Point Taken: A review of Can't Take My Space by Everton Blender

Irreplaceable. Back in March of this year we lost Mr. Calvin George Scott, better known as the coolest of them, sweet singing Cocoa Tea. I think that, for so many people (myself and yourself included), Cocoa Tea was the type of individual who, whether we listened to his work consistently or not, we just kind of presumed that he would just be there. Every once in a while you'd get a new song from the singer and he'd even score a hit every few years while, of course, building upon a mountain of tried and trusted output. About a month prior to Cocoa Tea,'Kette Drum' chanter, Determine, left us as well and, although in somewhat of a different way from Cocoa Tea, Determine was also a fairly dependable type (although probably not as often in his case) and someone who was woefully underrated, given his undeniably mountainous level of skill. We have others who're in similar positions and are still with us and I think that we, as fans and listeners of this fantastic sound, have a wonderful opportunity with us to be able to celebrate these individuals while they are still here to appreciate it and are still here to continue to provide us with these healthy moments. I don't know how this is going to work out but the last thing that I finished writing before I just started this one was a Signatures feature on Jah Mason. Today is the 16th of October (two hours left in the day); so a month from tomorrow Jah Mason turns fifty-five years old. He's older than Determine and, despite all of his acomplishments, there're people who still have the nerve to walk around thinking that Jah Mason's a 'one hit wonder' (MADNESS. ABSOLUTE MADNESS!). He's someone who we CLEARLY need to show more love to and, hopefully, I've done my part for the moment and turned some attention to his amazing catalogue of music. You know someone else who belongs in this conversation who almost NEVER gets brought up, Steve Machete! I probably have him on the mind because of a WICKED compilation he once appeared on alongside Jah Mason (and Anthony B) called "Saddle To The East" but he definitely applies here. There is a 0% chance that Steve Machete will ever be alive to appreciate the gratitude that fans have (or should have) for the wonderful music that he has given us throughout the years but, in his case, it may not even come after he's gone. Because of that (and because he's fantastic), I make a point out of just randomly checking to see if he's done anything recently every few weeks or so. Occasionally I get lucky and he does have something new (or something I missed) and it's just about always at least SOLID. I also go to the late Peter Broggs and I am so damn hopeful that man went to his grave with the knowledge that he changed lives with his contribution to the world and is able to rest well due to it.

We do have a number of individuals who have entered a stage of their careers where you would begin to think and HOPE that fans would be keen on showing our appreciation to. I'm not talking about elders such as Beres Hammond or Marcia Griffiths or Horace Andy who will enter eternity knowing EXACTLY how much we love them but another strong group of vocalists who may not feel it inn terms of consistency. We may pull up a certain tune or tunes or maybe even an album or two but they also have a massive body of work to account for as well. In this lot, I include someone like Glen Washington who we, routinely, cover around here and someone else we've always made a point to acknowledge (coincidentally, a native of Clarendon, like both Washington and Cocoa Tea), the WELL ESTEEMED Everton Blender.

2000

I feel better when Everton Blender is making music. Reggae music, in general, is better when Everton Blender is making music. We can all sit down up 'lift up' constantly songs like 'Lift Up Your Head' ["and hold it up hiiiiiiiiiiiiiigh!"], 'Ghetto People Song', 'Blend Dem', World Corruption' and others but the Blender has has churned out VERY solid material which hasn't received similar praise and it seems like it's been a really long time since he's hit a level (in terms of popularity, not quality) of those tracks... but he's been hard at work. Most recently (I THINK), in 2020 he gifted us his most recent full release, the more than decent "Where Is The Love" for Spider Ranks' Love Injection Production imprint (another longtime favourite of mine). That album would have initially reached during our hiatus but I made it a point to make sure that I reviewed it when I returned and for a similar reason as the foundation of this review. In that one, I essentially referred to Everton Blender's music as "comfort food". It's the type of music where, if you don't know what to listen to, you can always go back to it and will always work for you (I also mentioned someone else who definitely fits into this class of names, Yami Bolo) (Junior Reid is another - just people who're older than you're realizing when you think about them). It's easy to listen to (and can be thrilling at the same time) and very dependable; even with new music that you have not heard before, you know what you're getting from Everton Blender in sound and in grade. He was back at it again (two days after my date of birth), in 2024 with a new release, this time via  Blendem Inc (I wonder who that label belongs to???), "Can't Take My Space" (I THINK that's the first  time he's done that on his own label). The new release is a blend of songs of various ages but it does seem to have arisen through some distinct design/planning. I don't think Everton Blender just up, one day last year, said that he felt like making an album and put it together and here we are (though I wouldn't be surprised if it took a bit longer than he thought it would when he started). If you're familiar with Blender's work, even if you haven't heard a single one of these tunes before - you should know what to expect. "Can't Take My Space", like every other album he's ever done and ever will do, is a mixture of modern Roots music with vibes of a more old school type, as well as some Lover's Rock. Again, it's always of a certain level of quality and you do not have to worry AT ALL about disappointed by Everton Blender. He is what he is and he'll hit his mark. I guarantee it! Of course, it's particularly sweet when it's even better than what you're expecting and I can HAPPILY say that, as far as anything recently, "Can't Take My Space" shows itself to easily be amongst the Blender's finest. 

Can you think of a better phrase to describe Everton Blender's voice than "BRIGHT"? When he pushes it to any degree whatsoever, it literally SPARKLES. It turns on and it illuminates EVERYTHING it crosses. For example, take the very first tune from his latest offering, "Can't Take My Space", 'Reparation Time'. Riding a cut of some classic riddim that I don't feel like figuring out the name of, the Blender dazzles in the name of calling for some amends and changes to be made ["Over four hundred years of slaver, backra masters still nah waan pay wi"]. This song PERFECTLY exemplifies what I mean when I talk about how dependable and reliable Everton Blender can be. 'Reparation Time', for the most part, is done. It's already had its run and it wasn't a HIT, but you listen to this thing and doubt its quality. I dare you! It is a FINE tune with a big heart and, definitely, one of the best tunes on this album. We get our first bite of Lover's Rock very early on with 'All Day', which was a single here and did pretty well, actually. Though you will find better tracks of its type on "Can't Take My Space", I've got no problem with 'All Day' (minus the talking in the middle which is kind of cringe and it always is on love songs) and it actually has grown on me just a bit from the first time I heard it (the riddim behind is a GORGEOUS piece of instrumentation. It's probably one of the strongest on the entire album). 'She Is So Mellow' is also near the front of "Can't Take My Place" and is probably just a touch stronger than 'All Day'. 'She Is So Mellow' is just a SWING. It's just a vibe. There is substance there (I GUESS), but you won't dare focus on that at all. Things get to soaring again courtesy of the tried and trusted 'Another One'. As far as I know, this song might just be around twenty-five years old at this point. It was produced by Jr. Reid and featured on "Tribute To Grammy" a compilation done in honour of the late younger brother of the 'One Blood' singer, which released in the year 2001. Because it's SO old, I would presume that this is a personal favourite of the Blender's and he felt compelled to include it on an album over which he had total control. I have no problem with that. 'Another One' has somewhat of an odd trajectory (you're going to have something of a problem trying to justify a chorus like that with most of the song's lyrics from the verses) but, in full, it's still very, very good and if it's managed to slip between the proverbial cracks for you, ENJOY your first flash of it here. Also featured in the first lot of tunes from "Can't Take My Space" is another older tune, 'Babylon Get A Blow'.

"Woke up this morning, behold the sun come shining

Three little birds by my doorstep singing

This is what they're saying -

'Babylon must get a blow

They must get a beaten

Babylon must get a blow

They must get a beaten' "

The song is a production of the once mighty Cousins Records (memba them???) and though, unlike virtually EVERY SINGLE ONE OF HIS PEERS, Everton Blender never got around to doing a full album with Donville Davis and co. at Cousins, a tune like this one, and its ULTRA-cool vibe (it is a revolution song but it's so damn chilled for the most part) and common-sense edge, it definitely makes you think of what might've come from such a union in full.

The middle portion of the album really represents the class of "Can't Take My Space", including its single finest moment altogether. 'Right Girl' (by the slimmest of margins) is probably its strongest piece of Lover's Rock (with respect to one song I'm going to tell you about in a bit) (...I might as well just mention it now, give me a second). 'Right Girl' is kind of infectious. It's very hard to shake certain parts of it atop what sounds like a cut of the Picture on The Wall Riddim, which Blender uses to tell the tale of how someone special caught his eye once upon a time. Much later on, we get the interesting 'Lady Madonna', which isn't too far behind the level of 'Right Girl' (if at all). In his catalogue, Everton Blender has a downright SPECIAL tune (with an album just as precious named after it) called 'King Man'. 'Lady Madonna' is also lovely to listen to (probably going to turn out to be my Wife's favourite tune on this album - she is LOVING it at the moment) with a highly catchy track underpinning it and a slightly unusual (not really) style to the Blender's vocals. You'll also find here a track that we actually covered a couple of years back, the excellent call to revolution 'Slavery Ship'. I was both happy and unsurprised to see 'Slavery Ship' aboard this album as, if I recall correctly, it did quite a bit of damage in its time and was relatively popular for Blender. A year on, it was a perfect fit for this album or any other album from the singer as he predicted, "Babylon ship ahgo capsize tonight". You might also recall the very similarly ruddered 'Going Down'. This tune, just like 'Slavery Ship', declared the days of oppressors to be approaching an end. You could not find a damn thing wrong with this one if you were to grind it down to its absolutely powderiest (probably not an actual word but who cares?) core. 'Going Down' is just solid modern Roots Reggae, with a very nice message (and one which does have its own blend, slightly, as Blender is keen to comment on the importance of respecting Mother Nature) and a lovely sound. For its part, despite its title, 'Good Old Days' does have a little something different to it; a little spiciness (let's call it... horns!). The instrumentation on the song is damn impressive, it's going to get you moving and keep you there, meanwhile the Blender goes about making his poignant point.

"Back in those days in the dance when a man step on your shoe-

It was just love between me and you

But nowadays the man dem face ah screw

Calling on the youths to make love flow through

There's a message in the song reaching out to you

So take a tip from your brother, Bubbaru" 

"Can't Take My Space" reaches its zenith on the song for which it is named as 'Can't Take My Space', the song, rather EASILY, became one of the very best Everton Blender has ever done the second he finished it. He warns that "my shoes are too big for their feet" in not only an attempt to substantiate the lofty levels he's achieved in life (lest we forget) but the tune also (of course) has a spiritual side to it. The biggest shoes are worn by His Majesty and should anyone try to fill THOSE, they will surely stumble over their own feet in the attempt. DJ Virus (Star Bwoy Virus) takes both a producer's and featuring artist's credit on the clear champion of the album. 

The album's closer, 'Don't Be Used', is its only other combination, this one pulling in Isha Blender, Everton's daughter. This song is actually a remake/remix of an older one for Star Trail and while I do prefer the original (it's a touch more... 'agile' than the heavier new recording), this one, while definitely heavier -- and almost somber -- is still a fine offering, and Isha adds a fire as it progresses through but I would suggest that you track down the original for some contrast. I'll tell you (warn you), that you probably may not care for 'Money' (THE SONG) the first time or two that you go through it. It can be a little awkward, particularly early on, but it will pick up, I assure you; though it does not ever completely shed a most deserved "awkward" label (that chorus is just... something else). Give it time! You often hear pieces that shred money but the Blender injects a bit of realism into things with this effort. The last bona fide GREAT song on "Can't Take My Space" is the anti-violence set, 'Too Much Guns' which, as far as I can tell, is the album's most recent single (with the official music video just dropping yesterday as of my writing this, apparently). Songs like this are plentiful and downright infinite in the genre but they rarely sound so damn SWEET at this one. Blessed with another classic track, Blender serves up SUBSTANCE and IDEOLOGY in abundance in making his point but he also takes care to appreciate the moment. Later on, he soars in calling up some of the greats of Reggae music who've passed to gun violence such as Peter Tosh, Hugh Mundell and Nitty Gritty as well as others such as Tupac Shakur and the Notorious BIG in suffering similar fates. 'Too Much Guns' is a fantastic song, an strong choice for a single and I'm expecting (and hoping) that it reaches many pairs of receptive ears.

Overall, in doing some research on myself, I've noticed that this is now the fourth of Everton Blender's albums that I've reviewed and I mention that just to kind of stress the mindset here: Again, I think it's so important that not only show our appreciation in the historical sense for what he HAS done and the contributions that he HAS made but as well as what he's continuing to do in the music. We will forever (literally, FOREVER) be celebrating the greats. Someone, somewhere will be listening to 'Lift Up Your Head' and thoroughly enjoying it (if they have good taste) (and sense) but hopefully we recognize that this hole goes much deeper than just that tune and a handful of others. There is work to be heard on throughout the career of Everton Blender, such as right here, for which the case could be made being just as stellar. "Can't Take My Space" is a perfect title for Everton Blender album right now. It stresses what he's done and how he's come to be where he is, while also signifying that he is not yet ready to abdicate his throne. Long live the Blender. Well done. 

Rated: 4.15/5

Blendem Inc

2024

What I'm Listening To: 10 Weeks Til '26

'Who Are We' by Turbulence [Unemployment Records - 2025]

Gotta start off with something that's definitely put a a smile on my face over the last week or so and biggup Filomuzik and Unemployment Records from out of Italy for getting the best from one of Reggae's most enigmatic figures that I've heard recently. Turbulence MOST CERTAINLY has not been one of the most consistent of artists in Reggae music but I still maintain that he sits on a gold mine of talent which places him in very thin company. Alongside the aforementioned producer and label from Southern Italy, Turbulence turns up with 'Who Are We' which is, CLEARLY, the best song I have heard from him in 2025 and... probably the best in quite a few years (off the top of my head, I would probably say from since 2021 but it could very well be even longer than that). 

"Who are we, who are we-

Without His Majesty?

Who am I, who am I-

Without The Most High?

Who are we, who are we-

Without His Majesty?

Who am I, who am I-

Without Rastafari?

I'm nothing but a drowning victim waiting to be saved

Jah hand me lifeguard inna this tidal wave

Lost and confused inna this deep, dark cave

Jah hand me lantern just to light my way HOME

Rastafari say: Who do I think I am to disobey?

According to your works, that is how you get your pay

Mi ask them this without delay" 

'Who Are We' is a scorchingly clever praise, backed by a GORGEOUS riddim (and notice how it changes and electrifies as the song goes along) making it not only, as I said, Turbulence's best this year but likely one of the best from anyone. BOOM.

'The Days' by Busy Signal [Zion High Productions  2025]

I'm always looking forward to seeing just who one of my (if not my absolute) favourite production units, the vaunted Zion I Kings, will work with next and I have to say I was quite shocked when I saw that next in the offering was the ridiculously gifted Busy Signal and I was also damn excited. I'll temper my HOPES (You know what I want) and just deal with what's at hand. While the link maybe surprising, the results most certainly are not. The ZIK's record is what it is, they've been amongst the most consistently high quality outfits in all of Reggae music since their inception (INDIVIDUALLY AND TOGETHER) and, in case you haven't paid attention, Busy Signal is one of the most versatile stars the genre has ever produced. The man can literally rhyme about ANYTHING and shine whilst doing it. Their effort together, 'The Days', is a damn gem. It's a work of art... but you knew that already. 

'Shout It Out' by Fikir Amlak [Saj Moor Dub - 2025]

Biggup our old friend, Saj Moor, who we told you about the last time we did one of these and is already back and this time, arguably, even stronger as the producer links up with the always active Fikir Amlak for 'Shout It Out'. I'll qualify this a bit: I haven't listened to Amlak's music a great deal over the years. Though I find myself crossing paths with his work every so often, I've never really focused much on him for one reason or another, but I have heard some of what he's done (he had a song a few years back that I REALLY liked called 'Royal Son'). So maybe you'll take that into consideration when I tell you that I'm quite confident in saying that 'Shout It Out' is the single best Fikir Amlak tune that I've heard thus far and maybe it becomes the impetus to get me to really tune him in (I'm pretty sure he has a new album now and even if he doesn't (or even if he does) the next one isn't too far away.... it NEVER is)  Despite its title, 'Shout It Out' comes with this very cool and kind of building vibes to it (the riddim on this one is gold bar. Literally). It never fully ascends in terms of intensity but it remains with this gorgeous, almost mystical sound which Amlak puts to excellent usage in praise of The Almighty, while channeling the immortal Marcus Garvey. 

The Tear Iron Riddim [Muscle Records - 2025]

Grrrr! Little late season madness courtesy of Muscle Records, check out the superb Tear Iron Riddim. I've been meaning to give this one its own mid-week feature post but it took me so damn long that it made more sense here. There're only five tracks on this riddim and I'm not crazy about all of them ('Jab Bull' by Island Prince is actually kind of annoying and I cannot remember the last time I called a song "annoying") but the absolute class of this thing is buried between a pair of tunes which are absolutely delicious. Greens blowtorch, Lavaman scorches everything everywhere with his 'Take Dat Down', while the queen reigns supreme as Fay-Ann Lyons provides the iron with its greatest threat, 'Show Me The Road'. 

"A Piece Of The Blender: The Singles" by Everton Blender [Heartbeat Records - 1996]

I'm working on a review of an Everton Blender album so, of course, I'm going back and enjoying some of his older work so this EXCELLENT nearly thirty year old compilation is our blast from the past today, "A Piece Of The Blender". I've always appreciated how well this one was put together because it features songs such as 'World Corruption', 'Bob Marley' and 'Blend Dem' that would definitely get your attention and get your foot in the door; and when you settle in, also waiting for you were killers such as 'The Man', 'When You Wrong', 'Coming Harder' and others. I mention in the review how important I think it is for us to make sure that we pay the deserved respect to and CELEBRATE elders like the no seventy year old Blender while they're still around to be able to enjoy it. When you dig into much of his catalogue it isn't difficult because the man has given us some certified GEMS throughout his time. 

New From Everton Blender!

 Okay so, though it's been a few minutes from since he blessed us with a new studio set (2014's "Where Is The Love"), I woke up this morning to see that the great Everton Blender had released a new single today and it is EXCELLENT. Coming courtesy of his very own Blendem Production imprint is big social commentary, 'Slavery Ship'.

"Tonight, tonight

Babylon ship ahgo capsize tonight!"

The Vault Reviews: "Where Is The Love" by Everton Blender

Easy. As is the case in pretty much everything that I can think, if you listen to enough music, you're likely to have come across certain individuals or things which bring you a certain level of comfort. This is the same as, perhaps, having particular scents that do the same for you as they remind you of something from your past (like my Wife who has a nose for gingerbread, which reminds her of her grandmother (who is still with us)); and, of course, everyone has 'comfort food'. Music is the same and, like those examples, it also can be an evolving sense because as you live life (at least if you do it semi-well), you will hopefully encounter a variety of different things that will continue to make you feel grounded and secure. Now, these may or may not be general favourites of yours but, even if they are, they kind of end up in their own little category. If you see someone CRYING because of a song that they hear, most likely that is a COMFORT tune for them. That other one that you... spin into oblivion because you absolutely love it and simply cannot imagine life without it probably does not do that to you after awhile, but comfort music, by definition, has the power to tap into a whole heap of different emotions. When I got into thinking about this, I started with a few names whom I thought would be the types that I could put such a label on, but when I really started to dig into it, artists such as Luciano, Bushman and Junior Kelly began to look like too frequent entries on my radars to be comforting for me entirely (I did have A LOT of fun going through Junior Kelly's vault though. It's been a minute) ["ROUND MY BACKYARD IS WHERE YOU CAN FIND MEEEEEEE!"]. They're still, very much, amongst my favourites. The name that I did arrive at, however, who definitely did stick was the  great YAMI BOLO. Along with delivering what has gone on to become simply on of the greatest albums I have ever heard in 2003's "Rebelution" ["Sanctify yourself and be free from sin. Open up your heart and let Jah love come in"] (BOOM!), Bolo has become someone whose music, as infrequently as it may be, I'm thinking about going to if I'm not feeling very well, especially mentally. If my mood isn't the greatest and I need a lift, somewhere on the road to delirious Soca, for me, is big voiced but SMOOTH Yami Bolo. As I thought more and more on it, I also came to the conclusion that General Degree would also be such an artist for me. In the case of Degree, it certainly has something to do with his cool adhesion to making the unfortunately increasingly absent authentic Dancehall music. That genre, in general, is probably comfort music to me, but when performed by someone as skilled as the General, it becomes enhanced even more. You probably wouldn't find a lot of lines being drawn directly from someone like Yami Bolo to General Degree, but I think that, because of that disparity between the two, it helps to make my point more vivid as that vibe can definitely come from almost anywhere. 

Sometimes it can even be more familiar. During our hiatus, I missed out on writing for so many big projects which, as you can see, I'm still working on getting around to recovering (and I don't think that I'm likely to ever get around to them all, something will slip between the cracks) (it probably already has) almost a year on (and it'll probably be a year by the time you read this). Today we're going to take a look at someone with an album which I not only didn't get a chance to review, but while I can recall listening to it at the time around its release, I hadn't actually picked up at all in quite a few years until I recently came to the conclusion that I.... just needed some Everton Blender in my life. Much like with Yami Bolo and General Degree, Blender is the type of artist who, although he did have his day, has never really been the hyper-active type when it came to releases, but virtually everything he has put down in his career has been at least respectable. And while I hesitate to use the term 'underrated' (I don't think he is), saying that he has gone "overlooked" in some aspects, in my opinion, is fair to an extent. If he never sang another song as of right now, the sixty-seven year old Clarendon native has already cemented himself, at least for me, as one of the finest singers of Roots Reggae music of the modern era. Something I found very interesting in regards to Everton Blender's music: While he has definitely had his hits, 'Lift Up Your Head', 'Blend Dem', 'World Corruption', 'Ghetto People Song', 'Create A Sound', 'Bob Marley' and many more; when I want to listen to the Blender, I usually go more in the direction of personal classics - tunes such as 'King Man' ["Mark my words: I'm going to be her king man"], 'Conference Table', 'Coming Harder', 'Blender Nah Go No Way' and other lesser known downright gems. That, for me, is another signal of the 'role' that he fills when it comes to just how much affection I have for his music.

So that's probably a large reason why I am currently ECSTATIC to be writing a review for what is unfortunately is Everton Blender's latest full set, the now eight year old "Where Is The Love". Speaking of comfort, this album has a CUSHION of a background as it comes to us via Love Injection Production, a label which has given us a number of solid releases over the years and on which I certainly do find myself searching for... just to see what they've been up to. Most recently what they have been doing have been albums from label staple Roger Robin and the great Glen Washington (who would be another comforting artist for me now that I think of it) in 2019 and 2017, respectively. Prior to that Love Injection have also worked with the likes of Guinney Pepper, Mykal Rose and, most notably for me, Turbulence. Wayyyyy back in 2004, Love Injection Production dropped the well underrated "Words Of Wisdom". Now an album well overlooked in Turbulence's giant vault (it says a ton about how active he once was, given just how many albums he's released despite being EXTREMELY inactive in releasing them these days) (by my (surely incorrect) count, he had TWENTY-ONE albums between the beginning of the year 2000 and the end of 2007!), for me, "Words Of Wisdom" has become a favourite of mine and while there is a clear distinction in quality between it and his absolute best work -- "Rising" -- it isn't far away from anything else Turbulence has ever done. So that put Love Injection on my radars, initially and, led by one Rowen 'Spider Ranks' Johnson, they've done nothing (outside of a few spells of inactivity, but nothing too severe) to remove themselves. So even the thought of Love Injection doing a full record for Everton Blender, on paper, was appetizing. For the singer, himself, 2014 was also a very good time as it had been three years following his previous effort, the very respectable, "Higher Heights Revolution" for Island Splash Entertainment. Regrettably, "Where Is The Love" remains his latest studio album, but just in April of this year, the artist himself did re-release "Live At The White River Reggae Bash", which was an excellent live Roots Reggae project originating back at the turn of the century. He's also stayed active with a relatively steady stream of singles, particularly as of late as 2021 was a productive and fruitful year for the Blender (peaking with 'Brain Food', a big ganja tune combination with fellow Star Trail alum, Anthony B). If you've at all followed his career throughout the years, you know that he's also been one of Reggae's most consistent of champions as well and not only have recent years not been exceptions in that regard, but neither was 2014 as, whether you realize it or not (or even if I did), "Where Is The Love" was a yet another fine addition to the catalogue of the Blender. Not doing anything else at the moment? I'd love to tell you about it.

In retrospect, I'm not very surprised on what became of "Where Is The Love". It wasn't very well promoted (not even when compared to other albums from Love Injection) and I don't think very many people knew it existed in its day (we did mention, however) (biggup us!) (and, like I said, I had put it down for quite awhile), and certainly not eight years on, but if you dig into the album just a bit what you find, unsurprisingly, is that, although it was not a great album by any stretch of the word, it was yet another very, VERY solid release from Everton Blender. Setting the stage for "Where Is The Love" is the fine opener, 'Stand Your Ground'. The Blender is telling us all to show a bit more bottle (absolutely love that word used like that) (biggup the UK) and backbone and does so on a piece which has a very unique quality: 'Stand Your Ground' truly seems much longer than its three minutes and forty-six seconds length. I don't know if I've ever said that about a tune (I'm sure I've said it about an album), but the singer manages to pack a bit of vibes in the space. This wasn't a great song and it ranks on the fringes of best songs on the album, but 'Stand Your Ground' was very pleasant and, again, had some very distinct qualities to my ear. Next up was most certainly a great one and, at least for the moment, I'm calling it the peak of "Where Is The Love", the beautifully poignant 'Where Is Your Culture'. I'd like to think that, along with the title track of course, Everton Blender intended 'Where Is Your Culture' to be one of the 'foundational' (do not know if that is an actual word) (do not care either) tracks on the album, as they both kind of ruminate on something absent, or absent in large part, in the world today.

"I've seen you've lost your roots

Now  tell me where is your culture

You're portraying such bad behaviour

I've seen you've lost your roots

Now tell me where is your culture

You're portraying such bad behaviour

The leaf and the stem is a part of the root

Be patient and don't eat up the fruit

I see you're not grounded-

Straying from your surrounding

Get what you want and you still want more

How you come so - mi nah know

How you come so - mi nah know

Don't forget where you're coming from

Don't forget the first love for Jah

Hold tight, don't falter

Memba di ancient Nyahbinghi order

Why you keep on running up and down?

Running away from Jah love

Why you keep on running up and down?

Running away from Jah love

But if you lose your culture - you're like a dog without a bone and a king without a town

Whatever you're after, don't forget the love of The Father

Don't lose your way, where is your honour?

And I know you can do much better"

The word "portraying", for me, kind of personalizes it in Blender's sense. I think there's an excellent chance that this song is about some of his peers who are singing certain types of songs but not living the life they're speaking and writing about them. It almost pushes the singer into a type of conscience for the music (a position, seemingly, typically occupied by the likes of Luciano and Mutabaruka) and does so with a simply sweet offering. 'Great Man' is next and if you wanted to call it the album's second best (or best altogether, actually) (it is VERY good), you wouldn't get too much of a fight out of me. Somewhat reminiscent of 'Nah Build Great Man', a big combination from Fantan Mojah and Jah Cure (ridiculously now a decade and a half old), Everton Blender kind of deals with this one in two ways; on the first and far more straight forward side, he speaks about how people doing positive work -- particularly (but not exclusively) in music -- have a tendency to not stick around on the planet for a very long time and he mentions people ranging from Tosh, Marley and Garnet Silk, all the way to Michael Jackson and he also takes that into just how much we've lost in losing those champions along the way. It isn't just the person it's the fact that they've left us and what we've missed out on, potentially, in them having long lives. Fittingly, however, in the latter stages of 'Great Man', the Blender makes sure to let us know one person who isn't going anywhere any time soon.

"Great man never live too long

But Blender ahgo live so long

Great man never live too long

But Blender ahgo live so long"

Hopefully that is true (I'm sure it is) and he'll give us another thirty or forty years of big material like this! Though a little on the generic side, 'More Fire' is a NICE song! It is about as basic of a call to action as you're likely to find, but it works in this setting. 'More Fire' also has elements of continuing to look at individuals who may be saying one thing, but doing something entirely different and it should also be said that the riddim on that song is GLORIOUS! I'm going to tie the next two selections, 'Nobody no Business' and 'Knowledge', together because if you listen to the digital version of "Where Is The Love", you'll probably notice that the songs are named for each other (I don't have the disc but they're also listed in that way on it as well). In any case, however, both are excellent. It has taken me a minute or two to arrive at the conclusion that the golden latter of the two is the better of them and that is definitely to the credit of the former. For its part, the delightfully melodica heavy 'Nobody no Business' finds Blender taking the words of Marcus Garvey and building a tune around them (not the first time that has happened in Reggae music, will not (it wasn't) be the last). I like the vibe of this one as well as it's more on the laidback side, but it is calm to make a point - you do not get the sense of RELAXATION here. 'Knowledge' sounds good as well and it also has a shout as being amongst the better written pieces on "Where Is The Love" in my opinion.

"Don't you ever speak without a knowledge

A NUH EVERY EDUCATION COME OUTTA COLLEGE

Words that you say, mighta cause a damage

IF WE SPOIL THE CHILDREN, HOW WI AHGO MANAGE?"

'Knowledge' has an obvious tie in to a couple of the songs that I've already mentioned for its direction (which I think that I should probably go back into in closing, because it is not the last of that type) and it is, again, one of the very best that you will find here.

And it isn't the final winner on the album... literally each of the remaining four selections are at least pretty good. Definitely check the title track, which will SOUND like a candy bar to heavier fans of the genre. The song itself isn't necessary a critique on the state of the times and the Blender does not seem to be longing for the 'good ole days', 'Where Is The Love' is just a call to make today better by doing simple things like looking after and taking care of one another better. That is what I took from this one: It isn't a restoration project, it's about doing very small thing, for the most part, and making things better in actual, attainable ways. Everton Blender goes all Richie Spice on the people with 'Youth Dem so Cold'. This song doesn't come off as very judgmental either, he's not saying that you have a just miserable group of young people who're, for whatever reason, just not behaving; instead he's saying that this is the way that things are and we need to be careful and aware of our surroundings. Surely it goes deeper than that but, again, I enjoy when a point can be made by our elders and it isn't pointing a finger and being judgmental but is just a sagacious reminder of the state of the times that we live in (and such people have always existed). The closer, 'Why Should I' taps a classic vibe (whose name I don't feel like trying to figure out) (if you ever see that term, or something like it -- "classic vibe" -- it means that it is an older riddim that's familiar to me but whose name is outside of my reach at the moment) and it is built upon the theme of personal responsibility. Ultimately we all are responsible for our own actions and making good choices, on the whole, is a help to the health of the world.

"Every man shoulda know to chant and plant

Cause when di bredrin did ah sow, you didn't want to go

Now you si di good vibes ah flow and di good things ah grow

Same seed weh yuh sow, a it ahgo go grow

Why should I fight - 'gainst my black brother?

Why should I fight - 'gainst men of any colour?

Why should I - tear down my black brother?

Why should I fight - 'gainst men of any colour?

Sometimes you si some people working so hard

They work in the rain and the snow to achieve their goals

Don't follow lazy bone

Go and try something of your own"

Finally, do not forget 'Nah Stop Try', a VERY COOL love style of song. It's kind of Dancehall-ish and, on pure sonic appeal, it may just be the easiest listen on the entire album. Songs like this are relatively easy to overlook (getting overlooked on an overlooked album is.... a terrible fate for such a nice piece of work and something which many people CLEARLY worked very hard on), but you won't make that mistake, 'Nah Stop Try' is sure you get your attention if you just give it half of a spin even.

I do want to briefly go back to a running theme present throughout "Where Is The Love". In the instances I mentioned/alluded to and others still where I didn't (like on the title track ["Dem ah talk bout piece and love, but nuffa dem nah live it"], Everton Blender seems to be readily speaking to many of his peers who are spreading a message which they aren't living at home. It's very crucial to enjoying the full experience of this release (at least to an overthinker such as myself) and a curious little note looking back at at this one ("at least to an over.....).

Overall, there is probably more than an excellent chance that you didn't pay much attention to "Where Is The Love". Maybe you knew it existed (most likely you did not) around its release date and you forgot, but you never ever got around to listening to it and you now have a good opportunity to go back and make up for that. "Where Is The Love" is not a great album and I wouldn't even say it's relatively close. What it is, however, is extremely SOLID and just an entertaining modern Roots Reggae album. Going through it for the sake of this review was FUN and you don't often say that about a Roots album (not that it isn't often the case, but you're usually thinking about other qualities to highlight and many of those qualities are also found in this release) and, now that I think about it, I think that its also a trait that is possessed by Everton Blender's music, in general. When he's at/near his  best he's probably one of the most captivating singers the genre has ever seen. Perhaps that's why I've found his music to be so comforting and soothing throughout the years. Whatever the case, while "Where Is The Love" is not his greatest work to date, it does feature Everton Blender in a fine form and is sure to do a lot of good on the senses of anyone who gives it a chance, even after all this time.

Rated: 4/5

Love Injection Production

2014

CD + Digital

'Room For Him!': A Review of "Higher Heights Revolution" by Everton Blender

We've been waiting. There are certain artists who, when their names pop up on a release schedule or a bill, just make me excited and not for the typical reason. If you haven't noticed - I often get extremely emotionally involved and attached to a great deal of this music and it is definitely refreshing when I can just take a small piece of that out and really just enjoy the music for the music itself. The obvious direction here is Zouk which certainly does steer me in a course which requires far less of a mental connection for me to enjoy because, at its best, it's just this kind of crystallized and GLOWING art form which can be appreciated for its beauty on a very easy level. And because of that I list some of the finest Zouk singers such as Kénédy, Tiny Ly and Goldee But there're other times when I experience this in regards to Reggae music with, as I said, this very small group of names. These are artists whose quality is essentially guaranteed. There is absolutely no question what you’re dealing with and although their names may or may not be listed amongst my immediate my favourites if you were to ask me, they are sometimes far more consistent and dependable than the names you would surely hear. The two most instantaneous names that come into play here are veteran singers Mikey General and Yami Bolo. Over the course of the past few years or so, I've grown to appreciate both of their music so much more than I previously did and, attempting to explain why, I think a large part of that has to do with the quiet amount of quality control they exercise. General and Bolo have been around for very long times and they've done so much work that you're going to find material in their catalogs which isn't top notch, but you're also probably going to find dozens or so which are for every one that is not. They'll never get the top amount attention of some of their more famous peers, but when I see either 'approaching', I know that something at least above average is on the way. Also in this category would be someone like Mark Wonder and a bit of a 'wildcard' with Etana. These are artists, predominately singers, who just don't make a great deal of 'questionable' music and if you enjoy the genre of Reggae (and you do), making a case for not also enjoying their music, specifically, is pretty impossible.

Now, also in that group and near its head - if there exists such a thing - would be . . . One of the greatest Reggae singers EVER, Everton Blender. The Blender has made a legend out of himself by singing some of the most UPLIFTING tunes in a form of music which prides itself on inspiring the masses. He is a King here and, along with Luciano, his had been one of two voices to really rise to the top in terms of Roots Reggae singers in an era which was one probably one of the most crucial for the advancement of the music in its entire history. And apparently he's still ready to continue advancing it in 2011.

"It's My Time" - 2005

Perhaps it had something to do with the fact that I hadn't heard much from Everton Blender in recent times, but I can remember being SO excited and happy when I first heard the news that he had something new coming and even though it's taken me awhile to get to it, I was definitely going to get to it. "Higher Heights Revolution" becomes the very first album from the Clarendon born singer in more than SIX years. His last, "It's My Time" from 2005, was very very good and has since gone largely forgotten by many fans which is really unfortunate, but I'm assuming that a similar fate isn't awaiting this latest release. As far as the music here, it goes without saying (and I'm going to say it, anyway) that Blender hasn't lost his way. If you've been a fan at any step along his wonderful journey, this isn't the album that will shake you from that and, instead, it is a piece which is likely to find a large audience amongst many of the very same people who have supported him thus far. However, what is very interesting about the actual vibe of the album is that it is more straight forward than I may've thought. Not that Blender makes music like . . . Vaughn Benjamin or someone like that (is there really anyone else "like that"?), but I think that the focus on this project was to really turn up and tune up on the message and go about pushing that directly, musically. The result is an album largely of the 'no frills' variety, but one which still manages to take advantage of the considerable prowess of its star (more on that in just a minute) and when you take its title into consideration, maybe it makes even more sense as a whole. "Higher Heights Revolution" comes via the US based Island Splash Entertainment and, I believe, it becomes their first official release and it seems as if they've done fairly well with promoting it, although with a name as big as the Blender's I don't know that something which is actually realistic (in the world of Reggae where pretty much everything is under-promoted all of the time) is going to enough promotion in his case - but they've done good. That’s all of the parts 'behind the scenes'. In front? Even if I hadn't made the premise of this review what I did, it wouldn't be too hard to catch on. While not his finest release to date, "Higher Heights Revolution" is full of positively delightful vibes and tunes which once again go to reaffirm so many encouraging things about Everton Blender's music - even at this state of his career. I'm really looking forward to seeing if, in a few years or so, this is the type of album which kind of grows 'legs'. Everton Blender's music, because of his style, is easily appreciated by a wide variety of people, but this piece in particular struck me as the type which just may, wholly or partially, begin to pick up steam as it ages. That doesn’t mean at all that we can't appreciate it and talk about it today, however, so let's have a listen to the latest from one of Reggae's greatest.

'Hold On In Deh'

The Blender, himself, is the executive producer of the album which is no surprise. In some of the press for the album I can recall him saying something along the lines of having to wait a really long time to put this one out before ultimately deciding to take it in his own direction. Presumably that means that he had absolute control here and everything was nearly exactly how he wanted it. If that is actually true then it's no surprise at all how Everton Blender begins his new album, "Higher Heights Revolution" with the semi-self-titled/autobiographical 'Bubaru'. SWEET! The tune really goes through and covers some of the highlights of the Blender's career, as well as some of his motivations, inspirations and what he's gone through to become who he’s known for being today. This track is an excellent one and although I won't go as far as to proclaim it a 'hit' (even though you know I want to), in terms of just the pure sonic appeal, it has nary a peer on this album . The next tune up, however, is an even stronger song. 'Hold On In Deh', I believe, was the first single for this album and from the way it blends a very powerful message with a vibe which is nearly golden, it's not very difficult to hear why it was chosen for the first promoted track from the album. As Blender does at his best, the song inspires and unites and really places a bright, but not unrealistic picture on what can be a very harsh situation. Rounding out the first group of tracks from the album is the common-sense anthem 'When You Wrong'. When you listen to tunes like this (or when I do), I always just want to say it's a matter of stating the obvious, but how many people do you know, no matter the situation, just have an extremely difficult time admitting when they're wrong [LIKE MY W . . . What??? I didn't say anything]?

“You vexed - with your Sister

You don’t want I to talk to her, no

You vexed - with your Brother

You don’t want I to talk to him, no

Don’t vex with your Sister without a cause

Don’t vex with your Brother without a cause

And when you wrong, you’re wrong!

And when you right, you’re right

Don’t you know you are my bredrin?

Now you gonna mek our bredrinship end”

On the highest end of "Higher Heights Revolution" are tunes which are nearly exceptional in spots and just, again, really emblematic of the work of Evertons Blender's career and someone of his accomplishments. To my ears, the 'tallest' of them all, by the slightest of margins, is probably 'Conference Table'. This song so wonderfully illustrates a strong combining of the tangible and spiritual realms, and does so directly, and because that's something that I always speak on, it definitely caught my attention as the Blender says that you can get nowhere in your talks until you give His Majesty a spot in the negotiations! The tune, obviously, makes references in other directions as well, but at its core - it is such a MIGHTY and INTELLIGENT song and not to be missed! Ranking not too far behind that stellar selection is my second favourite track on the album, the repatriation anthem, 'Calling Us Home'. This track is kind of disguised as a love song of sorts and that's kind of what it is, but instead of professing his love for an individual, the Blender speaks on the splendour of Afrikan soil and how important it is to someday return to HER. Also on that level is a tune which figures to create a nice amount of buzz, the HUGE praising tune, 'Lion Crown'. Not only is the actual SOUND of this tune fairly spectacular, but it also features Isha Blender . . . Everton Blender's own daughter. While the younger Blender doesn't receive the full spotlight and sings (an infectious) backing instead, this wonderful tune surely puts her in more of a point of interest and hopefully more people will hear what I hear on this big tune (and she's done nice material in the past as well). I know the song 'Ali Ali Ho' and I know it pretty well. The song, another very good one, comes through on the relicked Jah Jah Give Us Life Riddim from a couple of years back (Glen Washington had a nice song on it as well). Somewhere in the middle of this tune, when Blender goes biblical, it reaches another level altogether with the looming 'spectre' of the vocals returning strong in there! When they do it's heads rocking, it's LIFTING UP HEADS and really just enjoying such a wonderful vibe (really reconsidering my choice of the album's best tune now)! And also check the vibrant 'Free Up Yourself', another of the several standouts on "Higher Heights Revolution".

'Ali Ali Ho'

As for the remaining tracks on the album, there're also good things to be found in some of them as well. The best of that lot is likely 'The Greatest Thing Is To Know', with 'No Bargain, No Deal' being not far behind. The latter may just have the single best chorus on the album and built around it, is a solid track also. The former is only faintly behind the album's best.

“In this ya great tribulation

Money mek man go through nuff frustration

You better head di right direction

So many youth - incarceration

Facing some long, long conviction

Youthman, mi seh you betta be wise

A youth man, seh you betta be cool”

It's really just a social commentary of sorts and one which is really, as I alluded to before, very casually straight forward, which makes it very easy to follow, despite its somewhat urgent vibes. And speaking of being "straight forward", I don't know that you can get more of that on a title than 'Love All These Girls'. Not one of the best moments on the album, but I found it kind of funny at times, which isn't a bad thing. Of a similar nature, but much better, is 'It's All About You'. This song kind of feels like it's due for an EXPLOSION or just a giant moment which never materializes ultimately, but it's a pretty nice lover's set. And a step ahead of that even would be both 'Tonight' and 'We Need Love' - two tunes which may sound like love songs, but are more along the lines of social commentaries and somewhat spiritually vibed tunes. I really like 'Tonight' and that one is one which might enjoy some sweeping success if given the opportunity. Finally, "Higher Heights Revolution"wraps up the only changeup, 'Conserve'. This one is different only in terms of sound, it's pretty much a Dancehall song, but it sounds like Everton Blender singing a Dancehall track - the upful messages are still intact. Also, the tune features the Blender alongside his label mate, the ULTRA agitated Engee Dadon. Dadon is well talented and he makes very exciting a tune which is about 'conserving' the world's most precious resource - the youths - and monitoring some of the more negative influences they may encounter, particularly within listening to the music.

Everton Blender

Overall, that not holding this one back very much, this is a very solid addition to the exquisite catalog of Everton Blender. As I said, he's very much the type of singer who I just look forward to hearing from, first of all, and on top of that, he’s such a well accomplished and well esteemed artist that it makes his output a big deal. EVERTON BLENDER HAS A NEW ALBUM! That's a big deal for people like You and I and it's made 2011 just a bit more interesting and colourful as well. It also helps that the album is very good and just another reason why we should be celebrating such a valuable person to our music like Everton Blender more and more often. Hopefully it's not another six years until he gives us this type of an opportunity again because "Higher Heights Revolution" shows that he hasn’t lost a thing and is still capable of churning out top flight vibes - but we already knew that.

Rated: 4/5
Island Splash Entertainment
2011
CD + Digital

Review #343

The Vault Reviews: Everton Blender - Live At The White River Reggae Bash

When the discussion of greatest stage shows in Reggae music comes up, you’re likely to hear the same group names. The first, almost always, is of course Elephant Man. I can’t find an argument against that as, at his best, Ele tends to show no regard at all (and even a bit of disregard at times) for his own physical well being, climbing stage supports and leaping from really large speakers as if it were completely normal. Then you’re likely to hear the name Capleton. Outside of the physical antics of Elephant Man (although, if I do believe correctly, a few years back the Fireman did break a bone in his foot while attempting such a maneuver), Capleton exhibits more palpable ENERGY than probably anyone I know of performing these days (and he’s really to the point where I could literally see him doing what he does on a Soca Monarch stage) and combine that with the several really unique things Capleton does as well, such as the long lyrics and the full on free-styling as well, and his name has to be one in such a discourse. You’ll also hear of others like Beenie Man with his incredible stage COMMAND and even Morgan Heritage who, despite the fact that until very recently (apparently) I maintained a healthy apathetic view of, I (like anyone with semi-functioning eyes and ears) have to give them respect for their wonderful performance also. BUT! That being said, you don’t need to jump up and down and scream your audiences into oblivion like Capleton or Elephant Man; you don’t need to come armed with the lyrics of seemingly the command of EVERY tune you’ve ever done since you were a small child like Beenie; and you also don’t need to this large, encompassing and well-oiled-machine of a unit, like Morgan Heritage to impress on stage. You can just be ON POINT like Assassin or Vaughn Benjamin. You can be very close to being on point and just be pretty as hell like Alaine or, you can be totally and wonderfully ridiculous like Denise Belfon (I digress) or you can even just be pretty amazing and respected as such, like King Yellowman. OR, such as the case with the artist in question here, YOU CAN JUST SOUND SPECTACULAR. Everybody has been in the situation of having one of your favourite artists perform one of your favourite tunes and perform it in a way, seemingly oblivious to the version that you know and love. In Reggae, that occurs generally with the usages of ‘medley’s’ where an artist will go with bits and pieces of various tunes on a single riddim and, while that, in and of itself, doesn’t necessarily bother me, someone just kind of acting LAME and not quite pushing it to levels you’re familiar with and (more importantly) NOT EVEN TRYING TO, is pretty fucked up in my opinion. However, thankfully they’re people like Everton Blender who rather easily has to be one of the best SOUNDING performers I have ever heard in my entire life.

If my memory is accurate, I’ve had the pleasure of seeing the Blender perform twice in my life and even if it isn’t accurate the number itself isn’t as important (although I’m pretty sure it was twice) as the distinct sound is implanted in my memory. You can hear it on form also, pick up an Everton Blender album (like the one I’m about to discuss) and you can definitely hear the attribute which has made itself probably the most reputed addition to his arsenal, THAT VOICE! Somewhere between that wailing type of singing that you hear from the likes of Junior Reid and Mykal Rose (biggup Yami Bolo sameway) and the far more straight forward tones of people like Luciano and even Sanchez), exists the wonder which is the voice of Everton Blender. The man is truly one of a kind and seeing him perform, if you REALLY love the music, it definitely well comes through. Apparently it comes through on an industry level as well as, despite being in this day and age where having a live performance album isn’t necessarily a very popular thing, the Blender (who, in terms of POPULARITY (certainly not in terms of abilities and skill) isn’t amongst the worldwide most well known Roots Reggae artists today) has quietly had two. The most recent of which, Everton Blender: Live In Berkley from a couple of years back, came was very well received and came via the always welcomed 2B1 Multimedia. But the first of which was the better of the two (in my opinion) and a little bit lesser known and came way back in 2000 from the once mighty Heartbeat Records (who did quite a bit of work with Everton Blender, releasing upwards of five or six albums from the Clarendon native), Everton Blender: Live At The White River Reggae Bash. The title is a bit ’deceiving’ as it’s more than just “live at the White River Reggae Bash”. The album actually takes place across (at least) two shows, one being at the WRRB, while the other(s) occurring on the Blender’s 1999 tour in support of his Rootsman Credential album from that year (also from Heartbeat). The listener can assume that the material appearing on the album was from one show, however, the album itself credits these tunes as being recorded “live during the Rootsman Credential Tour, North America, October 1999”, but it ultimately doesn’t matter as the real star of this show, Everton Blender, is in OUTSTANDING form wherever his tour bus stops. Live At The White River Reggae Bash sublimely features some of the biggest hits of the Blender’s entire career up to that point (which would have arguably been his prime years) and in lieu of the fact that Everton Blender DISGUSTINGLY doesn’t that one elevating type of FINAL greatest hits compilation (which is really a damn shame) to his credit at this point, the album is pretty solid (along with Live In Berkeley) as the greatest compilation of his very best material in a single place. Therefore, with its situation of being a live album and with its very nice complete package, Everton Blender: Live At The White River Reggae Bash proves to be a release worthy of both newer and more established fans alike.

So what do you get in an Everton Blender show? Well, besides the aforementioned and well documented spectacular vocals, you’re also going to get quite a bit of CLASS and classy performance and I don’t know who exactly constitutes the ‘Blend Dem Band’, but they’re on point as well and all of that comes through excellently on Everton Blender: Live At The White River Reggae Bash. The way the album is situated is that the first eleven tracks come from said White River Bash and the final six are taken from the Rootsman Credential Tour. After a brief, yet dazzling, ‘Overture’ to get things started (where the riddims from some of the Blender’s biggest tunes are displayed by the band), the first time we actually hear our star of the evening is on the performance of one of the biggest hits of his career. ‘Create A Sound’. Although the vocals (in terms of the volume) may have had problems here (and they may throughout also, but not to a frustrating degree at all, and at times, not at all), the message of just living up fully and truly CRAFTING a joyful noise is full on display and apparently the crowd, energetic throughout the set, were well in tuned to that message. Good for them! Speaking of popular tunes, another of Blender’s two most popular ring through in succession and on the same track (on the CD at least) in ‘Bob Marley’ and the MASSIVE ‘World Corruption’. This is about the time when levels kick in and the MOOD really starts to transfer of the show to the listener at home (or wherever the hell you may be) and you just get downright JEALOUS that you weren’t here and World Corruption, in all of its beauty probably is my favourite performance of either show on the disc. The start of the next tune, ‘Where Do The Children Play’ (a cappella style) is just so nice. This one has never been one of my favourites from the Blender (and I’m probably well in the minority on that sentiment), but the crowd reacts IMMEDIATELY when he and his backing singers jump in on the tune and their energy stays high throughout. I just always LOVE to see and appreciate the INFORMED and EDUCATED audience, apparently even more so than me in this case. The next three tunes ‘False Words’ , ‘Live Up’ and ‘The Man’, three of Blender’s lesser known gems (especially The Man on which he specifically calls for the Baltimore riddim which backs it) all comes in nicely and I’d definitely recommend a fan to check out them all in their original forms as well to become more acquainted. And as the set at the WRRB, Blender draws for some of his more well known material such as ’BLEND DEM’, ’Piece of the Blender’ and ’Family Man’, all of which sound so nice and receive good (if not great) crowd response, before he drops the BOOM and has them in the palm of his hand to end things with the always EPIC ’Lift Up Your Head’. TEARS! I love that song and it’s every bit as strong of a performance as ’World Corruption’ (call them ’1a’ and ’1b’).

As for the second stage of the album from the Rootsman Credential Tour, two (actually three) things stand out in my opinion. The first is quite clear: As is indicated by the tour’s title, you may not be familiar with these five tunes but they’re all from the Rootsman Credential album. Secondly, the band isn’t as strong as it is during the WRRB (but the volume levels are all around better throughout and it literally sounds like they have a different setup instrumentally speaking). After another Overture (this one not as strong as the first), Everton Blender and company dive in on the first selection of the set (and now listening to it even better, I’m all but sure there’re no tricks going on and the music is actually from the same show), ‘I Love Jah Jah’. This tune has never been a favourite of mine necessarily (it doesn’t do much and is VERY elementary), but perhaps I should go back and give it a next listen (I doubt it), because it sounds FINE here and is definitely one of the best of the five tune performances. It is, however, quickly outdone by the SUBLIME ‘Higher High’. This tune (as if you can’t tell already) definitely has been one of my favourite lasting pieces from the Rootsman Credential album/era and I was so happy to hear how the crowd seemed to almost overwhelm the tune to a degree even then. You have to think it would have been almost completely new to them at the time, therefore they would have almost exclusively been responding to the absolute STRENGTH of this MIGHTY praising tune for His Majesty. The very nice ‘We No Fear’ is in next and I also find myself responding to it even more so than I would and have to the studio version of the tune. I always thought this tune could have been HUGE if it had just a bit more in the way of urgency in its vibes and while that doesn’t come to fruition here (at least to what I feel might be the PERFECT degree), it’s a bit more than on the studio version of the tune and to my ears, obviously, that’s a very nice touch (and on the studio version, while definitely nice, it isn’t engineered well, it sounds SO much so like Everton Blender is in the studio and FAR away from actual instrumentation and while that is normally the case, it shouldn’t sound like that). ‘Danger In Your Eyes’ is the penultimate tune of the set and the entire album altogether and I should be completely honest and say that is my least favourite performance on the entire set and the reason is largely fault of the Blender himself. His vocals are just not as sharp as they usually are - as they are on the tune preceding it and as they are on the tune following it - so call it a fluke or whatever you like, but here you can’t call it ‘good’ by any means. And lastly, as I said, he quickly gets things back in order with the closer ‘Why Do We Have To War’, a BIG social commentary. While certainly a rather curious choice on which to finish a set (and with the way things go out, I’d be tempted to say that it wasn’t actually the final tune performed that night) the tune, in any form that I’ve heard, is a big one and its presence here is a plus to an album which definitely sets the table for it in fine style as only Everton Blender can.

Overall, I’ll reiterate the fact that pretty much regardless of what level of fan you may or may not be of Everton Blender’s, this one is well recommended to you. For the newer fan it’s kind of a greatest hits and thus, a wonderful introduction to the Blender and his vibes and you definitely get to see a more colourful side of the artist with him just talking several times and the vibes coming through how much he just generally enjoys singing hi songs. And for the older fans, I’ll use myself as the example: While I’m definitely not the biggest of Everton Blender fans you’ll find in the world, listening to some of the music here and writing this review, I cannot tell you how many times I stopped listening to the music on Live At The White River Reggae Bash and went back to the actual studio CD on which the particular tune appears just to see how the comparison was, or simply because I got caught up in the moment and NEEDED to hear the original and you too (even more so) will definitely enjoy the more colourful side of the Blender. All in all, while not the BEST live album I’ve ever heard, Everton Blender: Live At The White River Reggae Bash is just so enjoyable to listen to as the Blender proves it definitely is possible to entertain and do it greatly, sans the jumping, speaker climbing, million words per minute chatting, fire starting. . .

Rated 4/5

Heartbeat Records

2000

Everton Blender @ Myspace

Words of The Week: Jah Vibes by Everton Blender

Jah Vibes

Jah Jah put the vibes inna mi brain

To see what wicked man after

Jah Jah put the vibes inna mi brain

To see what wicked man they’re after

Jah Jah put the vibes inna mi brain

To see what babylon after

Jah Jah put the vibes inna mi brain

To see what wicked man they’re after

Dem a talk bout dem new millennium

And a talk bout wicked man a come

Saying it’s the ending of the world

Dem waan fi set up a new world order

Dem coulda out of order

Dat ahgo bring a disaster

Rasta come fi take over!

Rasta come fi take over

Jah Jah put the vibes inna mi brain

To see what wicked man after

Jah Jah put the vibes inna mi brain

To see what wicked man they’re after

Jah Jah put the vibes inna mi brain

To see what wicked man after

Jah Jah put the vibes inna mi brain

To see what wicked man they’re after

They set up it for me

And they fallen in

Blessed is the man that walketh not in the counsel of the ungodly

He that dwelleth in the secret place of The Most High shall abide under His wings forever and ever

Jah Jah put the vibes inna mi brain

To see what wicked man after

Jah Jah put the vibes inna mi brain

To see what wicked man they’re after

Jah Jah put the vibes inna mi brain

To see what wicked man after

Jah Jah put the vibes inna mi brain

To see what wicked man they’re after

Dem a talk bout dem new millennium

And a talk bout wicked man a come

Saying it’s the ending of the world

Dem waan fi set up a new world order

Dem coulda out of order

Dat ahgo bring a disaster

Rasta come fi take over!

Rasta bound fi take over

Jah Jah put the vibes inna mi brain

To see what babylon man after

Jah Jah put the vibes inna mi brain

To see what wicked man they’re after

Blessed is the man that walketh not in the counsel of the ungodly

Not standeth in the way of sinners

Not sitteth in the seat of the scornful

Jah Jah put the vibes inna mi brain

To see what babylon man after

Jah Jah put the vibes inna mi brain

To see what wicked man they’re after. . .

Taken from Everton Blender's album Visionary

Everton Blender @ Myspace