"Freedom Legacy" by Queen Omega [Baco Music - 2023]
Okay so, because I looked up at the calendar and noticed that we were just about three weeks away from what just has to be my most anticipated album release of 2023 thus far (and I'm struggling to even think of anyone who could, even theoretically, top it at any point during the year) (... seriously, I can't think of anyone right now... not even a "maybe"), I determined that, somewhere out there, must exist a tracklist, which we hadn't seen before and, for once, I was correct (if you say enough stuff, eventually something will come true). Queen Omega's forthcoming album #6 and her first in a DECADE AND A HALF, "Freedom Legacy" comes to us via Baco Music, with production by Lions Flow from out of France, and I cannot fucking wait to hear it! As I have said in the past, the Queen is, easily, one of my favourite artists not only currently, but ever (she may just be top five for me) and I have been waiting so long on her new album and, finally, we actually can see what is on it and maybe take a quick look at what we know and what we don't.
I'm loving the mixture of known tracks with songs that I have never heard of before. I've always thought that a very good way to build an album as it not only draws in more seasoned fans by giving them songs that they're familiar with (and potentially love), along with promising brand new music - which is always in a good thing. In Reggae we've seen a lot of that and we've also seen situations where albums can be just straight compilations of any given time and they're stacked with well worn material (which can also be decent, at times, but new music is always a good thing as it at least shows that some level of respect was given to the project). So when I scan the ranks, on one hand I come across familiar tracks such as 'See You Down', 'Fittest' and the recent 'Lioness'; and on the other there's 'Oneness' with Julian Marley & Yaniss Odua (curious as hell what's going on there!), 'Win' alongside the delightfully gifted Soom T and also both 'Goodness' and 'Extraordinary'.... I mean... what could they possibly be about?! What is 'Ask'??? What is that (I'm predicting 'Goodness' is a love song, 'Extraordinary' might be a praising track)? 'Win' what???? 'Dynamite' you say?
I have so many questions about Queen Omega's "Freedom Legacy" and all of mine and any you might have will all be answered on the 24th of March, 2023, when it arrives. Time to get excited.
Up again. I think we've done at least a respectable job in our return on these pages, but while we were away there were definitely some changes that occurred and are, seemingly, here to stay. Some things have changed for the better in terms of the general experience of listening to music -- music, in general, has never ever been more accessible than it is now -- and others have changed for the worse in my opinion, but that change has been widespread and much of it is still in transition. Along with the expected and appreciated new faces (both artists and those behind the scenes), there's also been a direct musical shift in Reggae music to my ears. As I've said, while it has been in 'development' over the past decade or so, what we now regard as Dancehall music is something that I don't recognize at all under the genre. For me, much of it is Hip-Hop music done with Caribbean artists. The addictive Dancehall BOUNCE is largely a thing of the past, save for rare occasions in the hand of an increasingly selected (but wholly CELEBRATED by me) group of producers. Taking that a step further, there were a couple of individuals, veteran Dancehall artist Red Rat and producer NotNice who openly spoke on the nature of the change of the Dancehall in particular as far as, not only the sound being different, but the fact that a great deal of the genre is done in single songs. You virtually never see that one, potent, big riddim jump up anymore because very few people do them anymore and many of the younger artists won't touch them anyway. That makes me... SAD. I can't even put it better than that. I'm saddened by that change, coming from an era not too long ago where it was a chore to keep up with even the biggest riddims (going to call that the 'Riddim Driven Era'). Fortunately, Dancehall seems to be the only genre with that situation, in full. While I will say that Roots music (and even Soca, actually. More on Soca shortly) probably has not produced the same amount of big riddims in recent times than maybe a decade or so ago, the sound itself, THANKFULLY, has largely remained the same. Aside from, again, being placed in the hands of a larger variety of newer names in some cases, much of the foundation that was laid in the generation of people such as Marley and Tosh is still intact in 2022 but.... DAMN I have to say that I kind of miss the excitement of the moment of hearing a genuinely big riddim and then what follows in wondering exactly who else the producer has turned it over to. I can recall having full arguments with more casual heads and non fans of the genre who referred to the practice of having multiple vocalists taking on the same one track and they as lazy or a demonstration of a lack of creativity, but we grew up on it and, to this day, even the PROSPECTS of a truly impressive and well supported big riddim will definitely get my attentions.
I cannot possibly be the only one who feels that way. Even if I am, amongst fans, clearly the labels have something else in mind and if we were to rewind the clock back a few years ago to when we were very active (I used to WRITE MY ASS OFF on these things!) and even before that actually, and definitely one of the most impressive and CONSISTENT of outfits making big Roots riddims and remakes was one Irie Ites Records from out of France. Even before we get into their tracks, I can sit here and think of full blown albums for artists that II has done throughout the years that have stuck with me from the likes of King Lorenzo, the great Mark Wonder and, going wayyy back, Ras Mac Bean ("Pack Up & Leave", big underrated, under-known gem of an album), but despite working with names like those and even the likes of King Kong and Perfect Giddimani (more on him later), the label is probably best known still for dropping a very impressive string of big riddims. With a history dating back to the early 2000's, nearly two decades in, despite all that has surely changed around them, it appears as if things're as they normally are at Irie Ites.... and that is a great thing.
2006
A quick look back at the vault of riddims produced by Irie Ites shows reveals some STELLAR releases. Largely working with the legendary UK duo, Mafia & Fluxy, II has delivered farrrrrrrr more than their fair share of big tracks over the years. Standouts have included the Borderline ["It's time fi reach di borderline! No need fi hesitate, cause I don't really wanna be late!"], Zion ["Mi haffi hail di King, King! A pure love man ah bring, bring!"], Only Solution ["Only my Jah can save the world"], the Strange Things and several others... I could really go on and on (the Rocking Time!) (HUGE underrated song on the Rocking Time that never got its push, 'Who I Am' by Chezidek. You stop reading this and go listen to it right now!) (back? Okay, let's continue). They put together an outstanding catalogue of music and, if you've been a consistent fan of the genre from the turn of the century of so, chances are quite high that you've ran into the works of Irie Ites in one way or another whether you've realize it or not. If you haven't perhaps 2022 is a good time to become more officially acquainted with the work of the label. Just late last year, Irie Ites would curiously re-release the aforementioned Zion Riddim and now they are back with a set we have very much been looking forward to over the past month or, the ASAP Riddim (....seriously, that Chezidek tune on the Rocking Time Riddim is RIDICULOUS! CANNOT stop listening to it). Over the past few weeks or so, Irie Ites has sloooooowly crawled out the riddim, bit by bit, leading now into the full release. On one hand, it was frustrating as hell becuase not only were they peeling off big tunes, but they'd also established a roster of who had voiced the ASAP so, I don't know about you, but I had a running list of what I was looking forward to hearing most and we just had to wait! Dammit! Well the wait is now over as the ASAP Riddim was released, in full on the seventeenth of June and it has me thinking of old times. Not only is II known for churning out quality material, but they also, CLEARLY, put a lot of effort in marketing and publicizing their work. Riddim albums and compilations, in general, for the most part just aren't going to receive as much attention as projects from single artists (if they did, can you imagine how much money VP Records and Greensleeves may've spent (and MADE) back in 'da day when their respective overactive series were at their peaks???), but apparently no one ever told Irie Ites as they go all in on putting their projects together and then bringing great notoriety to them. The ASAP may be one of the finest in that regards as, like I said, quite a few people have spent quite a while waiting on it and, though the competition isn't great these days, one could well make the case that it is IMMEDIATELY one of the biggest riddim albums/Reggae compilations of the year thus far. That's even before you dig into the music and once you do, you'll soon come to see that notoriety isn't the only thing that the ASAP has in common with many of its older siblings. It's been awhile (and I don't feel like looking it up to see exactly how long it's been) but, once again, Irie Ites shows themselves to be amongst the very best when it comes to dropping a TRULY big riddim.
As I said, one of the most fascinating aspects of any riddim is just who the label has assembled in terms of vocal talents for it. Any outfit with any length of tenure has already shown that they have favourites, and Irie Ites is no different. The mix of artists on the ASAP is interesting because, although they do bring in a few ultra familiar names with whom they have previously worked, there's only REALLY a pair of names that I (PERSONALLY) most associate with Irie Ites present here. So it definitely has its surprises. On top of that, previously, as I mentioned, while much of II's work was done with Mafia & Fluxy, for their latest offering they have teamed up with French band, The Ligerians - best known by me for having been behind an album from a couple of years ago, "Timeless", which... I really need to review, because it was excellent, by someone who I've already told you about and will do so again, briefly. As it gets started, Irie Ites Records' latest creation, the ASAP Riddim puts one of its best feet forward (WHAT?!) in the form of 'Raggamuffin' by Anthony B (I was about to call it "previous single" out of habit, but... damn near every song here is technically a previous single). This tune, I've been on for the better part of a month and a half or so and I'm convinced that it was a vibe, at least to some degree. It does have kind of a loose direction, but 'Raggamuffin' also goes in so many other areas and does so quickly, that I just get the feeling that Anthony B heard the ASAP and constructed this wonderful and FUN tune around what he heard. The results are, easily, amongst the biggest winners here and should you think it was THE biggest song, well that's an easy opinion for you to backup because it's outstanding. UK veteran Brother Culture is always working hard and this time it is his intent to 'Build up a House', courtesy of the ASAP Riddim. This one kind of surprised me a bit because I listened through it a couple of times and just enjoyed its old school Dancehall appeal (which is just Brother Culture's style) before I really began to tune it in and when I did, what I found was a rather clever repatriation tune.
"Build up a house, Jah mek mi build a house
Build up a house, build up a African house
Build up a house, Jah mek mi build a house
Build up a house, build up a rootsman house
Cah first thing mi do, mi set di foundation
Then mi fill it up with concrete, mek mi house stand strong
And next thing mi do, mi go an fell timber
Then mi use good timber to plan di structure
Then mi go and hire cement mixer-
And a contractor and two labourer
Mi build up mi room dem one-by-one
Then mi roof it make out of corrugated iron
Round back yah fi mi house mi woulda build a goat pen
Keep one dozen goats and a hundred chickens
Di house yah weh mi build is gonna in Africa
In di front room mi want a air-conditioner
Wi waan some lawyer, construction worker
Wi want some doctor and hard worker
CAUSE EVERYONE TOGETHER'S GONNA BUILD AFRICA"
BOOM! Culture has it all worked out and he brings it through in such a delightfully SIMPLE way that you find yourself wondering... yeah, why can't we do this???! Brother Culture's is certainly a name we've run into over the years and he's almost always impressed, but it hasn't been consistent on our end (because he's definitely been active) and, hearing him here, I'm very exciting on the prospects of seeing exactly what I've been missing out on; and I suspect I won't be the only one thinking that after hearing 'Build up a House' (a situation which isn't rare on these type of sets, actually). And rounding out the opening of the ASAP Riddim is a tune which I was well looking forward to hearing and is one, I think, that they saved for the album's release date as the mighty Chezidek blesses us with 'The Game'. Chezidek is not only one of the two artists appearing on the ASAP who I most associate with Irie Ites (of the ones I just listed, he voiced all of them; the Zion, Borderline, Rocking Time, Strange Things and Only Solution riddims, respectively), but his album was "Timeless" with The Ligerians, so there's an IMMENSE amount of chemistry at play here and you can hear it. Chezidek, for me, has been one of the genre's finest and most reliable stars over the past decade or so and his effort on the ASAP sees him rolling right along at a typically very high level.
"Said it's all in the game
There's no loss, there's no gain
Sometimes laugh, sometimes cry, joy and pain
Said it's all in the game
Take it all, don't complain
Whether dry, low or high, is the same
Hello, hello this is the show
You must be up and ready to go
No time to practice, you should know
Action-time, just let it flow
Oh yeah, we do it because we love
And we do it because we trust
And we looking up above
Cause we rising from the dust
And the children coming after, there's a duty here for us
Let us shine the light more brighter
LET US DO IT BECAUSE WE MUST
No more searching for no answers
It is in the wind that blow
Cause the mission already started
Pushing forward, space to grow
Said it's all in the game
There's no loss, there's no gain
Sometimes laugh, sometimes cry, joy and pain
Said it's all in the game
Take it all, don't complain
Whether dry, low or high, is the same
Every drip and every drop
Gi dem everything we got
Every thing we got, every-everything we got
When wi ah win dem haffi clap
Wi haffi beat dem like a bat
Every inning some a dem ah nyam dem like a snack
WHEN YOU SPRINTING ON DI TRACK, DON'T FORGET AND DON'T FORGOT-
SAVE SOME OF DI FYAH FI WHEN DI TEMPERATURE DROP
BODY STRUGGLIN, CONTINUE AND DI PRESSURE NEVER STOP
WHEN YOU THINK IT DONE, YOU HAFFI GO RUN ANOTHER LAP"
DAMN Chezidek! DAMN! As I said, when you get into it, the Irie Ites have assembled some truly impressive vocalists to go on the ASAP Riddim and one of them will even leap out at the most casual of Reggae fans as a tune called 'Dangerous' brings together French veteran Nuttea and the great King Kong with Dancehall legend Beenie Man! I'm not going to look it up, I'm just going to assume that, at some point, Nuttea has crossed paths with II and in 2018, King Kong would send a full album, "Repatriation", through Irie Ites, but I can't at all recall Beenie Man working with II and to see his name here came as a very pleasant jolt. All three turn in fine performances and i found myself thinking while listening to it just how nice the vibes on 'Dangerous' are. It is somewhat disjointed, there isn't much back-and-forth between the three (I would presume they all voiced their pieces separately of one another), but when you stick them altogether it makes for a very big song and, again, IT'S BEENIE MAN ON AN IRIE ITES RIDDIM!! While I may have been shocked to see the link on 'Dangerous', the tune following it was the most expected of the entire lot. In 2016, Perfect Giddimani and Irie Ites did an album by the name of "Reggae Farm Work" and appearing on that release was 'A.S.A.P.', a combination featuring loooooongtime Irie Ites staple, Spectacular. That would have been the first time anyone laid ears on the ASAP Riddim to my knowledge and this appears to be a re-recorded (or at least remastered) and just BETTER version of the tune. Both Perfect and Spectacular have fiery and unpredictable styles so you can't don't really know what to expect on a combination between the two, but this one worked well for me PROBABLY because of the nature of the subject here. If you wanted to infuse a sense of urgency in your listener, you could do FAR worse than bringing together these two and, by song's end, it is crystal clear that there are some serious changes that need to take place in the world. And speaking of urgency: There's the matter of a MAMMOTH 'Thunder Storm' brewing in southern Trinidad and headed towards the entire world (no one is safe! Do not run! There is nowhere to run to!), being released by the great Queen Omega. If you didn't receive the full word on 'A.S.A.P.' (you may want to get your hearing checked out), the Queen will definitely let you in on precisely how critical things have gotten. This one finds her in a stunning lyrical form and, although I am damn partial and I admit it, 'Thunder Storm' is my single favourite track on the whole of the ASAP Riddim and that's saying something big because, along with what we've already discussed, there're some exceptional tunes still to be heard here.
A fine example of that would be a piece that I've enjoyed from the very first time I listened to it about three or four weeks ago now, but has grown on me even more since then, Jah Mason's splendidly GREEN 'Mother Earth'. You can take the tunes about social and political consciousness and even self awareness and spirituality -- running immortal themes in Roots Reggae music -- and they are all poignant, important and crucial if we're to make a change in the world, but if we do not treat the world, ITSELF, good - well then we won't even arrive at the point where we're capable of having the discussion of how well we treat one another, because there will be no "one another". We need a rock to live on first. The Mason is sick, literally, in seeing how things are going ecologically and he's going to tell you about it and THRILL at the same time.
"Look what dem doing to Mother Earth
You know, mi just caan stand it
Pollution inna di earth and dem ah destroy di planet
Doing to Mother Earth
You know, mi just caan stand it
THESE THINGS MEK MI WAAN VOMIT
The earth is sensitive, so earth is life
THAT'S WHERE I'M FROM, SO TREAT HER RIGHT
No litter di street, it better ah sweep
That's a good sight
Di drastic plastic ah black out di pipe
Lotta garbage mek di day turn night
When you dump inna di sea a dat di fish dem ah bite
Let's keep di earth clean
Mother Earth can smile for di loving children and child
Look what dem doing to Mother Earth
You know, mi just caan stand it
Pollution inna di earth and dem ah destroy di planet
Doing to Mother Earth
You know, mi just caan stand it
THESE THINGS MEK MI WAAN VOMIT
Let's work together
Mi seh 'YES' from now on
Recycling - dat a di latest vision
Every individual know your mission
Pollution every time when mi ah watch di television
So pledge to di earth and then you make your decision
Calling on di government, no matta di religion
No yellow tape and mi seh no red ribbon
How dem ah act lik dem stubborn?
Look what dem doing to Mother Earth
You know, mi just caan stand it
Pollution inna di earth and dem ah destroy di planet
Doing to Mother Earth
You know, mi just caan stand it
THESE THINGS MEK MI WAAN VOMIT
Mi tell dem seh TIME OUT
All these things mi ah FIND OUT
A east, inna west and mi seh ALL SOUTH
These are di things mi haffi talk bout
Wi nah like fi si garbage inna MY ROUTE
So mi haffi speak up outta MY MOUTH
Jah Jah Mason going back to MY ROOTS
So mi haffi hang on and is MY TRUTH!"
BOOM! 'Wicked Heart' is another one which has progressed on me just a bit from first hearing it, as the always compelling Lyricson takes on the ASAP Riddim. This isn't the Guinea native's first link with Irie Ites as he also appeared on the aforementioned Borderline Riddim with the sizable 'No Worry' ["Rasta wi nah worry fi wi know, nah worry fi wi know! Babylon system will be burning!"] and his return shows that maybe artist and label should have made more time for each other over the years. 'Wicked Heart' is just what you're thinking it is as Lyricson chants down and flings flames upon nastiness and corruption anywhere he can find it and although it may walk an expected course in terms of direction, sonically 'Wicked Heart' is amongst the most interesting tunes here... again, as you may've expected coming from Lyricson who is probably one of the most DYNAMIC artists in all of modern Roots music in my opinion ["Nuff a dem a wolf inna sheep clothes. That's why wi and dem could never be close. Mislead di ghetto youths: Their only purpose. Stinkin babylon system designed fi hurt us. Mi si seh nuff a dem ah live inna confusion. Rasta come fi bun di lies and dis-sillusion. Put an end to all di war and sufferation. Tell wicked babylon a time fi redemption"]. Irie Ites return to the fruitful shores of Trinidad and this time they come back with the sweeping social commentary 'Redder Than Red' and the damn dependable but damn underrated Jah Defender. While not too dissimilar to a few of the songs on the album in its lyrical approach (and there's nothing wrong with that), 'Redder Than Red' features the Defender producing a sterling vocal performance... he always sounds good, but 'Redder Than Red' is very easy on the ears and strong lyrically as well. Jah Defender has enjoyed a good 2022 campaign with a few tunes and, significantly, a brand new EP, "Jah Movements", but 'Redder Than Red' is probably the single best tune that I've heard from him in some time. Finally (not really) is another tripled combination, this one bringing together Tomawok, Keefaz & Puppa Nadem for 'Calme avant la Tempête' ['Calm Before the Storm']. Of the three, I am only really familiar with the work of Keefaz (who has appeared on II productions previously), but apparently this is just what all three are doing these days as I've found two other selections, 'Big & Ready' and 'Family' (the latter of which is from earlier this year) done in a combination and for Irie Ites. It's a nice touch, doing a French tune for a French label and it probably would be the type of thing that I would have complained about being absent had it not been here. So, I always appreciate when people do things like this showing their own influence in what they have locally. Well done.
I would have also complained, and even more so, had II not included a clean instrumental version of the ASAP Riddim but, thankfully I don't have to do that because they did. The ASAP is a lovely modern Roots track with a dash of electricity and... this infectious other sound that I can't quite describe accurately. As a riddim, alone, it ranks highly in the annals of anything they've done. It's one of their best and it plays a nearly perfect backdrop to several big tunes, which is all you can 'ask' of a riddim.
Overall, it just feels good!!! Certain things in the world should just be a certain way: Irie Ites should be making big riddims and they are! Again, if you haven't had the opportunity to dig into what they've done thus far, the ASAP Riddim is not only a FINE riddim of its own, but it's a good place to start listening to one of the most decorated imprints in all of modern Roots Reggae. The ASAP takes me back to the early/mid 2000's when it seemed like a few times a year II would reach with some giant composition with a LOADED roster of artists and that is just what it is, nearly two decades later. In that time so many things have changed in our music but, apparently, some have also, BEAUTIFULLY, remained the same. The ASAP Riddim has time on its side, I've missed its type, but it definitely ranks as one of Irie Ites Records' finest creations to date.
Outliers. Because the subject and the focus of the genre is quite often the same, I don't know that we pay as much attention to all of the wonderfully diverse sounds that Roots Reggae music has to offer. As with any other genre, and any label in general, there exists a certain level of requirement that we have constructed to meet the 'standard' of what it means to be Roots music and once you are there, oftentimes, you are there to stay. Its perception is very rigid and not as malleable as something like Dancehall (which... is just really, really strange) (Dancehall would actually be the complete opposite, I think) and, in fact, it can kind of 'travel'; in the sense of when you have someone who deals with a topic typically found in Roots music, REGARDLESS OF THE SOUND OF THAT PARTICULAR TUNE, people like me will often say that it has some type of Roots vibes to it. And as far as the sound, itself, of course the prevailing idea revolves around the heavy one-drop and, again, it can 'travel' to almost any set of circumstances. Because of that I really enjoy highlighting and downright celebrating some of the more peculiar talents that the genre has to offer in demonstrating that, though everyone might be singing about Jah, many of them have very distinct methods of going about it. There're levels of uniqueness and in Roots Reggae music, we have all of those level covered. I hesitate to mention him because... yep, but there's this guy named Jah Cure... his music isn't terribly different from that of many of his peers at all, save for the fact that if angels exist and they sing, if they're lucky they probably sound a lot like Jah Cure. His music, even when it is far away from his best, has an inherent quality to it that CANNOT exist for anyone else. You can't make music like Jah Cure. You just can't. Because, as of this writing, the last review that I wrote was for an album called "Emerge", by Norris Man (it may or may not have been posted before this one) (we've gotten into this very cool habit of not posting a review until at least two more have been completed) (I currently have three waiting while I'm writing this one), his style is also fresh in my head. You'd never teach anyone to make music the way that Norris Man does. It just would not work for that person. Early in his career he was often (accurately and justly, by the way) criticized for singing off-key and in a somewhat crude manner.... but it WORKS for him. He's sang like that on tunes like 'Persistence' and others which stand now as full classics so, apparently, he's used that weird ass style to do something right. There's also a bit of uniqueness and diversity in being multi-faceted and versatile in what an artist can actually do themselves and we see a whole heap of that in Roots music today as well.
Of the most versatile that we have going today is someone who I've long recognized as one of my favourite artists, the divine Queen Omega. Gifted with not only one of the finest singing voices that you will find in Reggae music (like ever), the Queen can deejay, she can chant, she is also very proficient lyrically and, because of that, her music is often very exciting and unpredictable and just a JOY to hear. Today we take a look at someone who at least somewhat reminds me of Queen Omega as we take a trip from her native Trinidad to Guinea via France and link up with another terribly gifted (predominately) Roots artist by the name of Lyricson. Whatever it is you need -- any type of style whatsoever -- Lyricson has you. It's no problem for him at all and he has it on a very high level as well (sometimes). Following our hiatus I find myself during this more and more in observing just how long I've been listening to some of these amazing people and my history with Lyricson goes back now nearly eighteen years (at least, I do recall hearing his name prior to that) as, back in 2004 he would bring forth his very well regarded debut set, "Born 2 Go High" in association with Special Delivery Music (who, incidentally, was also behind Queen Omega's pillaring "Special Delivery" that very same year). That set would do a great deal in introducing the masses to a talent who had an exquisite high-pitched singing voice and was more than capable as a chanter and anywhere in between as well. It was colourful! The release would also signal Lyricson's arrival as one of the most noteworthy of a (particularly younger at the time) burgeoning group of African Roots Reggae. It was strong enough to make you want more.
And "more" you would receive. Chasing "Born 2 Go High" would be the very curious "Keep The Faith" in 2007. I think the sophomore release was even stronger than its predecessor but, if I can recall correctly, Lyricson himself disagreed and, basically, disowned it for some reason. Regardless (as hard as it is to find these days), "Keep The Faith" was excellent and has aged terrifically, listening to it now fourteen years on (literally STOCKED with big tunes, the title track, 'Give Jah Praise', 'Solid Ground' on the Purple Ting Riddim (which backed Tiwony's MAMMOTH 'Priye Jah') 'Choosen Ones', 'Don't Give Up' [!], 'Jah Me Call On' - just big tunes everywhere on that album) (listening to it now, seriously, 'Don't Give Up' was an AMAZING tune). He would follow that up with "Messages" in 2010, which is an album I best remember for carrying 'From The Beginning', which is not only my favourite song Lyricson has ever done but... maybe top fifty for me from ANYONE, ever. The song was downright flooring and it still is. After "Messages", Lyricson seemingly went into some type of transitional period in his career and spend the next two years doing a pair of albums which could not be more different. 2011's "Fearless" was awful for me (I think I called the worst album of that year) (check 'Gun Bark'. Go ahead, I dare you) (Biggup Destra). It was largely overly aggressive Dancehall, and it was the good kind either (coming from a fan of Mad Cobra, Bounty Killer, Aidonia - I enjoy the genre) and even some of the songs that weren't of that style, like 'Smile For Me', had very little to offer as well. THEN, in a switch for the ages, the very next year Lyricson gave us all some "Love Therapy": A full blown love album! That set wasn't terrible, it was decent (had a tune called 'You Got It All', I thought was pretty good), but I can't help to think about everything around it every time it comes to my mind. The artist would then return to previous form with his next release, "Year Of The Don", which I have not heard outside of bits and pieces (biggup Lutan Fyah) but from what I could tell, it was more of a straightforward type of Dancehall album which, though FAR from his best (though I can name a few songs I liked, such as the very inventive 'Every Body Know'), was CLEARLY a step ahead of its predecessor, "Fearless". So following three downright ODD albums in a row, the wait was on to see what version of Lyricson would come back next and in 2017 the ultra gifted artist would answer the question: The good one. The name "Revolution Time Again", alone, seemed to suggest a return to the initial form Lyricson wonderfully introduced himself to us all through, back in 2004. This latest set would come, in part, via Lyon, France based Digital Cut Records with whom I don't think I was very familiar with at the time (a little research shows they had done a project with the wicked LMK the very same year), but have sense popped up mightily on my radars as, just earlier this year, they delivered the Sensei & Kensei Riddims project along with Dance Soldiah. The always active Undisputed Records would also be on board (they have worked with almost everyone but their work is probably most associated with Skarra Mucci) and we'd POTENTIALLY have back the same Lyricson whose music You and I fell in love with almost a decade and a half prior on the fittingly named "Revolution Time Again". Time to get back to Roots work, time to get back to chanting down corruption and time to do in a way in which almost no one else can. Let's go!
I feel inclined to mention that, the year following "Revolution Time Again", Lyricson would also release the similarly vibed eight tracked EP, "Get Ready", which was pretty good and more than worth your time. Included in the eight selections was 'Anywhere', a very nice combination alongside Chezidek (where Lyricson showed off the deejaying chops a bit) and both 'Heart Of Lion (golden) and 'Hold On' which were strong as well. Since then he has continued to do more of the harsher material and Roots Reggae... if you enjoy that type of thing. And if it is, you just may want to dig into Lyricson's latest full album release from 2017, "Revolution Time Again", which begins in a very surprising style. Following an intro, that is an electric (literally) social commentary where Lyricson outlines the exact reason why not only his revolution is necessary, but necessary right now, we get to the title track which just so happens to feature none other than the great Vaughn Benjamin. I was so pleasantly shocked to see Benjamin's presence on this one. You don't normally think of Benjamin as being this great artist to have with others (at least I don't) because his own style is one which requires so much attention, but if you think about it, he's done some gorgeous combinations throughout the years with various different names of various different styles (he always worked so well with Lutan Fyah, in my opinion). 'Revolution Time Again' is another one for the vaults as Lyricson and Benjamin link to produce a stick of dynamite outlining the changes that the world needs to see and, in the process, providing the album with, DEFINITELY, one of its biggest moments (DUH!!!).
"Oh Jah
A blessed and resilient peace for Africa
Oh Africa
Ask Jah i-rection inna valid intention
Start with resources and revenues - run it like house
About what come in and about what spend out
When human interaction come to figures as clout
Respect and cooperation is needed on the route
People please listen as the blood-pass spill out
INNA POCKETS ALL AROUND, INNA RURAL, INNA TOWN
APPROACH HIS MAJESTY'S THRONE IN THE HUMBLEST OF MOUTH
Revolution time again
People calling for a change
Say dem tired of the stress and pain
System need fi rearrange
Revolution time again
The streets ah get hot again
As dem fed up of their evil game
System need fi rearrange"
'Burdened' with the responsibility to keep things just as high as the title track (something had to do it) is what, I believe, was the first single from the album, the excellent 'Burning'. Along with it being very nice from a point of its sonic value, Lyricson also delivers a BIG lyrical effort on 'Burning' (you have to be able to write when you choose LYRICSON as a name) (great name, by the way) ["When mi si seh nuff a dem too confused. Dem nah bide by Selassie I rules. Think seh dem blessed, but mi know seh dem cursed"], sending it amongst the best that you will find here altogether. 'No Trust In Them' finds Lyricson tapping Aaron Silk in a featuring role and the two come together to express their collective discontent, particularly with the leaders of the world and the job they're doing. Songs like this one (and the aforementioned 'Anywhere', with Chezidek) are inherently interesting because Silk (and Chezi) are pure singers so, in order to have a contrast in the styles, Lyricson takes a more aggressive style and, as I said, when he's doing it for the right reason, he's REALLY good at it. You can take a number of really talented artists who would, typically, be doing that for tunes like 'No Trust In Them' such as Jah Mason, Anthony B and the likes and Lyricson can definitely hold his own amongst them with performances such as this. He softens things up again for the next song in, the GORGEOUS 'Jah Never Fail I Yet'. With a source probably quite similar to that which gave birth to 'From The Beginning', 'Jah Never Fail I Yet' is downright glorious like that timeless piece before it (I also hear some lyrical similarities between the two. 'Jah Never Fail I Yet' says "Jah you teach me the wrong from right. Helped me to see through the darkest night. PROVIDE ME WITH STRENGTH AND THE MEANS TO SURVIVE. The powers of Selassie, I could never deny". On 'From The Beginning' there's, "Jah bless I from the beginning. Until the end of my days, thanks and praise I ah give to The King. Jah bless I from the beginning. HE PROVIDE I WITH MEANS TO SURVIVE AND THE POWER TO SING"). And as its predecessor was for "Messages", 'Jah Never Fail I' stands as THE crowning jewel on "Revolution Time Again" as well.
Along with the title track, if you just look at the roster for this album, your attention is almost certain to be driven to #11, 'Tell Me Why', which just so happens to be another combination, this one, RIDICULOUSLY (and I mean that in a good way) finding Lyricson joining forces with the legendary Luciano and another wicked Guinean, Takana Zion. When you put Luciano's name on anything, it really gives it another dimension and one which is saturated in CLASS. 'Tell Me Why' is absolutely no exception and it is a HUGE tune. I do have to say that I was somewhat confused by its direction as the lead-in for it is an interlude where Lyricson speaks on how important it is to demonstrate respect and deference to our elders, but the actual song is about mistreating people on the opposite end - younger people, and just how important it is that we respect them for.... our species and everything. Regardless of the mesh of ideas between interlude and tune, as I said, 'Tell Me Why' is fantastic and, for his part, Zion does chime in with a bit of rare English, as this one does not place a single foot wrong. "Revolution Time" features two more combinations, 'Babylon Face' with the always interesting Ilements and the closing 'Open Your Eyes' alongside another artist from out of Guinea, Soul Bang's, who I hadn't heard at all of prior to his appearance here. The former is a largely outstanding set about standing up to corruption and oppression anywhere you may encounter it ["Step up inna babylon face. Rasta come fi bun di wicked man's case"], while the SMOOTH latter deals with themes like self-awareness, unity and confidence but it is fairly broad (combinations generally are, it usually seems as if the artists come together and decide on a topic and then begin writing on their own) and, though I won't say that I LOVE IT, it definitely does more than hold its own on the album (and the riddim on that one is lovely, actually).
'Music' was another of the singles from "Revolution Time Again" and, from the very first time you hear it, you don't have to guess why. While you'll surely find a few better tunes that it, 'Music' is a FANTASTIC listen. It just sounds really good, speaking to the meaning behind the tune which is really about just using music in a therapeutic way. It can be there to make you feel better (!), to put you in a good mood or to maybe just point you in the right direction. As probably the easiest listen on this album, trust me, something about music will grab you. The defiant Prince Buster-esque 'Bounce Back' is another selection which made an immediate impact on me, with its large and infectious sound.
"So when I rise mi give thanks fi another day
Rastafari guide I, so mi never stray
While dutty pagans wanna si mi fail
Always strong, well surround, and mi still ah sail
Roadblocks and traps set along my way
Still I got to move on, got to keep the faith
Si mi downfall - nuff a dem ah pray
But the heathen and the wickedman shall not prevail
Push mi down, mi ah bounce right back
Push mi down, mi ah bounce right back
They waan si mi fall
Jah Jah make me stand tall
All when dem try, mi ah bounce right back
Right back
Push wi down, wi ah bounce right back
Push wi down, wi ah bounce right back
Who jah bless, no man curse
Tell wicked heart fi splurt
All when dem try, wi ah bounce right back
Right back
Anytime mi step out, seh mi step out like a warriah
Ready fi go bun down di wicked and dem barriah
Pon di battlefield, mi nah retreat, dem ah surrender
Just like Selassie I, The Real Lion Conqueror
Mama Ithiopia a d Black man paradise
Can't trap inna Rome, Africa is where my heart it lies
Give I seven miles of the Black Star Liner
Repatriation a weh di Rastaman chant fah"
Lyricson speaks to the indomitability and durability of people of African descent on a tune which, because of this great big vibe it comes with (which intensifies, DELIGHTFULLY, throughout) may've been overlooked just a bit as far as lyrically. It's one of the strongest written efforts on the whole of "Revolution Time Again" in my opinion. And for a variety of reasons, both 'Watcha Gonna Do' and 'If We Try' had to do some growing on me. For its part, 'Watcha Gonna Do' almost comes off as (if such a thing is possible) too bouncy and, ultimately, what I enjoyed most about it was the message, despite how much emphasis was clearly placed on the riddim. And 'If We Try', in terms of sound, is the album's changeup with the streamlined vibes to it. Not even remotely a bad song, it has a vibe which definitely takes awhile and, after giving it time, I still don't rate it highly on here, but I will tell you that after your first listen, regardless of what you think of it, 'If We Try' is probably better than you're thinking.
Overall, as has occurred to me now dozens and dozens of times: After having scrutinized it for the sake of this review, "Revolution Time Again" is a better release than I originally gave it credit for being. I didn't dig into it too much but, musically, it's excellent. A major credit goes to Digital Cut and Undisputed Records for delivering a project that, from beginning to end (without exception at all, really), just sounds exquisite and is a well done piece of work. Of course, helping things shine brighter is the fact that they placed it in the hands of someone like Lyricson who, following a very strange stage of his career (one that he's still in apparently) returned to give fans just a taste of what he was still capable of when things slowed down a touch and he returned to a righteous sound. When he does that, the artist is capable of doing things and producing results, distinctively, that very few (if any) of his peers are capable of. "Revolution Time Again" was big and so big that, hopefully, we won't have to wait too long for the next.... time..... again.
Back to work. If ever there was a direct benefit from us having taken so much time off over the last few years it is definitely the preponderance of the material that we missed. I find myself sitting around trying to figure out what to write about next and, unlike it was in the past when I was struggling at times to find things that I was passionate about to write a big review for, I now have the opposite issue. There has been five or six years that we missed of consistent activity and, as time waits for no one, I am doing my best to catch up (and I won't. I never will because something has already certainly slipped between the proverbial cracks and I will never return to it) to what we missed. Because of that and because it was always my desire for these pages to at least somewhat focus on some of the more obscure or less covered pieces, giving them what may be their only comprehensive attention online, I have soooooo much stuff that I am looking at doing and, for someone like me, those prospects are DELICIOUS! Still, as it is amongst the traits of my species - I am a creature of habit and a few years away may break some of them, but clearly not all of them. So, as you will clearly be able to see, in our brief time back to writing 'fulltime', I've already shown quite a few of my habits. I write about Sara Lugo (she's a part of my life) (she's "a part of yoooooooours!"). Doing so in October 2020 was the very first post on this blog in over three and half years and, nearly nine months later I was damn happy to do it again in taking a look at her new album, "Flowaz" (which is fantastic and you should have a listen to it if you have not already.... and even if you have, you should have another). She is one of the most delightful and wholly interesting individuals that I have ever encountered in music and not only is writing about her fun, in general, I also love the fact that we've been able to keep some type of 'historical' account of her work from so early in career. So maybe someone, a hundred years from now, might mistakenly stumble across these pages and hear one of the most amazing voices that has ever existed (you're welcome! With your flying cars and stuff). Another undeniable pattern of mine (probably the clearest) is that I write reviews for Vaughn Benjamin albums. I've explained it ad nauseum by this point - it is something which I find both refreshingly challenging and therapeutic for me, personally. And while the historical aspect, in his case, isn't as significant giving just how popular he has been for SO long, my dealing with his work is as much about me writing about him, as myself. I've written at least five of them already since we've been back and, following this review, I'll write one for someone else, then it's another release from Akae Beka. You'll also find various methods of analysis for a variety of our favourites in the short term and, going forward, of course that will remain the same. Some of them - I LOVE!
Fortunately I am not the only one who has a habit for doing similar things. While Lugo will dazzle us with her organic blending of styles and genres and HALT us with that voice and Benjamin will force us to keep notebooks to breakdown his words, we already know what Mark Wonder is going to do. While the singer may lack in the departments of mystery and the art of surprise, he makes up for it in virtually EVERY single aspect of making music (so, I'm sorry to tell you that if it is one of your major aspects in deciding who to listen to that you want to be SHOCKED every time you turn on a record, you may want to find someone else to listen to) (you poor, poor soul you) and does it as one of the most consistent names in all of modern Roots Reggae in my opinion. Something which, over the past decade or so, has been so remarkable about Wonder is just how his popularity has seemed to increase over that time. I don't know of anyone who, at such an advance stage in their career, has seen that happen without some kind of great shift in terms of the type of music that they made. While people like Capleton and Buju Banton may've (they did) endeared themselves to a wider audience after turning to Roots music after having reigned as Dancehall aces, respectively, Mark Wonder has no such history. And although he's certainly been respected from the very first single he released, whatever it may have been (for some reason I want to say it was called 'Caution', but I could be wrong about that) (further research reveals that I was right (I once heard it said that the sun even shines on a dog's ass occasionally) It was 'Caution' for Black Scorpio in 1988), a few years back his popularity seemed to take a lofty jump. I'd like to think that a whole heap of that is on account of the "Working Wonders" album from 2012, which was a bona fide masterpiece and definitely attracted a great deal of new listeners. In addition to that, Wonder has really just been on his grind and has made a way for himself, particularly on the very active and populated European scene. Personally, he's also grown in stature by my own estimation. As I've said in the past, Mark Wonder has gradually but SOLIDLY become one of my truly favourite artists today and someone whose work I most certainly look forward to hearing (big new single out now, 'State of our Affairs', courtesy of Addis Records).
SO WONDERFUL it was that despite the fact that we took a break, Mark Wonder remained hard at work and would release a trio of albums during our hiatus. The first of which was 2015's "Scrolls Of The Levite", which I told you about not too long ago, and its followup would arrive just a couple of years on in the form of "Dragon Slayer". "Scrolls" came via Nowtime Sound, an American label, but the vast majority of Wonder's albums have been done through European and Jamaican imprints such as Oneness (who gave us "Working Wonders" and its 2020 sequel, which I will tell you about next time) (and a 'wonderful' dubbed EP cut of "Working Wonders" in 2019), Al.Ta.Fa.An., Redbridge and Zola & Zola. "Dragon Slayer" was a return to the norm and in a MAJOR way as it found the singer linking with the well esteemed Irie Ites Records from out of France. The label was a very dependable source of material for us when we were active, releasing projects for the likes of Lorenzo ("Movin' Ahead") and, most notably, Ras Mac Bean wayyyyyyy back in the day (who also did an album while were away, probably should get around to that one as well one of these days) with the outstanding "Pack Up & Leave" - the debut album for the criminally under-recorded Guyanese vocalist ["Time fi reach di borderline, no need fi hesitate - cause I don't really wanna be late!"]. The label was also very consistent in doing big riddim sets once, having made excellent tracks such as the Strange Things, the very popular Rocking Time and others. And were that not enough (it will never be enough) (I will never be satisfied!) (NEVER!) while we were away, Irie Ites would also deliver "Reggae Farm Work" from the always colourful Perfect Giddimani. So, if you had the slightest of reservations of their credits and abilities, you will leave them here, right now before moving forward without them. The idea of Irie Ites doing an album with Mark Wonder was big news to me and I immediately expected something top notch. The album's title has become something of an unofficially official nickname for the vocalist which, I believe, dates back to a mixtape that was released years ahead of this project and is, as far as I know, unrelated. Since then he has fully embraced it (OBVIOUSLY) and, someday we will all either look back on a certain portion of his career as the 'Dragon Slayer Years' or he will write an autobiography, "Mark Wonder: The Dragon Slayer" (look me up in about a decade or so Mark Wonder if you need someone to do a little work on that). Until then, let's take a look back on "Dragon Slayer" from 2017 which, to the surprise of absolutely no one in the world, was another excellent entry into the catalogue of someone who I have definitely missed over the last few years.
2014
There was not a single thing about "Dragon Slayer" which would make it stand out from the pack of Mark Wonder's other releases as far as its sound or direction. While I wouldn't rule it out completely if ever there came the day when he would do some type of changeup release, perhaps more so than almost anyone else that I can think of (.....thinking about it right now.... still thinking - okay maybe Batch would be in that category, but he has flirted with Dancehall a few times, though I would be SHOCKED if he ever did an entire Dancehall album), Mark Wonder makes this GLORIOUS sounding Roots Reggae music. It is what it is and either you enjoy that particular tune at that particular moment, but you should not at all expect any type of deviation here (or anywhere else!). And, I should also say that "Dragon Slayer" is a bit on the DENSER side of Roots music as well. If you do have an ear for the vibes in their more veteran-ed form, you will likely find gold throughout this one. The carats begin to register as early as the very first tune and title track. The declarative 'Dragon Slayer' might go to shed some light on the origins of the name as Wonder picks up his lyrical shield, armor, spear and.... other dragon-fighting.... paraphernalia and heads to work.
"Ask me my name and from whence I came
I'll tell you Ithiopia, still remains the same
HAILE SELASSIE IS MY CLAIM TO FAME
Rastafari, I've got to praise HIS name
I am the Dragon Slayer!
I am the Dragon Slayer!"
For a song which is quite SIMPLE at its core, 'Dragon Slayer' does manage to strike a heavy blow. It is a call to action and I would even argue that Wonder's idea of a 'dragon slayer' isn't just himself or any single person but is, instead, anyone who chooses to carry the mantle of taking positive and upful action against any DRAGON that her or she may encounter. It is divine and, as is often the case, you're likely to get more out of it with several spins. You should spin even more time on 'Celebrating This Life' (TEARS!) as it is and has always been the single finest thing I hear on "Dragon Slayer". You see this as a title and your mind begins to expect one thing to come forward, but you will not get that BRIGHT and FESTIVE vibes that you're thinking of. Instead, what happens is this OUTSTANDING track which varies in intensity throughout and if you truly tune it in, you see why. This is a song about celebrating ALL of life - the good, the bad and everything in between as well. I think what really made this one cling to me was just how well its presentation links with what is going on. Life isn't all great or horrible and the composition on this one reflects it. It sends the most observant of listener on an emotional trip which you probably cannot afford to miss or overlook. I also have to mention the riddim. Whatever it is, it's fantastic and, again, somewhat understated which is entirely appropriate for the moment and clearly Irie Ites respected it to show it off they way that they did here. Speaking of showing off music, there is an 'Extended Dubwize' mix of a big song called 'Militancy' and it is nearly eight minutes long (BOOM!). Wonder is on the lookout for some soldiers who are willing to stand up and fight for goodness in the face of tremendous evils. This one is kind of odd because on one hand it directly carries the theme of antiviolence but I take from it that what he's saying is that we're wasting our time fighting against one another when a far more dangerous enemy is at work. You also need to pay attention to the vocal performance on this one which is subtle, but stunning at times. He sounds SO GOOD during portions of 'Militancy' and, again, the vibes match the song and Irie Ites put them on a full display with an instrumental which lasts for the better part of two and half minutes. Most interestingly, the other selection on "Dragon Slayer" receiving such treatment is also its most recognizable drop, at least for me. I believe 'Lots of Raging' to be the third version of an older Mark Wonder piece called 'Break The Ice'. It was the title track of an album he did in 2005 for Soundproof Productions and Redbridge Muzik, respectively, and it also appeared on an earlier album by the name of "Signs Of The Time". By the slimmest of margins I do prefer the version from "Break The Ice", but between the one on that album and "Dragon Slayer", they're interchangeable in terms of their quality (the version on "Signs Of The Time" is also good but not as strong as either of these, in my opinion). The sound is a SPECTACULAR one and Mark Wonder utilizes it to put a little heat beneath the feet and hearts of those in power who 'produce' mass injustice against the underprivileged of the world. It is somewhat broad, at times, which I actually think works here and you should probably check all three versions just for the full impact.
"Dragon Slayer" remains at an expectedly very high level almost completely throughout its twelve tracks and fifty-two minutes. The biggest remaining moment (and probably the biggest altogether after 'Celebration This Life') is the MASSIVE 'Break Dem Asundah'.
"Listen how the trade wind blows
Watching the rivers as they flow
All created by Jah, The Almighty
Seasons comes and goes
Even friends and foes
Earth-cycle and all its mysteries
Rise up Israel from yuh sleep and slumber!
Chant and sing, break de asundah!
Acting smart, but dem no clever!
Rastafari live for iver, for iver
Don't stuck in di deeds and propaganda
Neva giving up di fight, no neva
HE gave I di victory!
How I long to be on the eastern side, where peace and love abide-
And the sun just glows and glows!
Rise up Israel from yuh sleep and slumber!
Chant and sing, break de asundah!
Acting smart, but dem no clever!
Rastafari live for iver, for iver
Yadding away to the promised land
Soldier on with di banner in our hands
MANS CONFUSED BUT EARTH REMAINS IN ORDER
SHOW RESPECT TO ONE ANOTHER - IN TUNE WITH MOTHER NATURE"
BOOM! Over what just may be the single finest riddim on the entire album, 'Break Dem Asundah' mines gold and may just be one of Wonder's best songs.... period, like ever. Later is the stirring 'Freedom Fighters' (biggup Chezidek). Chiming in on a similar sentiment to 'Militancy', this one may even be just a bit stronger in full. It is certain to get your head nodding and fingers tapping with that lively track underpinning it. As I said, this one is another call for more fellow potential slayers of dragons wherever they may be and it is a GORGEOUS one ["Rasta-cal resistance to your policies. And the immunization and their disease"]. If 'Freedom Fighters' doesn't get you moving (then I'm sorry to inform you, but you may actually be dead), then perhaps the heavier 'Hol' Yuh Kulcha' is more for you. It probably won't get you in the same way with its more crawling vibes, but if you love more old-school centric Roots Reggae, here you will find gold! Mark Wonder speaks to the importance of preserving traditions and concepts which are passed on through generations of people. I think even he would say that we all must change with the times (evolution or extinction), but we must be wise in what type of influence we receive ["Everyday a new world is forming a and the times are changing. People say the world is ending, can you imagine?"] and what we reject. The DRUM on this one is intoxicating. Once upon a time having at least a single track on a Roots album featuring this heavy drum was every bit as obligatory as having songs about ganja and mama and because, at least from my experience, those days are unfortunately gone, every time I do notice it, it stands out. 'Hol' Yuh Kulcha' stands out, mightily. That same sound persists through the next tune in, the all kinds of delightful 'Iyainghi Rebel'.
"Now as the people's vision fades
Pure miseries and heartaches
Broken dreams and tragedies
Jealousy all the rage
And as we turn another page
It will be going round and round in circles
I'm a rebel!
Revolutionary rebel!
Fighting for a cause
NAH LOOK NO APPLAUSE
Rebel!
Iyainghi rebel!
Black and comely is HE
Haile Selassie!
Militantly as we trod this battlefield, with Rastafari as our guide and shield
Nah take part inna dem crooked deal
I, as The Rastaman, keep it real!
Down in here inna babylon yard, survival we know is the key
And there's no justice for you and me
STILL GIVE PRAISES TO THE ALMIGHTY"
It almost sounds as if they made a dub version first and then went back to it and added vocals, which is something I do not often say, but I do consistently find myself thinking. Regardless of the process, however, it was an excellent composition on one of the biggest tunes on "Dragon Slayer". Things do lighten up, ever so slightly, on the exalting 'Solomonic Dynasty'. This is very interesting because, sure, it is giving praise to His Majesty, but that is largely reserved to the chorus (which is amongst the very best on this project, at worst. It may be THE best) the verses are more tangible and socially focused. For me, it makes for a piece which is 'sophisticated' (been awhile since I've used that word, I'm sure) (just searched it, apparently I've NEVER used it on these pages, so there you go!) that you will find. 'Solomonic Dynasty' was another one which began to glow brighter and brighter the more you listened to it, so keep that in mind before moving on. I was fairly certain that I was familiar with 'True Patriots' from somewhere before it appeared on "Dragon Slayer" and while that may or may not be accurate (starting to think that it is not), its origins have no bearing on its quality - and it is lovely! Like 'Solomonic Dynasty' before it, 'True Patriots' is just SMART work. It is situated in a way which isn't shocking, but is unexpected as Mark Wonder says that your loyalty isn't only to the land where you reside and/or were born, but to a higher place as well. Taken more tangibly and literally, I think that you can say that 'True Patriots' is about leading a more upstanding life and at least trying to do better for ourselves and others.
You might recall 'People Need Security', which was Wonder's cut of Irie Ites' damn catchy Billie Jean Riddim, way back in. Here, the singer was, essentially, trying to keep the piece saying that if you're not going to treat people properly and with respect, they're probably going to react in a way which.... isn't very "proper" or "respectful" and you cannot blame them. It's interesting that, if you followed Irie Ites' releases around that time of the early 2010's, Mark Wonder wasn't a constant name that you would run into voicing their tracks, as were the likes of Spectacular, Lutan Fyah, Sizzla and the aforementioned Lorenzo and Ras Mac Bean, so the existence of "Dragon Slayer" (and only its existence, not any other aspect about it) would have come as a bit of a surprise but obviously artist and label heard something from one another that made them think that they could 'make sweet music together' and maybe whatever it was - they found it on 'People Need Security - they were right. And lastly check 'Uprising' which is a much better song than I think I (and probably a lot of people) have given it credit for being over the years. If you take it in totally, 'Uprising' features great vocals (duh! It's a Mark Wonder song), the riddim is very nice and fun to hear and it is well written. So while it may be fairly basic and not something which leaps out at you, it walks over to you and stays with you instead - or at least it did for me. Both a call to action and an antiviolence piece, 'Uprising' was damn good, whether you realized it or not.
Overall, as I was going through for the sake of this review, something about "Dragon Slayer" started to become clearer and clearer. There was once a well ran phrase called 'concept album' which, basically, referred to an album where all of the songs were of the same unique style or theme. You didn't hear it thrown around very often in Reggae music and, really, the only time I recall it being used was by the aforementioned always innovative Perfect Giddimani who had one back in 2008 with "Born Dead With Life" but we've seen them, here and there, without the term actually being referenced. Basically Sizzla had one just last year with "Million Times" - an album completely filled with love songs. I bring up 'concept album' because I now think "Dragon Slayer" may've been one, really. The vast majority of these tunes are either fully or at least partially about calling people to action. Mark Wonder calls himself now 'The Dragon Slayer' but he is obviously not comfortable being the only one and he's taking applications for others! "Dragon Slayer" is an album about LOOKING for people who are interested in making a change and then beginning to make that change. Knowing that and listening back to it, a few years on, puts it in a bit of a different light and even adds to songs that may have slipped beneath the proverbial radar (like 'Uprising') and it was already QUALITY before that as Mark Wonder and Irie Ites Records created magic together and you knew they would. Three years later he'd go even higher and I'm sure I will get around to telling you about that pretty soon.... I kinda can't help myself, it's what I do. Well done.
