji, Beenie Man and Luciano. It was just a HEALTHY series (and I didn't even mention Garnet Silk, Peter Gunnigale, Alton Ellis etc.). In 2002, Anthony B would receive the RM treatment and his 18 track set would be amongst the very best of the contemporary run of Reggae Max' existence. The tune that I have focused on most from this one has been the BRILLIANT 'Me Dem A Ban', but this album also contained about ten full-on damaging, conquering tunes. 'Waan Back', 'Bobo Cloth', 'All Jah Children', 'God Above Everything', 'Universal Struggle', 'Damage', '$20 Coin' were all on Anthony B's Reggae Max album - still worth digging up after all of these years.

{Note: The digital version of this album has sixteen tracks, the physical edition had eighteen. The two differences are 'Mr. Heartless' and 'More Life'}

{Note 2: Who loves you! Who has you covered!}

'Ever Present, Ever Faithful': A Review of "The Fittest" by Earl Sixteen

Where do we go from here? The career trajectory for an elder Reggae artist can be quite puzzling, even for some of the genre’s biggest and most legendary of names. With very few exceptions, as I’ve spoken on in the past, what we see is a great deal of shifting, from various places around the world, and really that brings quite a bit of uncertainty as well which, for someone who has literally made it their life’s work to uplift the masses via this powerful music, is just really fucked up in my opinion. However, it definitely has it’s good points as well. What I’ve been thinking of as of late has been the notion of the lengthening of some of these outstanding careers and even though it may exist in a different physical place, for the most part, it’s still going and not only just going, but continuing to do so with the fine, uplifting standards and CLASS that perhaps a particular artist has made his/her name on (which is especially applicable in today’s instance). Of course, what this means is that not only do we have a particular name who can potentially survive and thrive in an era which is not their own, but also spread messages and ideologies from an older era and do so with a most modern of twists to fans who, thusly, become fans of multiple eras by listening to a single vocalist - To someone like me, who thinks entirely too much about almost everything - That’s absolutely amazing. Last year such an opportunity was given and taken when the esteemed Apple Gabriel of the legendary Israel Vibration group released his very first album in more than a decade, ”Teach Them Right” for a European outfit, the flaming label pair which is JahSolidRock and Not Easy At All Productions, from out of The Netherlands. Say what you will of the results (although they were widely positive, including from yours truly), what that album did was to return Apple Gabriel’s name into Reggae circulation. Prior to that any news you received on the man was that he was suffering from poverty and poor health - suddenly the discussion on Gabriel was, as it should be, about his music and people who weren’t listening to Reggae music ten years previously were suddenly given a wonderful introduction to the performer and his music. Also, it should be said that the album, to my noticing, had become one of the more talked-about in the final quarter of the year as Apple’s older fans also were quite passionate for it and justly so. Well, it certainly hasn’t been a decade from the last time we heard from one Mr. Earl Sixteen (who may just have one of the best names in the history of . . . Music altogether) (anytime you can work in a number in a name, seamlessly, you‘re doing something special), but if you just haven’t been paying a good attention to one of the CLASSIEST singers in the business, he’s about to give you an excellent reason to do just that, through a very familiar source.

Earl Sixteen

Earl Sixteen’s history in Reggae goes back to nearly an astonishing forty year, which is . . . stunning, but in that time he’s managed to acquire a very unique standing within the music to my observation. You’ll find nary a singer in Reggae, with the exception of the absolute top legends in the business - people with names such as Marley, Rodney, Tosh, Hill etc. - who have as fervent of a fan base as Earl Sixteen. I know more than a couple of people whose opinions on the matter I respect, who’ll very flatly tell you that the Kingston native is THE most talented vocalist the entire genre has EVER produced. And while he certainly hasn’t been as active as you would like to see him over the past few years, whenever he does something it is respected and almost always class output. He’s not about to start making exceptions now, obviously, which means that the next thing he does, whatever it is, is likely to be a big release.

Meet a “big release“. Earl Sixteen has now linked up with the aforementioned Not Easy At All & JahSolidRock unit of labels to serve up his new album which, although not a long time coming (in terms of promotion), has quickly generated a very nice buzz online, ”The Fittest”. A very fitting name for an album from someone with as much longevity as the singer born Earl Daley, the album, like Apple Gabriel’s ”Teach Them Right” set, as well as Chezidek’s MASSIVE ”Judgement Time” before it, makes an excellent usage of the label’s old school stylings which are, sonically, some of the greatest productions around these days to be found on intentionally constructed albums. Their music SOUNDS superb, you can have an opinion on the songs and the lyrics . . . , but the two labels always bring forth projects which have glowing compositions and to date, unless you know something that I don’t, they’ve only pushed winners. ”The Fittest”, from its creator and even its title, just has an old school feel surrounding it and it is on that basis that you have to presume, even going in, that the two labels were sure to put Sixteen in his ‘proper’ element as a vocalist and as it begins to unfold what you see occurring, as I mentioned, is him salting in messages from his day which, although not necessarily prevalent in 2011, are, in many cases, just as germane and sensible. We should also mention that, much like the music with which he found himself dealing with on this album, Earl Sixteen sounds amazing as he always does and his voice sounds only a shade or two away from perfect over some of these tracks. So, with all of that being said and many saying much more, the only question remaining is whether or not ”The Fittest” is as ‘toned’ as you may’ve thought it was. Definitely.

Besides being known for their top notch audio ability, JahSolidRock & Not Easy At All have also made a name for themselves, over the course of the now trio of albums of incorporating versions right in the middle of the album (which is a trend we well hope catches on to other outfits) and here, they’ve managed to outdo themselves. Each and every tune on this album is chased immediately by a clean version of the track (making ten vocals into a twenty tracked album) and when you make music as fine as is heard here, you REALLY open an album up and do so in a GREAT way. I’m going to have a very difficult time hearing a case how fans of Roots Reggae, from any era, aren’t going to be able to enjoy SOMETHING from it, even they aren’t necessarily Earl Sixteen fans. Fortunately, for you and I, that isn’t a problem and we’re well looking forward to diving into ”The Fittest”, which gets started with one of its clear highlights, ‘Masterplan’. BOOM!

“Why are we always fighting brothers?
We’re killing and maiming one another
Some say, that we can’t do no better
I heard some say, we’ll never live as one
But soon, the nights are days
Bright and shining sunrays -
Jah’s got the master plan”

This song nearly brought a tear to my eyes (it’ll probably get me some day soon), because it is SO finely well put together and makes a mighty showcase of Sixteen’s STERLING vocals. It is, essentially, a social commentary, but one with very much of a spiritual foundation and just a big big track. Next is ‘Rise Up’, which is a song specifically meant for the youths of the world to step forward and take their rightful place as the leaders of the world. This one, like another which comes later on, is very much a tune with old school sensibilities. You’ll very much hear songs like this from artists of today’s era, but it’s much more ‘involved’ usually - You’re far more likely to hear words like ‘we’ and ‘us’ - Sixteen’s song, on the other hand, very much comes from an unusual prospective, one which isn’t entirely detached, but one which is very much of an observing and more mentor-ish role. Very interesting tune there. ‘Modern Slavery’ is another effort where you literally have to take a second to take in the sound of the tune before you even dive into on a lyrical level, because it ‘simply’ sounds so nice to the ears (as opposed to sounding nice to the elbows, I suppose). When you eventually do get into the message of the song, I found it to be somewhat of a mix between the two tunes which precede actually. As the most ‘rigid’ of the three (which is just odd to say actually), the song very much is looking for a “solution” (or a ‘master plan’) and it’s also looking to the future and to the youths as well. ALSO, it just so happens to feature one of the most powerful statements made on the whole of “The Fittest” when Sixteen says, “There are more slaves today than were there four centuries away”. That’s something which TOTALLY gets the point across on this tune and where he hopes to have it register, which is on powerful, powerful levels.

'This Yah Business'

I alluded to the cool ‘This Yah Business’ just a moment ago as this one, also, is one which you’re far more likely to take in from an elder artist (and I hate to try to paint Earl Sixteen as being exactly ANCIENT, because he’s a few years younger than my own parents, apparently) (biggup my Mother & my Father) - Where the singer is giving his opinion on the state of Reggae music today and the business side of things. Being the most ardent of supporters of the modern school of the music, obviously I was prepared to dislike this song . . . But I didn’t. He doesn’t say anything which is incorrect actually and he doesn’t say anything which is 100% condemning. Also, somewhere in my mind I’m of the impression that Sixteen would make a tune like this because he does actually see promise and potential and although he doesn’t directly go into it, I’d like to think that he wouldn’t make such a song if he thought it a completely lost cause and purpose. Someone who would likely agree with Sixteen in that notion is the legendary Dennis Brown whose tune, ‘Changing Times’ he updates on the lovely One Blood Riddim. An interesting thing here: He never actually specifies what the “change” which “has come” is, which ultimately leaves it to the interpretation of the listener (and of course I have no problem with that!). This strikes me as tune which Sixteen has loved for quite some time and always wanted to sing and he more than does it a justice with his update. The same could be said ‘Big Car’, which is a remake of a classic R&B song from singer William DeVaughn. What can I say about this one??? I hate that song. I’m sorry (I’m not). I just do. I never liked it and I imagine that ANYTHING you could do with it sort of changing the lyrics and the melody and adding . . . Oh, I don’t know, maybe a Jab Jab Riddim or something like such to it, I probably wouldn’t like that either. HOWEVER, for a song which I do not like I can appreciate certain aspects of it (unsurprisingly, it sounds divine) and, as I’ll tell you shortly, it isn’t a total lost.

A big WIN for Earl Sixteen and ”The Fittest” is ‘Sinner Man’. This song is another social commentary, but a very INTELLIGENT one and I feel compelled to mention that it seems that the vocalist ever so slightly turns up the intensity and urgency in his voice just a bit, which adds so much to this song, to my opinion. The romantic ‘Stay Together’ caught my attention for another reason. This song apparently utilizes a version of what is, to me at least, one of the most underrated riddims from the turn of the century, the GORGEOUS Senior Riddim from Al.Ta.Fa.An. Sixteen impresses greatly on the track with just a cool and easy vibes which is just candy to the ears. Later, we get another taste over another big riddim (the same one which backs Chezidek’s MAMMOTH herbalist tune ‘Ganja Tree’ from the ”Judgement Time”) (“chalice haffi light before the news read”), ‘The Key’, which is a tune praising Reggae music, itself. You can never go wrong with those types of tracks, particular in the hands of someone who not only espouses on the magic of the music but, in doing so, provides an excellent example of such.

'Fittest of The Fittest'

Lastly (not really), is essentially the title track and single favourite piece on the entire album, ‘Fittest of The Fittest’.

“We need to find another prophet”

That opening line from the tune has, for me, become a bit of a modern classic and it just opens up all types of feelings and joy in listening to it (it makes me smile). This may be the only tune with which I was familiar before the album actually reached, because it was also present on the excellent ”Cultural Vibes” compilation from late 2010 and it was a fine piece of work then. A few months on and it’s even better and the tops of the album named for it as Earl Sixteen continues to impress with the most ambitious of HALTING tunes.

And then there’re the versions. As I alluded to, the piece for ‘Big Car’ wasn’t completely downhill for me and that’s largely due to the fact that its version ranks amongst the very best on the album. While it does take awhile to get settled, when this one is sans vocals, it is lovely. The biggest highlight on the musical side, however, is sure to be the version for ‘This Yah Business’ which actually includes the legendary U-Roy (whose voice is the first you hear on the original tune, actually, before he vanishes). Dubbed the ‘12 Inch Rockers Version’, this one is an utter JOY to spin through as U-Roy does what he does and, even further, livens and spices up an already glowing composition, by calling down legends such as The Maytones, Burning Spear, the Congos and others. I also thoroughly enjoyed the versions of the title track, ‘Master plan’ (BOOM again!) and another which I was very much looking forward to hearing, ‘Stay Together’. I do so love that riddim and part of the benefit of it appearing here is that I don’t think I’ve ever heard it dubbed out in anyway and, as usual it is done so well. All of the instrumentals are so nice and I do definitely hope they continue to place them on the albums (and I’m sure that they will).

Overall, it’s another winner from Earl Sixteen and it’s another winner from JahSolidRock & Not Easy At All Productions. Apparently next from that camp is an album from Lloyd De Meza who you may know from having done work with Benaïssa and frequently appearing on sets from the labels, in general and I’m expecting more big things in that case as well and probably a lot more uptempo as well. Here, however, ”The Fittest” is SATURATED in class and is everything you’d expect from a GOOD album from Earl Sixteen at this still very potent stage of his career. Also, going back to the premise of this review, the two previous albums from these two labels both did very well in terms of grabbing the attentions of the masses - they were promoted very well, particularly in the online community and I would imagine that this album is also going to do so and have a great opportunity to not only bring new fans to this wonderful singer, but to bring a new ERA of fans as well, giving his career (and maybe ALL of it, because if this is the very first time you’re hearing Earl Sixteen’s music, you’re likely to go back into his vast catalog as well) another light. Very well done.

Rated: 4/5
JahSolidRock/Not Easy At All Productions
2011
CD [I THINK] + Digital
Earl 16
Earl 16 @ Myspace